TBF, Mags, you have been doing a lot of the heavylifting for the quest, so this will be in good hands.
To be clear to everyone, this is just me burning out on imagination of the quest, since my muse has been hitting me over the head a lot with so many different ideas that I just can't find myself too interested in this.
I'll still hang out here, though, since this still does have a sepcial place in my heart.
I'd like to thank you all for making this a wonderful experience while it lasted.
I'd also like to thank @Magoose, @Fluffy_serpent, and @Martin Noctis for doing so much to help prepare and write this quest. I couldn't have done it without you all.
Would hope you eventually get to the Isle of Time, for as much as people call it an edge fest, Warrior Within holds a special place in my heart and in the Sands of Time chronology.
And even if it is pretty much confirmed that Superman is going to bean amazing film (thanks to the Rolls that Magoose has shown us) it is going need some bullshit profits to justify the investment...
So to potentially buy DC things need to go Poorly for Superman
...Does this mean you want some Production and or boardroom politics omakes about a film that could have been if not for executive meddling?
... not it for writing the Kathleen Kennedy Cut of Superman where Louis Lane is Rey talking down to a Character assassinated supporting cast including Superman himself.
... not it for writing the Kathleen Kennedy Cut of Superman where Louis Lane is Rey talking down to a Character assassinated supporting cast including Superman himself.
Yeah, but since cinemas get a cut, loans have interests associated, and Superman Movie has been apparently expensive as fuck it would probably need at least to triple the earning that it got in OTL to break even...
So to potentially buy DC things need to go Poorly for Superman
...Does this mean you want some Production and or boardroom politics omakes about a film that could have been if not for executive meddling?
... not it for writing the Kathleen Kennedy Cut of Superman where Louis Lane is Rey talking down to a Character assassinated supporting cast including Superman himself.
Well, it could also happen like in OTL in which the first two Superman films are timeless classics and the sequel are so bad that killed the brand for decades...
And we can also grow so big that we can buy the whole parents company at market price...
Yeah, but since cinemas get a cut, loans have interests associated, and Superman Movie has been apparently expensive as fuck it would probably need at least to triple the earning that it got in OTL to break even...
Honestly I would hope that this isn't going to be a recurring or prominent part of the Quest. You don't see people OTL like Spielberg, Leonardo DiCaprio or Margo Robbie be in constant danger of kidnapping and it feels like forced drama if Bruce and co have to constantly be under threat of such.
Quick question for everyone in the thread. Regarding the Undertale pitch I'm doing, I want to know what everyone's preferences are towards Frisk and how Frisk should be presented. By that I mean that I want to know if you prefer a male Frisk, female Frisk, or androgynous Frisk? I'm curious to hear how everyone feels about it and which they prefer.
This one I've been working in between for a bit now. Truth be told, as you can probably see by the image below, this was inspired by the video about Gilbert and Sullivan. Not to mention that I've wanted us to do a musical for a while, but could not think on what to work with. However, doing a musical about two of the most influential Opera Makers sounds like a good idea to me. Seeing their lives going from their first independent work, to their partnership, their initial friendship, the highs and lows, the eventual disagreements, culminating in the partnership ended, eventually both of them just moving on.
Because that's what they did. In the end, both just moved on, continued on their work separately, and even met each other on occasion. Now, some sources differ as some argue that both Gilbert and Sullivan had an acrimonious relationship which culminated in hatred between them for the rest of their lives. However, Gilbert himself wrote that any bad feelings that may have arisen after the end of their partnership were fully mended and forgotten, both of them having made peace. I like this interpretation better, and I think it should end this way, with both on their own, having let bygones be bygones.
Thus, I give you:
Movie Pitch: Gilbert and Sullivan: The Musical
GENRE: Musical
SUBGENRE: Comedy/Drama
FORMAT: Movie
Set Up: A musical about the lives and partnership between William Schwenk Gilbert and Arthur Sullivan, based on their history, with adjustments made, and using the songs they composed, adapting them to the occasion, during the musical numbers. Gilbert and Sullivan are up and coming Opera Makers who find success in their partnership, yet are still looked down and denigrated because of the style of their work, leading to Sullivan's desire to try for something greater, a desire that little by little erodes the friendship and partnership with Gilbert, leading to the break and both going on their own way.
Director: Mel Brooks Composer: John Morris
William Schwenck Gilbert: He's an English dramatist, librettist, poet and illustrator who despised the nobility and the aristocracy, both who were depicted in an unfavorable light in each and every of his plays. He's usually bombastic when speaking, and with a tendency for inventive insults when in a foul mood.
Played By: Christopher Hewett Alternate: Jeffrey Jones
Arthur Sullivan: He's an English composer, born to a military bandmaster. Sullivan is a man who dreams of being the next Wagner, yet also has to make ends meet, so he ends up working for different kinds of plays, not all who are in the high sphere he wishes to one day participate and be a part of. Somewhat shy, but still firm when it comes to his opinion.
Played By: Gene Wilder Alternate: John Cleese
Richard D'Oyly Carte: He's an English talent agent, theatrical impresario, composer, and hotelier during the latter half of the Victorian era. He built two of London's theatres and a hotel empire, while also establishing an opera company, and brought together Gilbert and Sullivan to work together. Even built an entire Theatre to host their Operas.
Played By: Wallace Shawn Alternate: Kenneth Mars
Percy Anderson: He is an English stage designer and painter, famous for his work in "Savoy Operas". His first assignments are under the service of Richard D'Oyly Carte, as he works for each and every of the Operas of Gilbert and Sullivan. A flamboyant man with an eye for fashion, his acquaintance with a circle of rich, artistic homosexual men makes one wonder about his inclinations.
Played By: F. Murray Abraham Alternate: Griffin Dune
Richard Barker: He is a British actor, stage manager and stage director. He stage managed many of Gilbert and Sullivan's comic operas and other productions of the D'Oyly Carte Opera Company, and directed some of them, and in the 1890s directed musicals in New York as well as London. During his many attempts at finding a job he finds his fortune when working for the company.
Played By: Billy Crystal Alternate: John Landis
Alexander Mackenzie: He is a Scottish composer, conductor and teacher best known for his oratorios, violin and piano pieces, Scottish folk music and works for the stage. The kind of composer Sullivan wishes he could be, Mackenzie nevertheless is dismissive of him and Gilbert, seeing his work as "low brow" and unbefitting of men of caliber.
Played By: Chris Sarandon Alternate: Tim Curry
A.N.: Not going to lie, most of the inspiration and what pushed me down this path was the desire to see the song in the YouTube video, the one where both Gilbert and Sullivan sing to the tune of a song of Ruddigore about what their plays are about and what they can make them. I would love to see that actually sung at some point.
How someone could invent the basics of 3D animation and improve the Dystraflex workflow at the same time.
(NonCannon)
Be camera technician at ILM getting confused with ever expanding controls for Dystraflex.
Almost damage Dystraflex by turning knob too far.
Be saved by Pete turning power off before camera is damaged
Go to help fix Machine.
Be told to leave it alone by Pete, Just review last shot to see if it matches storyboard. Lucas coming to review footage later today.
Go to editing room with tape and see someone has plugged computer into Tape reader and screen.
Shrug and put tape in tape reader.
Be surprised because screen is showing 7 columns of numbers scrolling rather than footage.
Laugh. realize you are seeing the angles that each joint of Dystraflex was at to take each picture.
Plug reader into computer properly. Review footage. Compare to storyboard. Decide recording is successful and no more action is needed here.
Have Pete be busy with Dystraflex and not need you.
Be bored. Wonder about columns of numbers. Go back to editing room with tape.
Plug two more screens and two new tape reader writers into the computer.
Watch footage on one screen and numbers on other at slow speed. Watch numbers change as arms move.
Realize with basic trigonomotry you can find out where each joint is by putting the length of each section of the Dystraflex arm as you already know the angles.
Write code to take angle from table (gCode) and length of section of arm (static value) in correct order and draw a dot at each hinge point.
Decide that resulting table is too complex and make it graph it out for you. Have it not work.
Realize that you tried to make a 2D screen show a 3D object. Laugh. Have coffee. Pete is still fixing Dystraflex. No Lucas yet. Continue.
Using second tape as hard drive and third to record output of screen, write code so it shows only the xy yz or xz planes of each frame and be able to toggle between them.
Watch dots move but decide it is too hard to see them. Do math to add more dots along the arms.
Arms look more filled out and seem to move like you remember the Dystraflex did while taking shot.
Check on Pete. Still no help needed. Still no Lucas.
Ok, you have dots with x, y and z with known values.
Decide you want to see from different angles.
Realize that if you define viewing point using xyz coordinates and pitch and roll you have two sides of triangle from each dot if you use 000 as a corner.
Be happy at new free camera. Look at virtual Dystraflex doing shot. Feel smug.
Still not needed by Pete. Still no Lucas.
Look at camera xyz and angles values from dyseflex Machine on first screen. Release you can put them into your new virtual camera.
Screen one shows footage. Screen two show stable screen three shows …
Nothing because Dystraflex machine is now behind camera. There is nothing for the camera to look at.
Huh. better add some dots.
Start new table on second tape. XYZ coordinates. Mark a dot each foot along edges of virtual room. Mark line of dots up side for height. Put dot where model was.
Play footage again.
Screen now shows dots matching where model was and edge of room moving in sync with footage taken.
Decide that you want more dots where model is to define it better
Check on Pete Still no help needed, Still no Lucas. Have coffee. come back with Filming model and calipers.
Using calipers measure distance and angles of model relative to model mounting Point. Which is a known value. work out where the corners of the model are. In new section of XYZ table add dots representing the corners of the model.
Decide dots on corners only are too hard to see. Add more dots between to make lines.
Now looks something like model in your hand.
Collection of dots on screen three moves in sync with footage on first screen as still using the same camera movement instructions.
Decide to be clever.
Add small table defining where the dots for the ends of the wings on the model are by referencing angle and length from XYZ coordinates on model. link table to number of shots taken and therefore time.
Laugh as wings rotate around and around.
Edit code to make wings open to a maximum angle and then stay there.
Watch wings open to correct angle
Feel satisfied for moment.
Check on Pete. Still no help needed, Still no Lucas.
Look at story board. Guess location of next model and transpose data across to make second wireframe model.
Get annoyed copying it manually write program to do it.
Have small bug that goes unnoticed that adds a small value to X of second copy of model each frame.
Watch footage, see wireframe of second model slowly rise up and away from original.
Be annoyed because it looked cool but you didn't intend it to go that way.
Be unsure why it happened. Look at your code. Pull C3P0 toy out of pocket and put on console. If C3P0 is fluent in more than 6 million forms of communication he might be able to explain why your code didn't do what you thought it would.
Review code explaining to C3P0 what it should say and do.
Notice error. Fix, re run command. Models now stay in sync with each other as per storyboard. Keep copy of error code anyway so if you want to do something similar in future you have a reference.
Lean back in chair satisfied. Flip between YZ (from the side of the room) XZ (front of the room) and XY (view form the Rafters) and watch the virtual Dystraflex machine move through the shot like a snake too interested in the model.
Add Pyramid shape with angle of sides and position of pyramid base linked to shot width and focus to Camera section of Dystraflex. Easier to Read shot action now.
Dystraflex Machine looks like demented adjustable lamp now.
Flick between views and footage. Think it looks pretty cool.
Add third model that lifts up and away using error code. Adjust timing of wings opening so each model opens at slightly different times but at the same rate.
Looks even better. Say so out loud
Jump out of seat in surprise when Lucas, who is now standing behind you agrees.
Lucas can see the potential here to previsualize shots and model movement without setting up the Dystraflex every time. He is setting up a new division called Pixar to do this sort of thing are you interested. Shocked you remain silent. Pete elbows you hard and Tells Lucas you accept.
Congratulations you have invented a new way to visualize the Dystraflex, invented the virtual camera, modeled and copied that model in a digital environment, Animated the motion of a model, invented the in universe variant of ruberducking, that is explain your code to an inanimate object to see where your errors are (Perhaps Protocoling as C3P0 is a Protocol droid). Impressed George Lucas and are about to get transferred to Pixar. You may have also invented the basis for the Pixar bouncing lamp logo.
Not a bad afternoons work
Trying to Work out how some of Lucasfilms progress could be invented in Quest. Sometimes it annoys me that we need to wave our hands and say " and then ILM did more magic and it was awesome". We know it was awesome, its ILM. How did they do the trick though.
Actually ComicCon has been a thing since 1971 and coincidentally 1971 was the year where it really started to pop off into a huge success, which I think would be even more so here with the upcoming DC movies and the Marvel Noir series. So Bruce could go to Comic Con for Star Wars and Conan.
As I was rereading the update I noticed two great flaws with these. One, La Victoire Enchante is kind of irrelevant considering Kubrick is making his Napoleon series so we're making a 3 hour Napoleon biopic to go against a 30 hour 9 part film series about Napoleon with the grandest and most epic scale.
The second is that Undercover here has technically already been made because the reward for the pitch was for CBS to make it into a high budget TV film. So unless Lucille Ball never went through with that then we have to go for something else.
Also has the script for the Elvis movie been made yet and if so is it in pre-production?
This one I've been working in between for a bit now. Truth be told, as you can probably see by the image below, this was inspired by the video about Gilbert and Sullivan. Not to mention that I've wanted us to do a musical for a while, but could not think on what to work with. However, doing a musical about two of the most influential Opera Makers sounds like a good idea to me. Seeing their lives going from their first independent work, to their partnership, their initial friendship, the highs and lows, the eventual disagreements, culminating in the partnership ended, eventually both of them just moving on.
Because that's what they did. In the end, both just moved on, continued on their work separately, and even met each other on occasion. Now, some sources differ as some argue that both Gilbert and Sullivan had an acrimonious relationship which culminated in hatred between them for the rest of their lives. However, Gilbert himself wrote that any bad feelings that may have arisen after the end of their partnership were fully mended and forgotten, both of them having made peace. I like this interpretation better, and I think it should end this way, with both on their own, having let bygones be bygones.
As I was rereading the update I noticed two great flaws with these. One, La Victoire Enchante is kind of irrelevant considering Kubrick is making his Napoleon series so we're making a 3 hour Napoleon biopic to go against a 30 hour 9 part film series about Napoleon with the grandest and most epic scale.
You looked at George, and then at the Camera that he had. "That's it. A Camera?"
George fumed before he just said. "No, it's not just a camera. A Camera would be just something I would show off before we do something cool." He then just smiled. "You know that IMAX stuff that our Japanese compatriots invented a few years back. And how they said that it could somehow soon have cameras that can be shot digitally, like with the Dystraflex at a higher resolution?"
"Yeah, why?"
"I said I could do it better. And I saw some of the limitations of their designs and uh… fixed it."
What. "Wait what?"
"You see I thought of a way to find a way to set up the camera and transmit the picture wirelessly to a tv screen, giving me, the director a camera view of what I want on film. Of course, I'm limited to using connective cables, as otherwise, the camera would not be able to do that. So I just looked over some old patents about wireless information and transporting of that information."
"You lost me George." You stated.
George frowned. "Me and the guys at ILM invented a digital film camera, that not only does not require a cable to transmit to a specially made television screen to where I can see it through… it also was just… used VHS to have copies of the capturing system on hand."
"What's VHS, isn't it that the thing movies are on now?"
"Yes." So I found a way to have Tapes capture the footage in a higher quality so that there is backup footage in addition to other film reels. Just in case."
"George. Why did you do that?"
"I got bored, and honestly, it was more fun than trying to direct anything."
Hm.
"But what is that?" YOu pointed to the animated butterfly on the computer."
"Computer-generated images," George said with a smile. "Soon we can be able to add entire impossible things that cannot be greeted practically. Think of the possibilities."
-------------------------------------------------
Reward: George and ILM have invented what they call:
The Lucasfilm's preservation camera technique is something that can help protect films from losing progress if there is a mistake. as well as the invention of entirely new film cameras that are far, far better than anything that came before.
The Cameras capture a lot of crisp images in a quality (1080p) that no other camera can ever possibly do at this time, along with new lenses, shutters, and well… everything.
George has pushed digital filmmaking forward by almost two decades.
He and Pixar also are trying to create… CGI. And really good CGI.
------------
AN: To make a long omake short. 1990's digital cameras, in the 80's.
Also George has found a way to use VHS tapes to preserve the filming in a way that would work.
You looked at George, and then at the Camera that he had. "That's it. A Camera?"
George fumed before he just said. "No, it's not just a camera. A Camera would be just something I would show off before we do something cool." He then just smiled. "You know that IMAX stuff that our Japanese compatriots invented a few years back. And how they said that it could somehow soon have cameras that can be shot digitally, like with the Dystraflex at a higher resolution?"
"Yeah, why?"
"I said I could do it better. And I saw some of the limitations of their designs and uh… fixed it."
What. "Wait what?"
"You see I thought of a way to find a way to set up the camera and transmit the picture wirelessly to a tv screen, giving me, the director a camera view of what I want on film. Of course, I'm limited to using connective cables, as otherwise, the camera would not be able to do that. So I just looked over some old patents about wireless information and transporting of that information."
"You lost me George." You stated.
George frowned. "Me and the guys at ILM invented a digital film camera, that not only does not require a cable to transmit to a specially made television screen to where I can see it through… it also was just… used VHS to have copies of the capturing system on hand."
"What's VHS, isn't it that the thing movies are on now?"
"Yes." So I found a way to have Tapes capture the footage in a higher quality so that there is backup footage in addition to other film reels. Just in case."
"George. Why did you do that?"
"I got bored, and honestly, it was more fun than trying to direct anything."
Hm.
"But what is that?" YOu pointed to the animated butterfly on the computer."
"Computer-generated images," George said with a smile. "Soon we can be able to add entire impossible things that cannot be greeted practically. Think of the possibilities."
-------------------------------------------------
Reward: George and ILM have invented what they call:
The Lucasfilm's preservation camera technique is something that can help protect films from losing progress if there is a mistake. as well as the invention of entirely new film cameras that are far, far better than anything that came before.
The Cameras capture a lot of crisp images in a quality (1080p) that no other camera can ever possibly do at this time, along with new lenses, shutters, and well… everything.
George has pushed digital filmmaking forward by almost two decades.
He and Pixar also are trying to create… CGI. And really good CGI.
------------
AN: To make a long omake short. 1990's digital cameras, in the 80's.
Also George has found a way to use VHS tapes to preserve the filming in a way that would work.
