The true story of how Adam Butcher spent 13 years making his dream video game, Tobias.
I’m not entirely sure what to expect from having this online. I suspect it’s either going to be really contentious, or go largely unnoticed. Unnoticed, because, hey, it’s YouTube. Contentious because I don’t come down on the side of “Phil is an asshole,” largely because whether or not Phil is an asshole is irrelevant to the point I’m making (and similarly irrelevant to my life), but talking about Phil and saying anything other than “Phil is an asshole” tends to make you a lot of enemies. Sorta like how not blowing smoke up the PS4’s ass proves that you’re a Microsoft stooge.
Expiration Date is 15 minute animation from Valve featuring the Team Fortress characters.
Engineer and Medic make an unsettling new discovery while experimenting with the teleporter. Meanwhile, Scout stops insulting Spy long enough to ask him an embarrassing favor; the Administrator’s clerical assistant/cleaner/murder expert Miss Pauling races to bury some incriminating bodies; and Soldier makes a new metal friend.
via The Verge:
Valve has a flair for animated films; the series of brief Team Fortress character introductions like “Meet the Pyro” and “Meet the Medic” for Team Fortress has had more than 85 million views on YouTube and was widely hailed as a genius marketing campaign.
A mini-documentary from The Verge about Steffen Sauerteig, Kai Vermehr and Svend Smital, better known as eBoy.
“That’s always the first question people ask: ‘Don’t you get bored?’ I never really got that. You would never ask a photographer if he gets bored taking photos. Pixels are just a tool just like a camera. The technique doesn’t really matter.”
At just 32 years old, Neistat has already made more than a hundred short films, won an Independent Spirit Award, and starred in an HBO series.
I’m sort of undecided how I feel about Casey. On one hand he makes videos that exude a sort of spoiled-brat attitude that makes me cringe (watch him wreck his jeep, twice, just for shits and giggles). But on the other hand he’s clearly not looking for anyone’s permission for how to have fun with his money, and I do kinda admire that.
He also makes entertaining videos that highlight social issues, like this brilliant critique of the bike lanes in New York or this mini-doc on the dark side of the iPhone 5S lines. And it’s hard to fault a guy who when offered $25,000 to make a promotional video for The Secret Life of Walter Mitty suggested that he instead take the money and use it on relief for victims of a catastrophic typhoon that had just hit the Philippines.
‘Casey Neistat makes movies. Much of Neistat’s magic is concocted in a bright SoHo loft that is as every bit as weird and wonderful as his movies.’ — Gizmodo
you are mountain – you are god
A mountain simulator by David OReilly for iOS, Mac & PC, coming June 21st 2014 for $1, €1, £1.
• no controls
• automatic save
• audio on/off switch
• time moves forward
• things grow and things die
• nature expresses itself
• ~ 50 hours of gameplay
• once generated, you cannot be regenerated
(via The Verge)
A Mountain Simulator, Relax em’ up, Art Horror game created by David OReilly, the genius behind that amazing ‘Adventure Time’ episode and that crazy game in ‘Her’.
Of course, it’s called the IXS Enterprise. And the Star Trek connection doesn’t end there: Mike Okuda designed the ship’s insignia.
The IXS Enterprise is a theory fitting concept for a Faster Than Light ship. It’s designed for/with NASA scientist Dr. Harold White and used in his presentations as an extra.
Excellent renderings by Mark Rademaker who has put in excess of 1600 hours into the project.
NASA physicist Dr. Harold White collaborated with CGI artist Mark Rademaker to create a new, more realistic design of what a faster-than-light ship ship might actually look like.
Gareth Edwards, director of Monsters and the new Godzilla, produced this comprehensive 10-part tutorial series detailing his work on the BBC’s historical drama ‘Attila the Hun’. The project contained over 250 HD visual effects shots, all of which were created by Edwards in a span of less than five months back in 2008.
Edward’s course begins by breaking down shots, techniques, and workflow used in the actual production of Atilla the Hun. This in-depth coverage of the real world project then shifts gears into producing a complex visual effects shot with footage shot specifically for the course. Members will recreate the techniques used in one of the signature shots of the project — that of 30,000 Huns storming across an open field in an aerial shot.
PirateBox is a DIY anonymous offline file-sharing and communications system built with free software and inexpensive off-the-shelf hardware.
PirateBox creates offline wireless networks designed for anonymous file sharing, chatting, message boarding, and media streaming. You can think of it as your very own portable offline Internet in a box!
When users join the PirateBox wireless network and open a web browser, they are automatically redirected to the PirateBox welcome page. Users can anonymously chat, post images or comments on the bulletin board, watch or listen to streaming media, or upload and download files inside their web browser.
To get started you will need one wireless router, a USB flash drive, an Ethernet cable and a computer with ethernet port, with an optional 5V/USB Battery.
Give this one a little time, because it’s amusing and has some great insights into the magnificent ‘Up’.
Ricky explains the creative process behind the designs for Up‘s Carl Fredricksen and Russell and how the film’s story helped create the design of the story’s central characters. You will probably be amazed at how all the little details reflect the film’s storyline and how they are almost inseparable.
Molly Crabapple is an American artist, known for her work for The New York Times, The Paris Review, CNN, The Guardian, The Daily Beast, Der Spiegel, Marvel Comics, DC Comics, and as a regular columnist for Vice. (W)
Molly Crabapple’s self-portrait, defaced with the hateful things people say about her on the Internet.
I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when?
You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs.
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites.
If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them.
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times.
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely.
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter.
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good.