|Kabbage - 2013-04-25 |
Nightmarish and amazing.
It's also worth mentioning that this was commissioned by Hideaki Anno (Evangelion, Nadia), and directed by Shinji Higuchi (the guy who wrote and storyboarded End of Eva). Holy christ does it show.
|misterbuns - 2013-04-25 |
Perfect. wrong use of wtfjapan
|Gmork - 2013-04-25 |
Good old "delayed reaction exploding laser swath" attack!
I like when filmmakers think of new ways to portray familiar concepts.
even though it was a sound effect from final fantasy.
Delayed reaction lances clean through object swath! Also known as the best lasers ever. EVER.
Lasers that vaporize things in a straight line, so entire buildings fall away like diagonally cut bamboo by an expert samurai or equally trained fatbeard!
|cognitivedissonance - 2013-04-25 |
He should've been doing THIS all along.
|Ursa_minor - 2013-04-25 |
Cheery little number.
|Toenails - 2013-04-25 |
awwwwww... he's wooking fow his mommy!
|dubz - 2013-04-25 |
Exploding miniatures look better than any CG.
Aren't those guys from Nausicaa?
Good catch. This makes this neater.
|memedumpster - 2013-04-25 |
That is a really accurate depiction of what General Electric actually looks like in the hell dimensions.
This is so awesome I was seriously disappointed at the cheap copy/paste job at the end. They could have done something, anything, to make the monsters look slightly different.
an expensive choice like that should be story motivated.
how is making them different story motivated?
You seem to view art from a minimalist, business mindset. Detail is the single most important aspect of storytelling, so, making them unique would be "story motivated."
It's a CG render, they set the models up at the beginning (move twelve freakin' vertices per model, tint the textures slightly, takes minutes to make them all different) and they never have to draw them again. Also, it looks like the animations are the same, and again, set up from the beginning, you only do it once, so why cut huge corners?
The story only required one monster, and would have been better that way. They went all big finish and did it cheaply.
Everything up until that was marvelous, the city was breathtaking, which I think works against the monster. This is still incredibly awesome though.
Are fighter jets unique?
Do these creatures have individual consciousnesses or are they simply soldiers? How is the terror of the story furthered by making them individuals?
Isn't the threat more ominous if they are all identical: created exactly the same by some terrible purpose?
These are important questions that should be asked by a director before expanding his budget by asking for new textures and models to be developed.
Sorry, but the most important part of storytelling is story: not detail for detail's sake.
I think the piece is brilliant.
post producing shorts is hard.
since the piece is down i can't break down the issues with the shot.
maybe it could have been fixed in composite, maybe not.
if i would have been in charge i would have obscured the ranks of robots in Z space with layers of fog that only their eyes could penetrate.
Without reducing the magnitude of the shoti, it would have emphasized the change they inaugurated our world while also being a nod to the iconography of the source content and last but not least covered up the use of recycled assets.
I try to not be hard on technical stuff with things that show a sense of wonder.
I never said this wasn't brilliant, I fived it, favorited it, and downloaded it.
Fighters and tanks have numbers on them so you can tell them apart, so good point, they should have had those. Also, tanks never go in alone, there's usually other kinds of support craft, so again, excellent call.
Also, I thought soldiers were individuals, and had individual consciousnesses, I guess you know of other kinds of soldiers?. If they're non-sentient, well, that sort of deflates the story a bit, could have been a meteor, or a nuclear reactor meltdown, robots does nothing for the story. If they're sentient, they're individuals who are somehow cool with 100% non-identifiable conformity, as in not even a number. If it's a hive mind, we never really see the enemy, which sort of deflates the story, since it could have been controlling anything.
We are such nerds.
I think you're mistaking my interest in the little details of the making of this with a critique of its impact. I thought it was awesome and jaw dropping powerful. I loved it and I sincerely will never have a shot in hell of making anything remotely near it. I'm just an easily fascinated nerd on the Internet, and this is how I admire it.
One thing I will defend to the bitter end : lasers with a delayed reaction explosion that also lance clean through stuff as it goes. That is the best way to depict lasers ever.
hooker: less is usually more.
it's my job to be a nerd :
Yeah, good point. Tanks look the same. A profound insight that I will meditate on.
It's plainly obvious that making them look the same was a cost-saving measure. If it was meant to be a terrifying intentional detail (which you're against?), it didn't come through. It's a small and fairly insignificant thing and I wouldn't have brought it up myself, but memedumpster is right and you are wrong.
Furthermore, "less is more" is a tired cliche that refers to plot, not detail.
Finally, "the most important part of storytelling is story" is one of the dumbest things I've heard in a while. The most important part of stand-up comedy is comedy. The most important part of competitive swimming is swimming. The most important part of long division is division.
Hooker the term story isn't being used as just one part of a compound word.
Story is a term that relates to the conveying of changes in character and ideas to a specific end, it is a common term among writers when trying to bring things back to the important elements of a film.
Producing short films is difficult because there is no financial justification for them to exist so budgetary constraints are compounded and the filmmaker has to focus only what matters most to the story of the film: whether story emerges from plot, the world or even in something as simple a character.
So again: what would the point of making them look different be?
Isn't the point just that there are many of them?
Isn't that story point achieved? I agree it could have been achieved in a more visually compelling way ( i think fog would have been the way to go)
If you had any experience filmmaking you'd know that being smart about your budget (or 'minimalist' as you called me) is important because getting your story to an audience is important, more important than anything, really, and if you obsess over expensive details that aren't central to your story you will simply get less storytelling done.
And that's the point.
|EvilHomer - 2013-04-25 |
Sure, Studio Ghibli is going to tell you that this was all on the God Warrior. That some lone wolf, two thousand foot tall laserbeast from the dark reaches of outer space, just snapped, came down to Eartj one day and snapped, did this, destroyed Tokyo all by himself. But listeners, let me ask you- and not Studio Ghibli, I'm not asking Studio Ghibli anymore, because I know what their response will be. Denial, flat denial and evasions. That's all you ever get out of them. No, no, let me ask you folks, you, the people who matter, the citizens of Neo-Japan, *what was a Saudi national doing there that day*? And why did officers of the 88th Assault Recon Mobile Suit Defense Force let him go?
I think it's obviously a Tolmekian false flag operation.
|CrimsonHyperSloth - 2013-04-25 |
I love the shot of the mushroom cloud and the warrior in front of it [6:10 onwards]. there is something alluring to me about that style of apocalyptic imagery. As bizarre as Godzilla: Final Wars was, the scene with Godzilla in the crater and the surrounding area totaled was just burned into my mind. I loved that shot.
That one, I have no idea why, it stuck with me.
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