Viva Verdi! is pleasantly enjoyable.

titsay
will byers stan first human second
RMH
YOU ARE THE REASON
Xuebing Du

tannertan36
Lint Roller? I Barely Know Her

shark vs the universe
d e v o n
sheepfilms
Stranger Things
todays bird
One Nice Bug Per Day

祝日 / Permanent Vacation
dirt enthusiast
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"I'm Dorothy Gale from Kansas"

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Andulka
Cosimo Galluzzi
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@screendomcome
Viva Verdi! is pleasantly enjoyable.
"Unplanned' well that's an interesting title, what if it's about unplanned pregnancy.
well what were the odds of that, especially on Disney channel.
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23rd-24th August
So when I was looking at the movie again (look my gym has netflix so I throw it some more views), I noticed something;
Kaitlyn's pvp is this shot from the KILL SAJA sequence about 20 minutes later when they're suiting up to, well, Kill Saja.
seconds later, the girls pose with their weapons
so Kaitlyn is not only a time traveller, she may also know that they're demon hunters
I'm overthinking it but it was fun to see.
#kaitlyn cavanagh actually worked on the film!
then she definitely knows they're demon hunters :'D
imagining clex being real in canon (one of them anyway), and Kara learning this like "ay you out there fucking boiled eggman huh cuz."
the movie has been out for a month
I have met someone with a Derpy and Sussie tattoo already
KUNG FU PANDA (2008) Dir. Mark Osborne and John Stevenson
[alt:
ToonHive @toonhive.bsky.social
· 1d
‘KPop Demon Hunters’ is now the #1 movie in Netflix’s Top 10 Movies in the U.S. The film has also reached #1 in 18 countries worldwide.]
drew jinu from kpop demon hunters! im so down bad for this evil demon dreamy guy
I loved how when they thought Bobby was in trouble, the Idol Awards be damned, that's their friend and they're going to help him
How Many of the Fantastic Four movies have you seen?
1
2
3
4
5
They are
the "unreleased" 1994 one produced by Roger Corman, The Fantastic Four
Fantastic Four 2005 and Fantastic Four: Rise of the Silver Surfer 2007 by Tim Story
Fantastic Four 2015 by Josh Trank
The Fantastic Four: First Steps 2025 by Ryan Shakman. The '5' option is assuming you're going to see this one and have seen all the others
Well modern camera equipment can almost see in the dark so what do you even need lighting for?
i just gotta real quick make sure that youre joking. you are joking, right?
I’m not joking. Do you understand the ISO value system as it relates to film?
im not arguing that you cant film in the dark without special lighting (obviously you can), im saying you shouldnt. im arguing with the second half of your statement. the lighting in the first picture is very purposeful and enhances the horror of the film. they didnt get into the editing room and go “oh darn, we forgot to shine a light on the guy hiding in the shadows!” jaws was made scarier because you could rarely see the shark, so your brain invented the scariest possibility. you can just… see the whole man in the second picture. having a flat shot where the lighting doesnt even draw in the viewers eye to anything (much less obscure something thats supposed to give the movie tension and anticipation) looks fucking boring and adds nothing
thats what we need lighting for
One of these is much more visually appealing than the other
Lighting in film, and especially horror is so *so* important to the tension in the scene, it’s a significant part of visual storytelling, and the cinematographer/DOP (director of photography) should’ve picked up on that.
It’s particularly embarrassing in comparison to the original material, as with digital/modern technology, you can literally see how the shot looks while you’re shooting.
This should’ve also been sorted in comp and fixed well before distribution.
As already pointed out, the lighting values have no depth to them, thus creating a very flat scene (this is one of the first design principles we are taught in design for animation/film- if I had handed in a lighting shot or concept anything like this, I would’ve failed the module).
If you take the shots and put them into greyscale, you can see this a lot clearer.
In the original Halloween shot, we can see a high range of value (how bright or dark something is)- the lighting is brightest on Jamie Lee Curtis, the viewer’s eye is drawn to her first- we can see her emotions clearly and gain sympathy for her character. Then we are drawn into the darkest value, creating dread, and this is fulfilled and heightened with the contrasting (and next highest) value of Michael’s mask.
In the modern shot, all the values are within a similar range (mid-greys), and there is no proper depth in value- making the tension within the shot fall flat (not ideal for horror).
In fact, the highest value in this shot is the fire in the background- which is where the eye is drawn to first. The background. Not the action. So instead of feeling empathy or dread, we are focusing on the wrong details.
And yes, while it could be said from a film analysis POV that the flatness of the shot ‘puts the characters on the same fighting ground/level of power in the shot,’ I’m not going to give them the benefit.
To top it off, the use of colour in the modern shot highlights the errors in lighting. Whilst sharing the blue/orange colour scheme of the original shot, everything is blue except the one area of contrast, the orange fire. So once again, we are drawn to none of the action and instead the background.
With a very small edit in compositing and lighting to match the original Halloween, the feeling (and focus) of the shot is completely changed. The shot has higher contrast and range of values- the focus is on Curtis, while Michael feels more foreboding in the darkness. The contrast puts the characters on opposite sides- good vs evil, telling a narrative in contrast to the unedited shot.
These effects could’ve easily been achieved by adding a key light on Curtis and rim lighting on Michael in production, and if necessary, editing value depth in comp to enhance the raw footage.
TLDR: Digital filmmakers still need to know traditional film and design theory- just because you have good actors, cameras and composition, does not mean you can forgo basic film craft. The aim of cinematography is to enhance the narrative, not restrict it.
ultimately… who cares if cameras can see in the dark? we’re not making movies for cameras.
That.
POP CULTURE EMERGENCY
Dev Patel's directorial debut 'Monkey Man' will arrive on Peacock in June.
[alt: The film will also get a digital release on June 11, as well as 4K Ultra HD, Blu-ray and DVD versions on June 25. Those physical releases will feature an alternate opening, alternate ending and a handful of deleted or extended scenes.]
tbh ofmd is the perfect example of liberal racism with a veneer of corporate anti-racism. a diverse cast (though the historical context of chattel slavery that underpins the existence of west african characters on a pirate ship in florida is rarely if ever addressed) and an indigenous director (who is actively campaigning for the genocide of another indigenous people) mean absolutely nothing beyond making white consumers feel good about themselves
Have you seen Dracula’s Daughter (1936)?
Yes
No
Haven’t even heard of this movie
The Actor Who Played Jar Jar Binks Is Proud of His ‘Star Wars’ Legacy
Ahmed Best recalls the painful backlash to the “Phantom Menace” character that was considered a racial stereotype at the time but is now embraced by fans.
Update in my husbands rivalry with dev Patel, finally went to the movies to watch monkey man and halfway through dev patel takes his shirt off and he pulls his phone out and starts showing me shirtless pictures of himself, insane.