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Mon Dec 21
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A very clever friend of mine pointed out that the 3rd Matrix film is essentially everything you wished "The Phantom Menace" had been but wasn't...and absolutely nothing you wished the Matrix to be, ever.
The scenes in the last movie where the sentinels broke into Zion made me sick. Those canon-armed walkers may have been good cinema but from the tactical viewpoint they were idiotic. Yeah, let's put our defensive weapons, which have NO protection for the gunners, out in the open where they can be outflanked and attacked from a dozen blind angles. This kind of thing is another reason why I'm scared to think about watching Avatar. There seems to be a law that requires science-fiction movies which include scenes of fighting or any military action to choose the stupidest tactics possible. I'm getting kind of sick of it. Is is some kind of Hollywood left-wing bleeding heart kneejerk liberal thing, or is it just that movie makers as a subspecies have as much common sense as a doorknob?
@klhra006: those hulking mechgunners looked at least 100 years out of place next to each of the docking ships. If they had antigrav tech at their use too why not make antigrave mechas to solve the problem of stationary vulnerable and almost immobile tanks? Ah but it was the Machines that made the antigrav tech and likely the ones the humans had on the ships were scavenged???
yeah I agree, if at least not make visible logic filmakers should at least make a half decent explanation of logic somewhere...
An artbook for the two sequels was advertised in the first TPB of The Matrix Comics, but alas it was not to be. Considering that the artwork and music were the good bits that's kind of a shame.
@evildead1971: "Empire" had the better ending. Luke gets his hand cut off, finds out Vader is his father, Han gets frozen, taken away by Boba Fett. It ends on such a down note. I mean, that's what life is, a series of down endings. All "Jedi" had was a bunch of Muppets
i never got why the machines relied so heavily upon the hunter killer drones with their limited range. wouldn't they have guidance systems capable of super long range missiles that could navagate the under ground and by the time they were detected detonate ontop of one of the human ships? that would probably save them resources and be much more effective since the human EMP devices took forever to activate.
@GreyHammer: As the Joker said, more succinctly than the Architect, it's all part of the plan. If the machines need rebels and Zion, in a limited capacity, to make the system work, then why kill them off too quickly? It wouldn't be sporting.
Besides, given the complexity of the task - mapping and navigating the underground, and then hunting targets - you'd basically end up with a kamikaze drone instead of a cruise missile. So the question becomes, are resources best allocated to a standard squid or a squid that blows up all the time?
The first time I consciously started noticing, what I now know as the concept of the Uncanny Valley [en.wikipedia.org] , was after reading an article about the 1986 'Betty Blue' [en.wikipedia.org] actress, Beatrice Dalle, in which the interviewer described her as "looking like she had been designed by a committee of perverts".
If her life story since [en.wikipedia.org] , is anything to go by, the future may turn out to be very, very, uncanny indeed ...
In a word, yes and no. The problem I have is that sometimes the best stuff in movies of the earlier era were due to the fact that the directors didn't have unlimited resources. When I was a kid, I remember thinking "how did the stormtroopers get onto the rebel ship? Did they have to go through space?" A few sound effects and tense looks from the actors conveyed more than CGI ever could.
I used to animate for Don Bluth. Don developed a distrust of his animators for some reason, and relied more and more heavily on live action reference. I guess you'd call it mo-cap, but the thing became increasingly pervasive.
It reached the point on "Pebble and the Penguin" where we had live action actors acting out scenes for penguins.
Penguin anatomy is not the same as human anatomy.
Also, in live action, every frame is a keyframe.
Suffice to say that animating is hard enough, without being handcuffed to a stack of photostat printouts (at great expense) of a man in a rubber suit, pretending to be a penguin.
God, that was hell.
I see the use of mocap for long shots, crowd scenes, and super real human action that often is unattainable by most animators - but the crapulence in the Zemeckis abominations like "Polar Express" fills me with the desire to stick forks in my eyes.
What annoys me about the UV is that there is a nice little graph that goes along with it, and no one ever points out where in the valley whatever they are discussing belongs. (And I don't think we've hit the valley yet, personally.) If it's as unrealistic as an animated corpse, say that, don't just say 'UNCANNY VALLEY LOL!'
12/14/09
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12/14/09
yeah I agree, if at least not make visible logic filmakers should at least make a half decent explanation of logic somewhere...
12/14/09
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12/15/09
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Besides, given the complexity of the task - mapping and navigating the underground, and then hunting targets - you'd basically end up with a kamikaze drone instead of a cruise missile. So the question becomes, are resources best allocated to a standard squid or a squid that blows up all the time?
//but I repeat myself...
12/13/09
If her life story since [en.wikipedia.org] , is anything to go by, the future may turn out to be very, very, uncanny indeed ...
12/12/09
12/12/09
It reached the point on "Pebble and the Penguin" where we had live action actors acting out scenes for penguins.
Penguin anatomy is not the same as human anatomy.
Also, in live action, every frame is a keyframe.
Suffice to say that animating is hard enough, without being handcuffed to a stack of photostat printouts (at great expense) of a man in a rubber suit, pretending to be a penguin.
God, that was hell.
I see the use of mocap for long shots, crowd scenes, and super real human action that often is unattainable by most animators - but the crapulence in the Zemeckis abominations like "Polar Express" fills me with the desire to stick forks in my eyes.
It's not fun to watch.
12/13/09
12/11/09
One of their captions under a screenshot from the ad was "Hello, I'm an abomination against nature, and I'm here to give you a heart attack."
12/11/09
12/11/09