Wish i cared
-
im having feelings about the uffington white horse again
so essentially there’s this cool horse drawn into the hills in england made out of chalk and it’s like 3,000 years old.
people carved trenches 3,000 years ago and filled them with chalk in the shape of a horse but what’s interesting is that if you fail to maintain the horse by adding new chalk regularly, it will disappear. for 3,000 years, we’ve been filling in chalk in this horse so it doesn’t disappear.
we’ll never know what the purpose of the horse was originally. we’ll never know if it had ritual or spiritual significance or if it was just art. but we do know that people maintained it then, and, even though the meaning of the horse has long been lost to time, we continue to maintain it now.
the people who made this horse are long dead, but they live through us still, don’t you think?
couldn’t agree more we’re best friends now
(via kuurokaze)
-
-
sketch(es?)
-
Dance Dance Infiltration
Dancing with heels is not the best idea
One of the best easter eggs/puns of the whole show
(via but-a-humble-goon)
-
CAUSE EVERY TIME WE TOUCH I GET THIS FEELING
EVERY TIME WE KISS I SWEAR I COULD FLY
CAN’T U FEEL MY HEART BEAT FAST, I WANT THIS TO LAST
NEED YOU BY MY SIDE
(via casukaga)
-
Happy Pride! 🏳️🌈🏳️⚧️
Discworld Monstrous Regiment cosplay 🗡️
Me as Polly Perks
@woodsmokewords as Maladict
📸 by @/ALeeStudios (ig and twitter)
(via aspiringwarriorlibrarian)
-
I will always reblog this.
I once spent three hours scouring the internet to find this comic again, I will not let that be repeated.
@signoraviolettavalery I meant to ask last night if you’d ever seen this comic before.
This is one of the few things I always reblog when it comes round, because everyone should get to see it.
(via matrixdragon)
-
Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’
Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.
Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.
While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.
As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.
“For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them.”
“Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side.”
(via kuurokaze)
-
-
