Meredith McClaren’s charming adventure story about a city of clockwork people concluded in February. (I burned through it in one sitting.)
Speaking of video compositing, I never posted the latest video I did with Explone, for our song “King of the Mist” from Suicide Fences. I used some of the same techniques (simplified, since I’m very much a novice) to place us in a spooky forest, conjuring spirits with our music by firelight.
Come walk into the nighttime woods with us…
In a future post (or posts) I’ll explain how we made some of the effects for this video. And buy Suicide Fences on vinyl here.
Two things: 1) “Scrollytelling?” Really? 2) the library I used to create the motion-comic effects in Red Moon is called Skrollr and is no longer being maintained, so these are some cool-looking alternatives. I’d love to build a motion-comic toolkit on top of one of these. I’d love to do a lot of things.
Embedded in this short overview of the influence of the original King Kong is this amazing clip detailing some of the effects that Willis O’Brien had to invent to bring Skull Island to life. The clip where O’Brien combines dioramas, matte paintings, rear-screen projections, real-time smoke, water effects and stop motion into one shot is nearly miraculous given the time. I wish I knew the source of this clip because I really wanna watch the whole thing.
Thing I learned: King Kong failed to win an Academy Award for visual effects — because the category didn’t exist until 1938.
I can’t wait to see the new Kong movie even though I totally expect it to be super-dumb!
A funny treatise on the ocean sunfish, one of nature’s weirder experiments. I laughed.
Jóhann Jóhannsson’s ambient solo album. In addition to Arrival, Jóhannsson also scored Sicario and The Theory Of Everything.
BtVS turns 20 this month (NYT link). An overview of the relevance and influence of the show and many of the key actors’ post-Buffyverse careers. (I did not know that Danny Strong was a co-creator of Empire.)