Reggae Lion

This is why they should hire voice actors and not “big name celebrities”

anything to avoid building the back of his base

Found an AI perspective I’d never heard before from a teacher of teens. It’s a bit meandering but your three minutes will be well used.

プロジェクト・ヘイル・メアリーのヘイル・メアリー号のレゴのギミックめっちゃいいんよな 買おうかな🤩

Friendly reminder that this is legit just Disney animators goofing around, so there are probably hundreds of ‘inappropriate bloopers’ sitting in the vault. . . Meaning i would bet my life savings there’s a fully rendered clip of Nick and Judy making out sloppily in there too

You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild. Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real. The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later. Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him. Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman. Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact. 95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.

Sure, your eyes aren’t tricking you. That clip looks better than the new trailer, and the reason has nothing to do with talent. The VFX supervisor on Amazing Spider-Man 2 in 2014? Jerome Chen. The VFX supervisor on Brand New Day? Also Jerome Chen. Same person. Completely different system around him. In 2014, Chen had 50 effects artists at Sony Imageworks, the largest VFX crew the studio had ever put on a single project. They handled about 1,000 of the film’s 1,600 VFX shots on a $255 million budget. The crew shot on real film (not digital), on location in actual New York City, scanned Times Square with 36,000 photographs of over 100 billboards, and built physical lighting rigs on set so the CGI would match the real world. Now look at how Marvel makes Spider-Man movies. No Way Home had 2,500 VFX shots spread across 12 studios and about 3,000 artists. The budget was $200 million, $55 million less than TASM2 despite having 56% more VFX shots. Digital Domain, one of the VFX vendors, was delivering final shots days before the December 17, 2021, release. They kept reworking shots into mid-January, after the movie was already in theaters. Zoom out, and the math gets worse. Marvel released 6 films between 2008 and 2012. From 2023 to 2025, they pushed out 7 films and 7 TV shows. The Hollywood union representing VFX workers reported that Marvel pays artists about 20% below industry average and staffs one person where other studios hire three. Artists described 64-hour weeks and breakdowns on the job. Then, in February 2025, Technicolor, the parent company of MPC (three-time Oscar winner for Life of Pi, The Jungle Book, and 1917), collapsed almost overnight. 4,500 jobs gone globally. The studio had been actively working on Disney and Paramount films when the lights went out. Brand New Day has four months before release, and trailers routinely show unfinished shots. But the gap between a 2014 Spider-Man and a 2026 Spider-Man has nothing to do with technology going backwards. The industry has been asked to do three times the work for less money per shot while its biggest studios are going under.

“ThE StUdIO ArTiSts SiNgEd OfF oN iT” In reality they were left in the dark on DLSS 5, meaning their hard work was altered, modified and sloppified without their consent, to their shock. Disrespect is not a strong enough work to describe the perverse mockery of their craft.

The fact that this has to explained is sad. Arc Raiders team being “surprised” that Human VA sound “more realistic” then AI was the redflag that should’ve broke the camels back but alas the sheep keep running off the cliff when you try to talk sense to them. Yall want a cheap soulless future? Goodluck with that.

You have to understand that details of this case are absolutely bonkers. The Krafton CEO that tried to fire Ted Gill asked Chat GPT (!?) for opinion on how to fire him,I was literally wheezing at work listening to this thing, dumbest CEO of all time and that's impressive.

Lance Reddick ❤️‍🩹

I DONT WANT DLSS 5 I WANT TO BE ABLE TO BUY COMPUTER PARTS FOR A REASONABLE AMOUNT AND I WANT THE DEVS USING UE5 TO FUCKING OPTIMIZE IT BEFORE PUBLISHING FOR PC YOU FUCKS

Two sticks of RAM are over $900 right now because of companies like NVIDIA who want to negate artist direction in video games with an AI slop filter that makes everything look like a snapchat photo, but nah people are just being "performative" by not liking it. OK lol

@Swoops_Star Shep gettin handsy in that first image XD

Its my birthday today! So here's few of my works to show world that i draw🎊🎊

“Tonight we are celebrating people, not AI. Animation is more than a prompt, it’s an art form that needs to be protected.” Amazing message by Will Arnett at the #Oscars

First promo for the animated 'Firefly' series just dropped They need fans to like their post on IG "to convince folks that this is something people want." (via IG | instagram.com/p/DV6Js56jT3F/)

“Locals discovered that when they drink water, they are hydrated. This comes as a shock despite the natural spring water source in their town.”