Norm visits Disney Animation Studios to get a preview of Big Hero 6, the upcoming film that is Disney's first animated feature based on a Marvel comics property. We interview the directors of Big Hero 6 to learn about the worldbuilding that went into creating this film, and what storytelling lessons have been learned under the guidance of John Lasseter.
To celebrate both Halloween this week and the 30th anniversary of the release of Ghostbusters, Adam shares his own Ghostbusters uniform and prop replicas that he has made and assembled over the years. We geek out over fond memories of the film and its contributions to cosplay culture. This is a costume that anybody can make!
Joey shared this awesome video with us yesterday, a time-lapse screen capture of post-production colorist < ahref="http://www.colormeup.de/">Andreas Bruekcl's work on a L'Oreal beauty commercial. The three-minute clip shows about 30 minutes of realtime grading of video shot with on an Arri Alexa, and gives just a taste of the incredibly complex task of tweaking colors and lighting of video for production. It's far more complex than the developing of RAW photos in Lightroom, for example, because the colorist has to mask and track moving elements for video. Something to keep in mind: this is a process that almost every shot of every produced live-action commercial, television show, and film goes through today, to some extent.
The Stan Winston school has posted an excerpt from the book "The Winston Effect", chronicling the design and application of Danny DeVito's iconic Penguin makeup for Batman Returns. For the Tim Burton film--which won Winston and collaborators Ve Neill and Ronnie Specter Oscar nominations--DeVito's makeup needed to capture the the director's creepy aesthetic and the essence of the villain. Behind-the-scenes art shows the various concept sketches for Penguin's look (and especially his nose), as well as the application of the prosthetics and paint for filming. DeVito apparently also asked that the makeup be put during voice-over ADR session for Batman Returns, to get back into character. Awesome stuff!
We visit the workshop of Mike Hill, a renowned portrait sculptor who specializes in recreating the classic horror monsters of Hollywood (and the actors who embodied them). Mike's full-body sculptures of characters like Frankenstein's Monster, the Wolf Man, and even Christopher Reeve's Superman are startlingly lifelike. We chat with Mike about his process, look at a work-in-progress, discuss what he tries to achieve with his portraits.
For this week's Show and Tell, Norm visits our 3D printing expert Sean Charlesworth in New York to learn about a prop replica project. Sean has faithfully recreated Qucksilver's "Stereobelt" from the most recent X-men movie, a prop that is actually based on a little-known portable cassette player that predated Sony's Walkman. A little bit of A/V technology history, rapid prototyping, and obsessing over film props--everything we love! (More details about this project here.)
Whee! It's another edition of the Tested Mailbag! This week's mystery package comes to us from Robert, who sent it all the way from Tokyo, Japan! He sent this package after watching one of our videos with Adam where we talked about Theo Jansen's Strandbeests. The contents are super cool--but first we have to get that box open!
As part of the celebrations commemorating the 50th anniversary of French-Chinese diplomatic relations, a French theatrical production company brought two giant mechanical puppets to Beijing's Bird Nest stadium for three days of performances. The company, La Machine, is known for the 50-foot tall mechanical spider--named La Princesse--that it built and brought to Liverpool in 2008 as part of that city's Capital of Culture festival. Weighing almost 40 tons, La Princesse is operated by a team of 12 puppeteers strapped to its body and can crawl through cities at 2 miles per hour. Along with its spider robot, La Machine brought a new mechanical beast to Beijing: Long Ma, a 46 ton fire-breathing dragon-horse. Long Ma made its debut at La Machine's home town of Nantes, France back in August, and you can watch footage from that first performance below:
The Atlantic's In Focus photo blog has a large gallery of photos from the fantastical Beijing performance, and I've embedded video of La Princesse's 2008 romp through Liverpool below.
La Machine is also just one of two theatrical production companies known for their large-scale mechanical creatures. Royal de Luxe, also based in Nantes, is the company responsible for the giant marionettes that have trekked through streets and parks around the world. The designer of La Machine's Long Ma and La Princesse, artist François Delarozière, worked for 21 years at Royal de Luxe, where he designed The Sultan's Elephant.
We visit Frank Ippolito's shop to learn about making ultra-realistic fake hands as Halloween props. Frank walks us through the step-by-step process of molding your own hand and making a silicone casting, and then cutting and painting up the fake hand to look realistically gory. It's actually a special effect you can do by yourself without any assistance! (This video was brought to you by Premium memberships on Tested. Learn more about how you can support us by joining the Tested Premium community!)
I’ve mentioned my recommended path for aspiring multi-rotor pilots several times in this column. Before buying a large, expensive ship with a camera attached, I think it is better to begin with a RC flight simulator and/or a small quad. I think that this approach will help you hone your piloting chops before accepting the risks of flying a bigger aircraft. I’m still holding firm to that opinion. I realize, however, that I have never adequately addressed how to use those tools to become a competent multi-rotor pilot. Today, I want to share my techniques for becoming comfortable at the controls of any multi-rotor.
There are tons of small quad-rotors out there that are adequate for learning the basics. The main feature to look for in a mini-quad is a 2-stick transmitter like you’ll be using with larger quads. In my opinion, the closer the transmitter is to the standard size, the better.
Another prime feature to look for is adjustable sensitivity for the flight controls. Many quads lack this very useful ability. Some have two or three preset sensitivity levels, while others have a full range of adjustments. Either adjustment method is good for what we’re trying to accomplish. The idea behind adjusting the sensitivity is to detune the quad’s response to your inputs and make it easier to fly.
I learned to fly quads with the HeliMax 1SQ, which fits all of the requirements listed above and has proven to be very resilient. While I still fly the 1SQ frequently, I have a new favorite quad for my indoor training sessions, the tiny Estes Proto-X SLT. The SLT is an updated version of the Proto-X that Norm reviewed a few months ago. Whenever I turn on the Proto-X, It’s easy to imagine my living room is like a course for the Red Bull Air Races…plenty of obstacles ready to be conquered!
While, the actual quad appears mostly unchanged, the radio system received updates that make it much more beginner-friendly. The tiny, cartoon-like transmitter included with the original Proto-X is gone. It has been replaced by a significantly larger (though still smaller than standard) transmitter with adjustable control sensitivity. More specifically, there are two flight modes (standard and expert) with each mode having adjustable sensitivity.
Furthermore, the new Proto-X can be linked with any transmitter that uses the SLT protocol. This includes radios such as the Tactic TTX650 and the Hitec Flash 7. If you already have a favorite non-SLT radio, you can likely fly the Proto-X SLT with it using the AnyLink2 module. You have options.
Not exactly sure about the source of these photos, but here's a large gallery of photos of modelmakers and miniatures from the ILM model shop, circa The Empire Strikes Back and Return of the Jedi. The photos show the making of some iconic vehicles like the Republic fighters and cruisers, the Super Star Destroyer, and even Death Star 2. Most of these models reside in Lucasfilm's precious archives in Northern California, and some went on tour in the most recent exhibition of Star Wars models and props. You can find my photos from that exhibit here.3
From the inspiring and informative Soundworks Collection of mini-documentaries about the people and technology behind Hollywood audio production: "We feature Leslie Ann Jones, who is the Director of Music and Scoring at the legendary Northern California Skywalker Sound. Leslie Ann Jones has been a recording and mixing engineer for over 30 years."
Bonus weekend video! Norm shares a new sixth scale collectible figure set he just received: the highly-anticipated Batman Armory set from Hot Toys! This set not only has the armory display, but Batman, Bruce Wayne, and Alfred figures as well. Norm analyzes the quality of these sculpts and paint jobs, and compares this newest Batman model to past versions. No detail goes unnoticed!
Typeface designer Tobias Frere-Jones (formerly of Hoefler & Frere Jones, who recently settled his lawsuit against former partner) writes an wonderfully insightful personal blog about typography and design. In his latest entry, he addresses what he considers the most challenging part of designing a new typeface: finding an appropriate name. Think about what a name evokes, and the lexicon of typographical nomenclature. Historically, typeface names would be derived from broad genres like Roman or Italic, but the Industrial Revolution forced type foundries to expand their conventions to suit descriptive needs. The naming of modern typefaces is complex--foundries balance the need to appropriately (and simply) describe the typeface with a word, while choosing something that will capture the attention of designers. Like the names of companies, products, and anything else sold, typefaces are brands.
We've met and worked with independent replica prop makers who specialize in video game props, but here's a company working directly with game developers to bring digital characters, armor, and weapons to reality. At New York Comic Con, we stopped by Triforce's booth to check out their newest scale statues and full-size replicas, as well as learn about their production process.
Tomorrow's a big day for prop collectors and replica prop makers. As we mentioned in our video of Adam's new Samurai armor from 47 Ronin, London and LA-based Prop Store is gearing up for one of the largest film prop auctions in recent memory, and easily one of the most important. The auction is mere hours away, and will be held live in London at the Westfield Mall's Vue Cinema. We were fortunate to see some of those props in person at Comic-Con as well, where Prop Store had iconic items like Marty's hoverboard on display (I touched it!). For those of us who can't make it to the auction or are curious about how much these props end up going for, we'll be able to follow along online at the auction website.
Since receiving it earlier this month, I've been spending lunch hours poring over the auction catalog and admiring the lovely photos and cool production info associated with each prop. Here are the props from the auction that I'm the most excited for, either because of their significance to film and effects history, their personal resonance, or because they're just so cool.
"A 1⁄4-scale puppet of the Alien Queen from James Cameron’s action sci-fi sequel Aliens. This puppet was used for the model miniature shots during the scene in which Ripley (Sigourney Weaver) drops the beast into the Sulaco’s airlock, only to be dragged down with it.
Conceived by director James Cameron and brought to life by Stan Winston Studios, the puppet is made of multiple components built around a metal armature for strength and was designed to be dropped to accommodate the shot. The head, crown and body of the puppet are made in dense urethane. The Queen’s teeth are cast in translucent resin to match the detail of the full-size creation. The arms are made of foam latex with urethane used for the tail, while the legs are made from latex and polyfoam. Due to their age, the outer limbs have deteriorated. Wire runs down the length of the tail and down the arms in order for the limbs to hang freely for the fall. The Queen’s carapace is finished in black with blue highlights to match the lighting of shots within the Sulaco hangar."