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#can we just go back to 2019

chirpsythismorning · 1 year

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Vecna’s plan requiring Mike to leave for California means nothing. The number 1 following Mike cryptically at the airport means nothing. Them barely giving us Mike’s perspective the last two seasons (despite him being the original protagonist) means nothing and it isn’t setting up his POV to be revealed in s5 bc the entire audience is completely comfortable with where Mike stands as a character in regards to his deeper feelings/motives. No confusion there so no need to address that. Mike saying How will I survive a whole week without you guys at the start of s4 wasn't foreshadowing his fate at the end of said week. Mike standing in front of exit signs 3+ times in s4 is probably just a coincidence. Mike being associated with gaping mouths in multiple moments spanning the entire series, even going back to his very first line on the show, means nothing at all. Nancy’s vision about her family (Mike) dying was mentioned at the end of s4, but it didn’t happen so probably won’t ever happen, even though there’s still another season left set directly after the events of s4. Will calling Mike the heart and how without heart they’d all fall apart, was not in any shape form foreshadowing something happening to Mike and them all falling apart, bc Mike is definitely just a prop and everything in relation to his story only holds meaning on the surface or for other characters arcs and couldn’t possibly be hinting at something deeper that’s being saved as one of the many surprises for the last season.

#byler #stranger things #im sorry but ppl getting mad over speculation about mike and vecna is weird… especially when there's series long evidence…#like we know for a fact Will and vecna are facing off in s5 it's a given with the most basic ga being ready for it #it’s probably going to really come to a head in that final battle in the last two episodes #so early s5 and everything leading up to Will being confronted by vecna cant just be Will and vecna confronting each other over and over…#that would make their final confrontation anticlimactic #there’s a reason we keep seeing a chess board/dnd in relation to the events to come #bc EVERYONE is a piece in vecna’s game #EVERYONE plays a role in him reaching his main goal #back in 2019 if ppl heard max was a target or Nancy was a target in s4 they would’ve been confused #bc there’s little to no ties between the mindflayer and those characters #for a fact Will has more ties to vecna than them #HOWEVER them having no connection to vecna is not entirely true #vecna is connected to Max and Nancy’s trauma related to the person they lost because of him..#and he used that against them to be 10 steps ahead so that he can lead up to reaching his final goal AKA WILL #he could have just got will 10 times already but he doesn't do it that way #we could’ve not had any of the events in s3-4 happen with random ass characters #BUT THE REALITY IS VECNA WANTS/NEEDS CANNON FODDER #he needs ppl that are just players in his game to overcome to eventually follow through with his plan #Mike arguably has fucked over vecna more than anyone #he’s also someone that both Will and El care for dearly #there’s a reason vecna's plan required the great big love triangle mishap in s4 #his plan literally depended on that miscommunication so that they would have a false win #like y’all just seem to want the most anticlimactic season with Will and vecna facing off only…#yes that Will happen and it will be some of the biggest moments of the season #but there's other stuff that's gotta happen...#and tbh will is going to be swamped with venca/lab revelations next season #them pounding us on the head with will is gay in s5 is going to feel repetitive as we've seen that four seasons in a row...#mike on the other hand...

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1eos · 2 months

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What’s your take on Taek always posing with Starbucks lately? I’ve been so conflicted. Many people have tried to educate him but he hasn’t stopped

hmhmmmm. what im abt to say isnt exclusive to him this is just my general stance when it comes to ppl w privilege being out of touch but its one of those things where im not gonna defend it. obviously. if anyone criticizes him (or anyone else i like) im not gonna fight them or try to make excuses but im also not gonna fall into the trap of centering all talks of palestine around a celebrity!

i purposefully havent been talking abt who has and hasnt been boycotting starbucks since november bc i saw someone point out that if you searched palestine on twitter the results were literally clogged with shit abt idols and that's not productive esp bc a lot of ppl have not spoken a word abt palestine until a famous person was caught w starbucks and suddenly theyre mobilizing to get them to stop posting their drinks but will never mobilize IN GENERAL

and this isnt just about kpop i remember being skeeved out by the beyhive for palestine stuff bc theyre STILL focusing *beyonce* when she's a millionaire! she's not starving! and she said nothing when break my soul became a fucking war song for isnt real which is way worse than starbucks i can admit that. and i remember during the big wave of black lives matter how frustrated i was that everyone just wanted to make it all about what this celebrity donated or how this celebrity was forced to post abt blm and to make ethnic cleansing abt idols is just a million times more fucked up.

i say all this to say that in general. me, personally, im always gonna try to put more effort in actually centering palestinian issues. i do feel guilty bc as much as i would love to be immune to the celebrity machine im not 😭 and i have the privilege of escapism when millions don't. like i slipped up and thoroughly enjoyed ushers half time show without even thinking and woke up the next morning and saw all the zionist shit he had posted months earlier. BUT instead of letting that guilt propel me to try to push a celeb to boycott to make myself feel better im gonna use my energy and privilege to send money every paycheck, boycott myself and spread awareness and talk to the ppl i *can* influence :')

and i hope this doesnt sound like one big cope 😭😭😭😭 ive been disappointed in a lot of ppl including really close friends who hate isnt real and are sympathetic to palestine but aren't consciously boycotting and resolving myself to do more and focusing on the ppl who *are* doing what needs to be done has been better than worrying abt how *i* feel when in the end of the day im (relatively) safe

#asks #🧎🏾‍♀️i talk way too much #some ppl just dont care enough to boycott and its hella disappointing i talked w some irls #and we had a great convo abt how fucked zionism is and then they said they werent going out of their way to boycott #well how tf do u expect anything to change?#which is why i wont jump and say anyone who doesnt boycott is automatically zionist but they arent anti-zionists either #and all i said above ive perpetrated too like looking back ive def given more heat to a celeb #than given more care to the actual issue and ive really been reflecting on it 😭#like can i have a redo of 2019-2021

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thebibliosphere · 9 months

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Not to keep reliving trauma on main, but I'm getting weird deja vu from where my health was a few years ago and where it's at now. And most of it is revolving around Good Omens.

In May of 2019, we genuinely thought I was dying because I was dying. My organs were in the process of shutting down because my red blood cells were prematurely self-destructing and damaging my kidneys in the process, and I was rapidly coming to terms with the fact that I might not survive much longer. I'd fought the good fight, and I'd lost. Mostly due to medical neglect. And I was mad about a lot of things, but do you know what I remember from the traumatic blur I'm left with?

"I'm going to be so pissed if I die before Good Omens comes out."

I'd waited 20+ years at that point for something like a tv adaptation of Good Omens. Ever since I was a child and my dad read the book to me, and I fell in love with it. And here I was, mere weeks away from the TV release and on the verge of death.

Then like a miracle, a miracle that hinged on human compassion and a doctor being willing to listen to me, I was saved. Dragged back from the jaws of death by a relentless hematology department that refused to give up on me and ultimately saved my life. And a week later, I got to watch Good Omens propped up in my own bed, still weak, still ill, with my heart stuttering in my chest every time I laughed. And I remember thinking, "I did it. I got to see it."

That it's now it's 2023 and my health has tanked again. My organs are rebelling against me and no one seems to know why. But yet again, a few weeks before Good Omens is set to release, I find a doctor who listens to me and is doing all he can to help. Striving with the grim kind of determination that can only come from a place of compassion and care. Like my world is worth saving, and not just his.

Which is rather fitting, I think.

#good omens #death mention #chronic health tag #I'm not saying it's a sign #I'm just saying if Neil wants to keep writing more Good Omens content #I will not object

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fuckyeahgoodomens · 1 month

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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.

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