MGM’s “Art for Art’s Sake” Reveal By Baked Studios

I’m not sure how I missed this, but after a bit of research I discovered that the all-CGI MGM film reveal was initially planned to be revealed in theatres at the beginning of No Time To Die in 2019, but due to the pandemic that never happened. I got a chance to see the latest incarnation this afternoon while watching, you guessed it, No Time To Die on streaming in 4K. It’s nearly perfect, matching the lion in particular frame by frame. However there are so many golden touches through the reveal that areas missing that same level of attention to detail fall a bit short. The 3D modeling, materials, and lighting is stunning, but some of the fades aren’t filmic. The highlights turn gray during the transitions rather than generating that gorgeous blooming effect of pure white-hot blends.

This observation spells truth to 16 bit compositing compared to 32 bit. Baked Studios should really give it a few tweaks in the correct compositing color depth to truly let it shine. The light rays are a bit too unnatural and feel quite digital. Adding some subtle smoke and variation in length as they interact with the logo reveal would give it just another little bit of subtle detailing. The lion is flawless albeit there’s something odd about the motion blur. Seeing the English translation of “Art for Art’s Sake” before transitioning into the Latin “Ars Gratia Artis” was a nice touch. All in all I’d still rate this work as a 95/100. It truly is the most historic update that MGM, or possibly any studio, has ever produced. I also caught a glimpse of an additional MGM lead-in where we get to see the lion from profile view. It’s quite unique. For an abbreviated MGM logo history click here.

This beast has so many subtle beauties that it’s a joy to experience. In 2021 Metro Goldwyn Mayer released an all-CGI version of their famous film intro designed by Baked Studios. Baked Studios has offices in Los Angeles and New York and has a highly proven track record of producing eye-catching content fueled by epic storytelling.

Gazing Into The Past

“The James Webb Space Telescope (sometimes called JWST or Webb) is an orbiting infrared observatory that will complement and extend the discoveries of the Hubble Space Telescope, with longer wavelength coverage and greatly improved sensitivity. The longer wavelengths enable Webb to look much closer to the beginning of time and to hunt for the unobserved formation of the first galaxies, as well as to look inside dust clouds where stars and planetary systems are forming today.” — NASA

“Webb, an orbiting infrared observatory, will complement and extend the discoveries of the Hubble Space Telescope, with longer wavelength coverage and greatly improved sensitivity.”
— James Webb Space Telescope, Goddard Space Flight Center, NASA

“Luck Is What Happens When Preparation Meets Opportunity”

According to Seneca, the Roman philosopher who coined the above observation, we manifest our own luck. Luck does not happen to us. What is perceived as luck is actually a direct result of our being prepared prior to the opportunity that arises and presents itself to us with little to no additional effort.

“Man who catch fly with chopstick accomplish anything.”

— Noriyuki “Pat” Morita as Mr. Miyagi as Ralph Macchio as Daniel Laruso looks on in The Karate Kid, 1984. The film was written by Robert Mark Kamen and directed by John G. Avildsen.

“What We Do In Life, Echoes In Eternity”

Never forget. Never give in. Never give up.

Maximus: “Three weeks from now I will be harvesting my crops. Imagine where you will be, and it will be so. Hold the line. Stay with me. If you find yourself alone, riding in green fields with the sun on your face, do not be troubled; for you are in Elysium, and you’re already dead!

[The soldiers laugh]

Maximus: “Brothers, what we do in life, echoes in eternity.”

— Russell Crowe as Maximus Decimus Meridius in Ridley Scott’s 2000 epic film Gladiator

THE GREAT RICHARD HARRIS AS THE ICONIC MARCUS AURELIUS IN RIDLEY SCOTT’S GLADIATOR, 2000. HE PLAYED KING ARTHUR IN CAMELOT ON SCREEN AND WAS A TRUE KNIGHT IN REALITY BEING KNIGHTED BY THE QUEEN OF DENMARK IN 1985.

“How will the world speak my name in years to come? Will I be known as the philosopher? The warrior? The tyrant...? Or will I be the emperor who gave Rome back her true self?”

— Richard Harris as Marcus Aurelius in Gladiator, 2000

Marcus Aurelius: “When a man sees his end... he wants to know there was some purpose to his life. How will the world speak my name in years to come? Will I be known as the philosopher? The warrior? The tyrant...? Or will I be the emperor who gave Rome back her true self? There was once a dream that was Rome. You could only whisper it. Anything more than a whisper and it would vanish... it was so fragile. And I fear that it will not survive the winter. Maximus, let us whisper now, together, you and I. You have a son. Tell me about your home.”

Maximus: “My house is in the hills above Trujillo. A very simple place. Pinkstones that warm in the sun. A kitchen garden that smells of herbs in the day, jasmine in the evening. Through the gate is a giant poplar. Figs, apples, pears. The soil, Marcus- black. Black like my wife’s hair. Grapes on the south slopes, olives on the north. Wild ponies play near my house. They tease my son. He wants to be one of them.”

Marcus Aurelius: “Remember the last time you were home?”

Maximus: “Two years, 264 days, and this morning.”

Marcus Aurelius: “I envy you, Maximus. It’s a good home. Worth fighting for. There is one more duty that I ask of you before you go home.”

Maximus: “What would you have me do, Caesar?”

Marcus Aurelius: “I want you to become the protector of Rome after I die. I will empower you to one end alone: To give power back to the people of Rome, and end the corruption that has crippled it. Will you accept this great honor I have offered you?”

Maximus: “With all my heart, no.”

Marcus Aurelius: “Maximus, that is why it must be you.”

Steven Soderbergh on Steven Spielberg: The Master of Blocking

Celebrating Spielberg through a “Raiders” Soderbergh case study by Danny Boyd of CinemaStix.

This inspiring video posted by Danny Boyd of CinemaStix thoroughly explores Steven Spielberg’s master strokes of blocking, staging, and other key directorial techniques as presented in Steven Soderbergh’s unique presentation celebrating the iconic director. Through isolating the essence of the film Raiders of the Lost Ark by removing color, dialogue, and replacing the music with tracks from The Social Network and The Girl with the Dragon Tattoo Soderbergh celebrates Spielberg’s genius.

“Maybe So, Sir. But Not Today.”

Extinction? No. Mach 10+. Yes!

Hammer: [going through Maverick’s service record] “Maverick. Thirty-plus years of service. Combat medals. Citations. Only man to shoot down three enemy planes in the last 40 years. Distinguished. Distinguished. Distinguished. Yet you can’t get a promotion, you won’t retire, and despite your best efforts, you refuse to die. You should be at least a two-star Admiral by now, if not a Senator. Yet here you are...Captain. Why is that?”

Maverick: “It’s one of life’s mysteries, sir.”

Hammer: “This isn’t a joke. I asked you a question.”

Maverick: “I’m where I belong, sir.”

Hammer: “Well, the Navy doesn't see it that way. Not anymore. Those planes you’ve been testing, Captain... one day sooner than later they won't need pilots at all. Pilots that need to eat, sleep, take a piss. [glares at Maverick] Pilots that disobey orders. All you did was buy some time for those men out there. The future is coming, and you’re not in it. [to the Masters-at-Arms] Escort this man off the base. Take him to his quarters. Wait with him while he packs his gear. I want him on the road to North Island within the hour.”

Maverick: “North Island, sir?”

Hammer: “Call came in with impeccable timing just as I was driving here to ground your ass once and for all. It galls me to say it, but...for reasons known only to the Almighty and your guardian angel...you've been called back to Top Gun.”

Maverick: [in disbelief] “Sir?”

Hammer: “You are dismissed, Captain. [calling after Maverick as he goes to leave] The end is inevitable, Maverick. Your kind is headed for extinction.”

Maverick: “Maybe so, sir. But not today.”

“The end is inevitable, Maverick. Your kind is headed for extinction.”

— Ed Harris, Rear Admiral “Hammer” Cain addressing Tom Cruise, Captain “Maverick” Mitchell, Top Gun: Maverick

Helluva Good Times Ahead

Back in the day, circa 1997, the creative brains and brawn at Blizzard released Diablo 1. It rocked the gaming world with all of its hellish wizardry. To this day I prefer Diablo 1 compared to its sequels. I even prefer it to Doom, Dark Forces, Quake, and Unreal Tournament 2004.

There were so many clever aspects to the original gameplay that keeps me coming back for more melee madness even 26 years since its original release. Every Diablo 1 game is randomized and unique which fosters repeat gameplay for years to come. With an open mind and NVidia 3090 in hand I’m stoked to experience Diablo 4 on my PC this summer. It’s gonna be a helluva good time! But will Diablo 1 still remain my favorite?

I have a sneaking suspicion I’ll still hold the original Diablo above the latest incarnation. For me it’s all about the entire experience, not just another 4K graphics FPS. I had similar experiences with Battlefront and its sequel Battlefront II. I still prefer Dark Forces. There’s just no comparison playing Diablo 1 or Dark Forces on my Blueberry iMac in good old vintage OS9 with those retro graphics. :-)

ABOVE: MEET PALLADIUM, MY INVINCIBLE WARRIOR, FROM DIABLO 1, RESURRECTED ON MY 1999 BLUEBERRY IMAC I PAID $60 FOR ABOUT 10 YEARS AGO. CAN’T WAIT FOR DIABLO 4 TO DROP! THUS FAR, DIABLO 1 REMAINS MY FAVORITE INCARNATION OF THE GAME SERIES.

ABOVE: MEET CLEVER CLEAVER, MY LATEST DIABLO 1 WARRIOR I’VE BEEN BUILDING UP IN ANTICIPATION OF DIABLO 4. HIS OPTIONAL OBSIDIAN SHIELD MAXES OUT HIS MAGIC, FIRE, AND LIGHTNING RESISTANCES FOR HELLACIOUS COMBAT SCENARIOS.

High Fidelity Storms are Brewing at The Pixel Lab

Have you ever wanted to play Emperor Ming and control the weather? With these 50 VDBs from The Pixel Lab you’re one step closer. Available in three mesh densities. This pack also includes high resolution renders with alphas for immediate comping.

VDB CLOUDS PACK VOLUME 5: “STORM” FROM THE PIXEL LAB. A COLLECTION OF 50 ULTRA-REALISTIC CLOUD FORMATIONS.

FLASH GORDON, 1980. DIRECTED BY MIKE HODGES.

The Emperor Ming: “Klytus, I’m bored. What plaything can you offer me today?”

Klytus: “An obscure body in the S-K System, Your Majesty. The inhabitants refer to it as the planet...“Earth.”

The Emperor Ming: “How peaceful it looks.”

[He activates a console, and watches as earthquakes, floods, etc. start to occur. They both get a good laugh out of it.] 

Klytus: “Most effective, Your Majesty! Will you destroy this, er, Earth?”

The Emperor Ming: “Later. I like to play with things a while...before annihilation.

[laughs evilly]

— Max von Sydow as Emperor Ming the Merciless, and Peter Wyngarde as General Klytus in Flash Gordon, 1980

A Designer’s Curriculum Vitae

MAKE AN IMPRESSION AT FIRST GLANCE BY INCLUDING YOUR LOGO AND OTHER DESIGN CUES THAT ALLOW YOUR CV TO COMMUNICATE YOUR UNIQUE STORY.

I’ve always strongly believed that designing the right CV should directly reflect the one who’s being represented in said CV, especially when the position calls for a creative individual. I understand that many companies allow for their CVs to be sorted into priority bins by a set algorithm. The first thing I would ask if pursuing a company for potential hire is simple: do they take the time to hand-select candidates by human or machine? If it is initially by machine I’d be rather wary. I go for the companies that are smaller in scale that actually go the human route. While some consider this as old-fashioned I disagree that it’s really more of a dying art form that requires resurrecting. My CV is designed to highlight my skills as a graphic designer, i.e. to produce a real connection with the reader through a well designed piece of communication. That’s all in it’s simplest form a CV is; a tool to communicate the details of a candidate’s mindset, toolset, work history, and accolades.

I’ve designed many CVs for friends and family for over 30 years. Every one of them aided very directly in them landing the job. I understand that there’s just “not enough time or people power” to personally view every resume, but if the resume stands out at just a glance it’s far more likely it will be read by a human. Machines are fine with things that can follow an algorithm, but where they are weak is with anything that makes us human. How many fingers do we usually see in A.I. art? The A.I. models forgot to teach human anatomy. I’m sure they’ll eventually get it right. For now though I will be reviewing CVs for what’s next for me and my friends just around the corner…

Mind the Details in Client Contracts

Balin: “It’s just the usual; summary of out-of-pocket expenses, time required, remuneration, funeral arrangements, so forth.”

Bilbo Baggins: “Funeral arrangements?”

[reads contract] 

Bilbo Baggins: “Oh, up to but not exceeding one fourteenth total profit if any. Seems fair.”

“Present company shall not be liable for injuries including but not limited to laceration, evisceration...incineration?”

— Martin Freeman as Bilbo Baggins, Ken Stott as Balin, James Nesbitt as Bofur, and Ian McKellen as Gandalf in The Hobbit: An Unexpected Journey

COLOR GRADED SHOT OF THE MECHANICAL DRAGON FROM THE WALT DISNEY WORLD PARADE DURING ONE OF OUR FAMILY TRIPS TO ORLANDO, FLORIDA.

Bofur: “Oh, aye. He’ll melt the flesh off your bones in the blink of an eye.”

Balin: “You all right, laddie?”

Bilbo Baggins: “Yeah, I’ll be. Feel a bit faint.”

Bofur: “Think furnace, with wings.”

Bilbo Baggins: “Yeah, I-I-I need air.”

Bofur: “Flash of light, searing pain, then poof, you’re nothing more than a pile of ash.”

Terminated

Looking forward to sharing what’s next…

“The unknown future rolls toward us. I face it, for the first time, with a sense of hope. Because if a machine, a Terminator, can learn the value of human life, maybe we can too.”

— Linda Hamilton as Sarah Connor in Terminator 2

ABOVE: LINDA HAMILTON REPRISING HER ROLE AS SARAH CONNOR IN TERMINATOR: DARK FATE, 2019.

Raise Your Glass of Blue Milk

May the 4th Be With You!

Carrie Fisher was given her star on the Hollywood Walk of Fame today. The illustration above was rendered by Drew Struzan, everyone’s favorite movie poster illustrator icon. We miss you Carrie!

Above: Family Guy “Blue Harvest” parody on TBS. This title was the code name for Revenge of the Jedi before it became known as Return of the Jedi.

Above: The original version of Drew Struzan’s iconic movie poster illustration for the third Star Wars film. The title was changed closer to the release date to Return of the Jedi. George Lucas felt that the Jedi being portrayed as vengeful didn’t quite line up with their core values.

The origination story behind the code name “Blue Harvest.” George Lucas was also paying homage to Kurosawa’s “Red Harvest.” Lucas borrowed many themes for Star Wars from the lore of Kurosawa’s The Hidden Fortress.

Read The Manual (or fondly, RTFM)

Where did you experience and render your first pixel painting? Mine was at age 11 on my Commodore 64. I drew Indiana Jones with the cursor keys and had no way to save the image to my 1541 drive. If only I had remembered to take a Polaroid snapshot. Little did I know, like so many of us, I'd make a living rendering pixel paintings for nearly 3 decades while riding the waves of technological and artistic pairings of software and hardware intersecting rather naturally.

In the early ‘80s our lives were forever changed as artists by a small company in Newbury, England. Art and technology were fused together and being released as the Quantel Paintbox. The Weather Channel placed the very first order after discovering it at NAB in New York, 1981. In the mid ‘90s I joined The Weather Channel Art Department, and Harriet was my new best friend.

As the broadcast industry grew so did our access to digital tools. Every couple of years we would be introduced to another game changer like Discreet Logic’s Flint/Flame/Inferno/Fire. TWC bought two Flints and one Fire initially. One day I asked my friend if I would get the chance to learn how to transition over to the Flint from the Quantel. His dry response was priceless: “read the manual,” he said.

That night I pored through the 6 inch thick binder. The next day I started the transition. From this experience I was able to do the same moving forward by reading manuals and watching VHS tapes. The Masters of Visual Effects by Puffin Designs and Brian Maffitt’s Total Training proved to be my favorite sets of training thus far. One day while waiting for a render to finish I called Australia. I wanted to know what exactly was the D1 Desktop? It was the key to transitioning completely over to a Mac platform and gaining access to so many tools rather than using one rigid set like those found on black boxes.

By 2002 I upgraded my home studio with a Blackmagic Design Decklink card, Sony deck and monitor, After Effects, and Final Cut Pro. The gear had changed, but the end product was the same as when I was 11. Digital art. Let’s get back to Quantel for a moment. See below what artist David Hockney thought of this new form of artistic wizardry in “Painting with Light.”. His reaction reminds me of my typography professor from college when QuarkXPress introduced H&Js. He was as giddy as a six-year-old on Christmas morning. Enjoy Hockney’s exploration of digital painting wizardry.

Enjoy the full Quantel history here: http://quantelpaintbox.com/index.html

“I’m painting with light on glass. The only equivalent where you would get colors like this is stained glass itself where you can get a richness of color that even paint can’t give.”

— Artist David Hockney’s response while painting on a video monitor canvas with the Quantel Paintbox

Pixie Dust to Swirling Sandstorms

I’ve always had a fondness for particles. From African tsetse swarms to F5 tornadoes tearing through Tornado Alley I’ve animated, composited, and enhanced blowing blizzards, monstrous blobs, and conjuring wizards.

Particle simulations add an extra touch of detail that kicks a comp up a few more notches. Sometimes giving the sense of a windstorm pushing the hero back. The shot just feels better, richer. It’s hard to put a finger on it sometimes, but it adds an extra bit of dimension and drama to a scene. Sometimes barely noticeable and other times pulling the viewer directly into the eye of the storm.

The best compliment our talented promotions compositors and VFX artists at The Weather Channel ever got was during a Storm Week promo review by the chief of the Marketing Department, Wonya Lucas:

“Where did you get that shot in the promo?” We humbly replied: “we created it by combining multiple shots, adding particle simulations, stock footage elements, and a touch of compositing wizardry.”

Whether adding snow, rain, sleet, or hail we always rose to the task at hand doing whatever it took to hold the viewer’s attention and engage with them for a few more seconds.

For ten years as a full-time or freelance broadcast designer I created detailed explainer graphics for the meteorologists at The Weather Channel (TWC) with my fellow artists, ET & BS; ranging from hurricane anatomy breakdowns to rainstorms and gully washes.

During the course of those ten years, we created a plethora of shots reminiscent of those found on the silver screen to promote Tornado Week, Flood Week, Hurricane Onslaught, Extreme Weather Week, It Could Happen Tomorrow, Storm Week, Storm Stories Avalanche, Heroes of the Storm, and Wrath of Winter. The Discovery Channel began creating dramatic promos similar to ours. After my ten-year tenure ended, I collaborated with TWC for an additional four years, while I was working full-time at Artifact Design and Outpost Pictures.

TWC EXTREME WEATHER WEEK | RIGHT : GARY WRIGHT AND THE TREK FOR THE ULTIMATE TRIP

Three years later, as a Red Giant Guru, I was given the opportunity to design and animate particle effects preset packs for Red Giant Software and Trapcode Particular. I also designed a concept for a custom splatter effects engine based around Trapcode Particular for them. They passed on the concept, but you can check out the proof of concept on the “AE Lab” page.

To top things off, when working as Motion Design Director at Outpost Pictures, we delivered an Indy-inspired video for Southern Living At Home titled Gary Wright and the Trek for the Ultimate Trip (above right) complete with giant mosquitoes, flocking birds, sandstorms, splashes, dust, debris, smoke, and epic whiteouts. Over a two-year period we created three corporate marketing videos that were shown at the yearly General Incentive conference headed by Gary Wright, chief of marketing, for Southern Living At Home.