Toy Galaxy – Automan was a science fiction superhero television series. It aired for 12 episodes (although 13 were made) on ABC between 1983 and 1984. It consciously emulates the stylistic trappings of the Walt Disney Pictures live-action film Tron, in the context of a superhero TV series.
A short-lived bold and expensive experiment that didn’t pay off. At least they got an action figure out of it.
Here it is. The first trailer for the Game Chasers movie. You can still pre-order it here: https://www.indiegogo.com/projects/the-game-chasers-motion-picture–3#/
HyperDrive – With the ’80s been a great decade for movies in general. I have to say a lot of my all-time favourite sci-fi comes from this period. Now in order to stop this video from becoming a Watchmojo popularity contest. I’m going to do something a little different from the norm and split the vid into two segments.
The first been a quick summary of what I think are the best sci-fi films. And the 2nd – will cover all the entertaining movies with great one-liners and cheese action scenes that didn’t quite make it to the top and got overshadowed by all the instant classics that we all love today.
Trolls Could Have Just Killed Movie Theaters | SJU Hosted by Roth Cornet (@RothCornet) Featuring: Spencer GIlbert (@SpencerJGilbert), Joe Starr (@joestarr187) & Danielle Radford (@danielleradford) Produced by Ryan O’Toole (@ryanohtrue) Tech Director: Jonathan Moulton
For whom the movie bells tolled…
Over 50 percent of The Mandalorian Season 1 was filmed using this ground-breaking new methodology, eliminating the need for location shoots entirely. Instead, actors in The Mandalorian performed in an immersive and massive 20’ high by 270-degree semicircular LED video wall and ceiling with a 75’-diameter performance space, where the practical set pieces were combined with digital extensions on the screens. Digital 3D environments created by ILM played back interactively on the LED walls, edited in real-time during the shoot, which allowed for pixel-accurate tracking and perspective-correct 3D imagery rendered at high resolution via systems powered by NVIDIA GPUs. The environments were lit and rendered from the perspective of the camera to provide parallax in real-time, as if the camera were really capturing the physical environment with accurate interactive light on the actors and practical sets, giving showrunner Jon Favreau, executive producer and director Dave Filoni, visual effects supervisor Richard Bluff, and cinematographers Greig Fraser and Barry Baz Idoine, and the episodic directors the ability to make concrete creative choices for visual effects-driven work during photography and achieve real-time in-camera composites on set.
The technology and workflow required to make in-camera compositing and effects practical for on-set use combined the ingenuity of partners such as Golem Creations, Fuse, Lux Machina, Profile Studios, and ARRI together with ILM’s StageCraft virtual production filmmaking platform and ultimately the real-time interactivity of the Unreal Engine platform.
Take a look how Star Wars again pushed the limits of visual effects, by using “virtual sets” in Mandalorian, with help of Unreal Engine.