Monday, August 3, 2020

New Marvel Legends figures available for preorder, including War of the Realms Punisher

Pyro, Rogue, and Punisher with motorcycle, multiple heads and weapons, and war helm.

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Sunday, August 2, 2020

Unorthodox on Netflix is great

Basically a four-hour horror series about fleeing an insular community.  The actor that plays the "renegade" Moishe is a terrific creep.

Navy Seal Museum menaces Kaepernick stand-in with dogs and assault rifles; Tribute to shooting victims looks like something from the Southern Reach; Using Dungeons and Dragons to increase inclusiveness

Iran is grossly understating Covid19 deaths; The jobs are essential, the workers are not; Fisher Price's "work from home" playset

There's a campaign to pressure a Southern California beach town to atone for how it destroyed a resort for Black people

LA Streets, summarizing from various sources:

In 1912, the beachfront site was purchased by Charles and Willa Bruce, who, starting in 1915, built a beach lodge there. By 1920, Bruce’s Beach was a popular destination for Black Angelenos, who were denied access to most Southern California beaches.

The Bruces and their patrons endured harassment and persecution, including from the Ku Klux Klan. In 1924, the city of Manhattan Beach officially voted to seize Bruce’s property via eminent domain, ostensibly to build a park.

By 1927, the resort had been shuttered. The land went undeveloped for decades.

In the 1950s, fearing that Bruce heirs might sue to get their land back, the city developed the site into a park, named Bayview Terrace Park in 1962.


Also note that broadly, the civil rights struggle for beach access for communities of color continues today. One example of this is how South Bay cities colluded with Metro to prevent easy direct transit access to beaches; it remains difficult to take a bus from South L.A. to South Bay beaches, though they are only 4-10 miles apart. Metro is planning to someday partially remedy this in its as-yet-unfunded Transit to Trails Plan, but beach access remains an issue.

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Saturday, August 1, 2020

The start of the "inquiry" scene from Absence of Malice

LA Sheriff's say it wasn't them at the party; MLB player's heart has been damaged by Covid19; Geisha with transparent fans instead of masks

The leader of the birther movement won the presidency; Fogger manufacturer objects to use of its product in Portland; Cobra was made up of accountants and orthodontists

Here's how that Nike splitscreen commercial was made

A post shared by Logan Triplett (@logan_triplett) on

Some full frames from the latest @nike spot with @o_hud . Here are some things that didn’t make it, and some frames before comps. We shot on Alexa LF and @masterbuilt_lenses. My DIT @hooksster created a custom frame for us where we could line up comps through VTR. Although a lot of the more complicated shots didn’t make the final cut, each shot was so painstaking, as we had to line things up with the archival footage in such a way that we knew we had enough there for post to do their work. The goal was to do as much in camera as possible. I think the most challenging part for myself and my crew was that we had to nail the height and focal lengths of the archival footage without truly knowing what those specs were. I ended up doing a ton of research on where cameras would be in cricket games, Olympic swimming, etc. on top of that, we had to create a look that complimented the footage and not stray too far from it. We quickly realized that we could put frames and stands on the side of the frame that we didn’t need to keep, this allowed us to dress only one side, and get our lighting much closer than normal. I remember that we often would get stumped on a shot that we thought would be easy. There were NO easy shots. @o_hud has this attention to detail that I’ve rarely seen. Plus he is a gem of a human being and a fellow skateboarder. Thanks @pulsefilms for having me ❤️❤️❤️ Much love to my crew.
A post shared by Logan Triplett (@logan_triplett) on

The W+K team—working with Pulse Films director Oscar Hudson, Joint editors Peter Wiedensmith and Jessica Baclesse, and the visual effects team at A52—researched 4,000 sports action sequences and chose 72 of them to combine into 36 split-screen moments, where the action on both sides appears to meld into one.

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