#british 2023

[theroyalsandi]

William and his humour

#royaltyedit #theroyalsandi #prince of wales #princess of wales #prince william #princess kate #princess catherine #wk joint #wk 2023 #wk gif #2023 #oct 2023 #british 2023 #british royal family #my gif

[gleafer]

I freaking love The Great British Bake Off and I adore Good Omens (plus that whole thing with Michael Sheen peeling an onion with a potato peeler.)

So this is my ���Aziraphale loses his mind over The Great British Bake Off and Everything Ends Up Terrible Like His Biscuits” series.

#illustrator #illustration #digital artist #crowley #good omens #good omens art #artist on tumblr #good omens aziraphale #aziraphale #good omens crowley #good ineffable omens #ineffable #gbbo 2023 #gbbo #the great british bake off #paul hollywood #prue leith #Enraged Aziraphale is My Jam #gleafer art #gleafer #gaimanverse #funny stuff

[fuckyeahgoodomens]

Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather  (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 

From start to finish 

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes 

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit 

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

#good omens #gos2 #season 2 #interview #gavin finney #neil gaiman #terry pratchett #gavin finney interview interview #s2 interview #bts #fun fact #british cinematographer #british cinematographer 2023 #jon hamm #2ep1 #2ep2 #2ep3 #2ep4 #2ep6 #2i1i1 #job's minisode #1941 minisode #1827 minisode #2i6i7 #bentley

[robohintz]

LMAOOO

#george russell #toto wolff #just pure horror on Toto’s face #british gp 2023 #F1

[voguefashion]

Jacob Elordi, Barry Keghan, Archie Madekwe, Alison Oliver, Richard E. Grant and Rosamund Pike, photographed by Venetia Scott for British Vogue, October 2023.

#jacob elordi #barry keoghan #archie madekwe #alison oliver #richard e. grant #rosamund pike #venetia scott #british vogue #vogue uk #vogue #2023 #fashion photography #saltburn #fashion photoshoot #fashion editorial #fashion #style #beauty #2020s

[princemick]

LEWIS' P3 AT HOME!!!

#f1 #formula 1 #lewis hamilton #merc.lew #HIM HE HE HIM HIM HIM #kyle.gif #f1edit #lewishamiltonedit #silverstone23 #british gp 2023 #1k

[il-predestinato]

I would really like to congratulate Ferrari on their strategic genius today. It's incredibly impressive when you can turn a 4-5 finish to a 9-10 finish.

#scuderia ferrari (derogatory) #charles leclerc #* #f1 #british gp 2023 #elle.txt

[acrosstobear]

Oscar Piastri just drove one of the most incredible rookie performances in years. WHAT a drive. brand new car this week, and he’s keeping up with his much more seasoned teammate, a 7 time world champion and even at points keeping up with the fastest car ever built. ABSOLUTE LEGEND!!!!!!!!

#f1 #formula 1 #mclaren #oscar piastri #2023 british gp

[eirianerisdar]

…Alex Albon casually bleeding into his fireproofs on the interview stage talking about the seat ripping into his shoulders in high speed corners and “it heals just in time for every weekend and rips open again” and Jenson just staring at him like a concerned older brother-

Not. Okay.

#f1 #alex albon #Williams #british gp 2023 #jenson button #I don’t know how much of it was Alex laughing it off but #if he does routinely get pressure abrasions from his seat they need to do soemthing about it #this is not ok #nobody should make light of injuries like this even if it’s just a scrape #my post

[goldsainz]

OVER THE YEARS — one shot.

pairing: oscar piastri x reader

MASTERLIST.

request: “omg hi i have a request for oscar piastri a social media au something showing their friendship over the years maybe through b'day posts/something else (you decide) basically like childhood friend to lovers social media au pls !”

NOTE: first oscar piece ever!! the format of this is a bit diff but that’s just bc it’s kind of only insta… thank you sm for requesting, i hope that this is what you wanted and enjoy! (this has no faceclaim btw)

APRIL 06, 2019

liked by oscarpiastri, nicolepiastri and 2,687 others

yourusername HAPPY BIRTHDAY TO MY BEST FRIEND WHO JUST TURNED 18!!!! cannot believe i’ve known you for 12 of those years…

view all 40 comments

oscarpiastri Was the last picture really necessary…

⤷ yourusername yes, yes it was 😁

oscarpiastri I was a pretty cute kid actually

liked by yourusername

APRIL 06, 2020

liked by arthur_leclerc, oscarpiastri and 3,185 others

yourusername 19 years old and he’s still acting like he’s 10!! oh also, happy birthday 🥳

view all 56 comments

oscarpiastri Was the happy birthday an afterthought or…?

⤷ yourusername was i really that obvious?

⤷ oscarpiastri I see how it is then🙄

arthur_leclerc I’m gonna need more of these pictures

⤷ yourusername your wish is my command

⤷ oscarpiastri Y/N NO

APRIL 06, 2021

liked by oscarpiastri, logansargeant and 6,279 others

yourusername selfie time for the birthday boy! 20 has looked better on others, but you’ll get there ❤️

view all 94 comments

oscarpiastri Wow!

oscarpiastri I send you these pics in confidence and they end up on Instagram… Can’t trust anybody😔

⤷ yourusername not really private if they’re in a group chat🤷‍♀️

⤷ oscarpiastri Watch your back for your next birthday post… You never the content I might get

arthur_leclerc You two look really cozy in that second picture!!

⤷ yourusername shut up, frenchie

APRIL 06, 2022

liked by carla.brocker, oscarpiastri and 10,836 others

yourusername happy birthday to this guy 🫶

view all 162 comments

oscarpiastri 🫶🫶🫶

liked by yourusername and 10 others

oscarpiastri Will I ever get some decent photos in these posts?

⤷ yourusername hm… no!

oscarfan1 who is she??

⤷ oscarfan2 she’s oscar’s childhood best friend i think

⤷ oscarfan3 i thought she was his gf, cause she’s always in the paddock with him

⤷ oscarfan2 nope, just friends from what i know

APRIL 06, 2023

liked by landonorris, zhouguanyu24 and 34,091 others

yourusername happy birthday to my boy friend (my best friend who’s a boy but also my actual boyfriend)!!! you’ve done so much in all these years, you’re even in F1 now, and i’m happy to have been through it all 🤍 i included some good pics but just because the fans need them 😁

view all 512 comments

oscarpiastri Aww… Is the beautiful girl single?

⤷ yourusername no… but you’re pretty cute so call me :)

⤷ oscarpiastri 🙃🙃🙃

oscarpiastri21 how i love them

oscarfan22 THE MCLAREN GLOW UP OMG

landonorris There are children on this app…

⤷ yourusername WE’RE YOUNGER THAN YOU???

⤷ landonorris And yet I have more decorum🙄

oscarpiastri23 they’re so cuteee

JULY 09, 2023

liked by oscarpiastri, yukitsunoda and 51,684 others

yourusername P4! there is so much i could say, but all that matters is that i am incredibly proud of all that you achieved and will achieve

view all 775 comments

landonorris If I speak…

⤷ yourusername don’t❤️

oscarfan31 the most unproblematic and cutest couple on the grid

oscarpiastri I love you 🫶

⤷ yourusername I love you 🫶🫶

⤷ oscarpiastri I love you 🫶🫶🫶

oscarfan32 I LOVE THEM SM

oscarfan33 y/n pls know that we love you

#*ੈ✩༄ my works ! #oscar piastri #oscar piastri x reader #oscar piastri x you #oscar piastri x y/n #oscar piastri fluff #oscar piastri fanfic #oscar piastri f1 #oscar piastri fic #oscar piastri imagine #oscar piastri one shot #f1 #formula 1 #formula one #f1 fanfic #f1 x reader #f1 social media au #f1 x y/n #f1 x you #british gp 2023 #formula 1 fic #formula 1 oneshot #formula 1 x y/n #formula 1 fluff #formula 1 x reader #formula 1 x you #lando norris

[theroyalsandi]

Diana, Princess of Wales (01 July 1961 - 31 August 1997)

On this day, 26 years ago, No wars ended or began that day. Nor did any natural disasters strike. There were no earth-shaking discoveries made, no records shattered, no feats accomplished. Yet it was a day that both stunned and united the world like few others in history. It was the day Diana died.”

#royaltyedit #theroyalsandi #princess of wales #princess diana #princess di #british royal family #my gif #diana gif #19th death anniversary #26th death anniversary #august 2023 #british 2023 #I can't believe that I didn't made a tribute last year 😭😭😭

[samuelroukin]

SAMUEL ROUKIN as Carcillo in ALL SOULS (2023) Dir. Emmanuelle Pickett

#all souls #all souls movie #all souls 2023 #allsoulsedit #samuel roukin #samuelroukinedit #carcillo #filmedit #filmgifs #ben.gif #gradient text #flashing gif #the things u do for some british actor smh

[landonor]

Lando Norris with his dad Adam and Zak Brown, after finishing P2 at the 2023 British GP

#lando norris #british gp 2023 #his family for real #this photo is everything to me

[fuckyeahgoodomens]

Neil Gaiman and Roz Kaveney at the British Library event Why We Need Fantasy 20.11.2023 :) ❤

Neil: I don't remember if it was you or John M. Ford, the late Mike Ford, who pointed out to me first that there is a thing that I do that I was not aware of doing. And it was.. and I remember this being pointed out to me at the time of the publication of American Gods. Or possibly even before it was published, when I sent it out a manuscript. Because it was pointed out to me that one way that you can tell that you're entering the third act of a Neil Gaiman story is there is always a kiss that sort of ends the second act. And it's never a sort of romantic kiss. It's always a kiss that is unexpected and a little bit wrong, but it symbolizes where we're going to go next.

Roz: Yeah, that was Mike, it's too smart for me.

Neil: That was Mike. And I remember arguing with him and then him pointing out that all the places I'd done it. And then I did it again in the Anansi Boys and didn't realize that I'd done it. And then I forget about this thing. And I saw somebody on Tumblr had found an interview with me from 2002 where I'm talking about this and the kiss, and they're like, 'Still doing it then'.

:)) Yep, Neil is still doing it :D <3 (this is the tumblr post)

You can watch the whole event here :).

#good omens #neil gaiman #roz kaveney #why we need fantasy #why we need fantasy british library 2023 event #events #interview #neil interview #videos #fun fact #gos2 #season 2 #2ep6 #2i6i15 #ac kiss #american gods #anansi boys #yep :) :D <3 #s2 interview

[weraceasone]

whenever ferrari is secretive of their strategy over the radio i’m like. nobody wants the recipe to what you’re cooking over there babes

#f1 #f1 season 2023 #british gp 2023 #elle talks

[princemick]

LANDO AND LEWIS -- SUNDAY, BRITISH GP 2023

#f1 #formula 1 #lando norris #lewis hamilton #mcl.lando #merc.lew #lewdo #kyle.gif #f1edit #lewishamiltonedit #landonorrisedit #silverstone23 #british gp 2023 #1k