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Back in 1990, Total Recall saw Arnold Schwarzenegger pull off a wild mask scene. With limited CGI, effects legend Rob Bottin achieved it the old-school way — using a heavy, practical prosthetic and mechanical mask. Movie magic, built by hand.

Stephen Gibbons

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In Total Recall (1990), the scene where Arnold Schwarzenegger disguises himself with the “large woman” mask at the Mars checkpoint is one of the film’s most iconic moments. When the mask malfunctions and opens up, his real face is revealed in a shocking twist. This practical effect, created with mechanical props rather than CGI, left a strong impression and has become a symbol of 1990s sci‑fi cinema.

In Total Recall (1990), the scene where Arnold Schwarzenegger disguises himself with the “large woman” mask at the Mars checkpoint is one of the film’s most iconic moments. When the mask malfunctions and opens up, his real face is revealed in a shocking twist. This practical effect, created with mechanical props rather than CGI, left a strong impression and has become a symbol of 1990s sci‑fi cinema.

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Labyrinth (1986) never gets the love it should. Jim Henson built a whole fantasy world out of pure craft, Bowie walked in and owned the movie with one raised eyebrow, and the practical effects still go harder than most modern CGI.

Labyrinth (1986) never gets the love it should. Jim Henson built a whole fantasy world out of pure craft, Bowie walked in and owned the movie with one raised eyebrow, and the practical effects still go harder than most modern CGI.

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Arnold Schwarzenegger on how this fight scene in "Total Recall" (1990) was filmed despite Sharon Stone having a serious neck trauma: "Working with Sharon will always be a challenge. She is a sweetheart of a person when not on the set, but there are some actors who just need more attention. One violent scene was hard to film because I was supposed to grab her by the neck, and she freaked. “Don’t touch me! Don’t touch me!” At first I figured that she hadn’t been brought up like a tomboy and tried to sympathize, but it was more than that. We found out that she’d had a serious neck trauma early in her life. I think she even had a scar. “Sharon,” I said, “we all rehearsed this in the hotel room on Sunset. Paul was there, we all were there, going through scene by scene. Why did you never say, ‘By the way, when we get into the fight scene, it says here that you’re strangling me, I have a little hang-up about my neck’? Then we could have worked around it step-by-step. I would gently put my hand on your neck, and then you let me know when I can squeeze tighter and when we can get a little rough. Because I’m the first one to understand.” Paul calmed her down, and Sharon was willing to work through the scene. She wanted it to be a success; we just had to go through the difficult step first. That’s the way it was." ("Total Recall - My unbelievably True Life Story", Arnold Schwarzenegger, 2012)

Arnold Schwarzenegger on how this fight scene in "Total Recall" (1990) was filmed despite Sharon Stone having a serious neck trauma: "Working with Sharon will always be a challenge. She is a sweetheart of a person when not on the set, but there are some actors who just need more attention. One violent scene was hard to film because I was supposed to grab her by the neck, and she freaked. “Don’t touch me! Don’t touch me!” At first I figured that she hadn’t been brought up like a tomboy and tried to sympathize, but it was more than that. We found out that she’d had a serious neck trauma early in her life. I think she even had a scar. “Sharon,” I said, “we all rehearsed this in the hotel room on Sunset. Paul was there, we all were there, going through scene by scene. Why did you never say, ‘By the way, when we get into the fight scene, it says here that you’re strangling me, I have a little hang-up about my neck’? Then we could have worked around it step-by-step. I would gently put my hand on your neck, and then you let me know when I can squeeze tighter and when we can get a little rough. Because I’m the first one to understand.” Paul calmed her down, and Sharon was willing to work through the scene. She wanted it to be a success; we just had to go through the difficult step first. That’s the way it was." ("Total Recall - My unbelievably True Life Story", Arnold Schwarzenegger, 2012)

DepressedBergman

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Writer/Director John McTiernan’s ‘Nomads’ starring Pierce Brosnan, Lesley-Anne Down, Mary Woronov, and Adam Ant stalked moviegoers on this day 40 years ago 🌇 👻 😱 TRIVIA: In his memoir ‘Total Recall: My Unbelievably True Life Story’, Arnold Schwarzenegger stated that he hired John McTiernan to direct ‘Predator’ after seeing ‘Nomads’ and being impressed by the tense atmosphere that he’d achieved with a small budget. (Wikipedia) 🖤

Writer/Director John McTiernan’s ‘Nomads’ starring Pierce Brosnan, Lesley-Anne Down, Mary Woronov, and Adam Ant stalked moviegoers on this day 40 years ago 🌇 👻 😱 TRIVIA: In his memoir ‘Total Recall: My Unbelievably True Life Story’, Arnold Schwarzenegger stated that he hired John McTiernan to direct ‘Predator’ after seeing ‘Nomads’ and being impressed by the tense atmosphere that he’d achieved with a small budget. (Wikipedia) 🖤

𝚂𝚎𝚌𝚘𝚗𝚍𝚊𝚛𝚢 𝙿𝚛𝚘𝚝𝚘𝚌𝚘𝚕

25,188 Aufrufe • vor 5 Monaten

CSS Trick! 🤙 You can create gradient borders on translucent elements using mask-clip and mask-composite with a pseudo-element 🔥 .gradient-border::after { mask-clip: padding-box, border-box; mask-composite: intersect; mask: linear-gradient(transparent, transparent), linear-gradient(white, white); } It's the same "Transparent border trick" from before. But, now you apply it to a pseudo-element 😎 The trick is to create a pseudo-element with a gradient background and then mask it so we only see the part we want, the border ✨ mask-clip defines the area affected by a mask. Similar to how you can define background-size. Using padding-box and border-box constrains the two masks. mask-composite is the magic part ✨ It defines a compositing operation for stacked mask layers. Using intersect means that the parts that overlap get replaced. And this seems to work in all browsers 🙌 As for the rest of the styles... – Make sure you set pointer-events: none on the pseudo-element – Make sure it fills the parent element. You can use position: absolute and inset: 0 – Make sure the background fills the space including the border-width. You can use calc to achieve that: --bg-size: calc(100% + (2px * var(--border))); background: var(--gradient) center center / var(--bg-size) var(--bg-size); That's it! 🚀 Gradient borders on translucent elements. You can set all the backdrop-filter: blur() you like! 😅 CodePen.IO link below! 👇

CSS Trick! 🤙 You can create gradient borders on translucent elements using mask-clip and mask-composite with a pseudo-element 🔥 .gradient-border::after { mask-clip: padding-box, border-box; mask-composite: intersect; mask: linear-gradient(transparent, transparent), linear-gradient(white, white); } It's the same "Transparent border trick" from before. But, now you apply it to a pseudo-element 😎 The trick is to create a pseudo-element with a gradient background and then mask it so we only see the part we want, the border ✨ mask-clip defines the area affected by a mask. Similar to how you can define background-size. Using padding-box and border-box constrains the two masks. mask-composite is the magic part ✨ It defines a compositing operation for stacked mask layers. Using intersect means that the parts that overlap get replaced. And this seems to work in all browsers 🙌 As for the rest of the styles... – Make sure you set pointer-events: none on the pseudo-element – Make sure it fills the parent element. You can use position: absolute and inset: 0 – Make sure the background fills the space including the border-width. You can use calc to achieve that: --bg-size: calc(100% + (2px * var(--border))); background: var(--gradient) center center / var(--bg-size) var(--bg-size); That's it! 🚀 Gradient borders on translucent elements. You can set all the backdrop-filter: blur() you like! 😅 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

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🚨 Hot Take: The Avengers: Doomsday Special Look proves the MCU is at a visual crossroads. Bringing Robert Downey Jr. back as Doctor Doom is a massive narrative gamble, but the real test is the digital physics of his armor. If Marvel defaults to the weightless, floaty CGI we saw in recent phases, where characters feel like rubber video game models. Doom’s intimidating presence will collapse instantly. We need the raw, mechanical tangibility of the early Iron Man suits applied to Doom. We need to hear the heavy, abrasive friction when he moves and feel the kinetic weight when he strikes. The best action cinema dictates that CGI must be constrained by real-world physical resistance. If the Russo Brothers anchor Doom’s apocalyptic power with practical elements and tangible stakes, Doomsday could resurrect the visceral thrill of Marvel combat. If not, the danger remains entirely artificial. Would you rather see Doom built with a heavy, practical physical suit like 2008's Iron Man, or do you trust modern VFX to give him that bone-crunching mechanical weight?

🚨 Hot Take: The Avengers: Doomsday Special Look proves the MCU is at a visual crossroads. Bringing Robert Downey Jr. back as Doctor Doom is a massive narrative gamble, but the real test is the digital physics of his armor. If Marvel defaults to the weightless, floaty CGI we saw in recent phases, where characters feel like rubber video game models. Doom’s intimidating presence will collapse instantly. We need the raw, mechanical tangibility of the early Iron Man suits applied to Doom. We need to hear the heavy, abrasive friction when he moves and feel the kinetic weight when he strikes. The best action cinema dictates that CGI must be constrained by real-world physical resistance. If the Russo Brothers anchor Doom’s apocalyptic power with practical elements and tangible stakes, Doomsday could resurrect the visceral thrill of Marvel combat. If not, the danger remains entirely artificial. Would you rather see Doom built with a heavy, practical physical suit like 2008's Iron Man, or do you trust modern VFX to give him that bone-crunching mechanical weight?

King Viktor

365,940 Aufrufe • vor 15 Tagen

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

Cohen Brawley

78,842 Aufrufe • vor 2 Jahren

THESE MONSTRUOUS MASKS MAKE HALLOWEEN LOOK BASIC Forget Fortnite skins or AI art filters. One artist has spent the last six years building actual mechanical masks by hand,no computers, no 3D printing, no AI nonsense. Just old-school cutting, hammering, soldering, and probably a lot of swearing when the metal didn’t cooperate. The 1st mask was called Sketch, made out of solid brass. Think of it like the beta version of a supervillain’s helmet. From there, things got seriously wild. Take the Chupacabra mask, for example, that used brass, copper, and springs, which sounds like a haunted slinky but looks like something you’d find guarding a dungeon. What makes these masks extra cool is that they’re all 100% handmade. Just a person making weird, beautiful, slightly creepy masks that look like they belong in Horror Movies. In a world where everyone’s using apps and AI to “make” stuff, this artist is proving that sometimes the coolest things are made the hard way. And honestly? These masks might make you wish your history teacher taught class wearing one. Source: @aerarius_metalworks

THESE MONSTRUOUS MASKS MAKE HALLOWEEN LOOK BASIC Forget Fortnite skins or AI art filters. One artist has spent the last six years building actual mechanical masks by hand,no computers, no 3D printing, no AI nonsense. Just old-school cutting, hammering, soldering, and probably a lot of swearing when the metal didn’t cooperate. The 1st mask was called Sketch, made out of solid brass. Think of it like the beta version of a supervillain’s helmet. From there, things got seriously wild. Take the Chupacabra mask, for example, that used brass, copper, and springs, which sounds like a haunted slinky but looks like something you’d find guarding a dungeon. What makes these masks extra cool is that they’re all 100% handmade. Just a person making weird, beautiful, slightly creepy masks that look like they belong in Horror Movies. In a world where everyone’s using apps and AI to “make” stuff, this artist is proving that sometimes the coolest things are made the hard way. And honestly? These masks might make you wish your history teacher taught class wearing one. Source: @aerarius_metalworks

Mario Nawfal

35,358 Aufrufe • vor 1 Jahr

007/100 Buttons. This button was way more complex than I first thought. I love the page transition on the Truus site that Dennis Snellenberg and Jordan Gilroy worked on. So I wanted to use that drawing SVG Path idea somehow and fit it into a button. In best case with a mask effect. The idea was to have an SVG path in the background that fills the button. At the same time, this path should also be used as a mask to reveal the differently colored text. The SVG should also be replaceable and work with other SVGs. For the path animation, I can use the DrawSVGPlugin from GSAP. Sounds like a solid plan. I built the button so far, and it worked great in Chrome and Firefox. In Safari, nope. I used an SVG mask that I referenced through CSS. But Safari can’t handle that properly when the path inside the mask is animated, so the animation lags. There was no simple solution for that. At least I didn’t find something. So I had to rebuild the button in another way. What I found was that the SVG mask animation works in Safari when the mask is placed on the desired element inside the SVG. That’s where foreignObject comes in, it allows you to use normal HTML elements inside an SVG. Using that, I rebuilt the hover text inside the SVG. I then referenced the mask on the foreignObject with a bit of JavaScript. And it worked! The button’s structure looks more complicated than I wanted it to be, but that happens quite often when you need to make something work across different browsers 😃 Crafting 100 Buttons with Osmo ⏳ Total time: 96h

007/100 Buttons. This button was way more complex than I first thought. I love the page transition on the Truus site that Dennis Snellenberg and Jordan Gilroy worked on. So I wanted to use that drawing SVG Path idea somehow and fit it into a button. In best case with a mask effect. The idea was to have an SVG path in the background that fills the button. At the same time, this path should also be used as a mask to reveal the differently colored text. The SVG should also be replaceable and work with other SVGs. For the path animation, I can use the DrawSVGPlugin from GSAP. Sounds like a solid plan. I built the button so far, and it worked great in Chrome and Firefox. In Safari, nope. I used an SVG mask that I referenced through CSS. But Safari can’t handle that properly when the path inside the mask is animated, so the animation lags. There was no simple solution for that. At least I didn’t find something. So I had to rebuild the button in another way. What I found was that the SVG mask animation works in Safari when the mask is placed on the desired element inside the SVG. That’s where foreignObject comes in, it allows you to use normal HTML elements inside an SVG. Using that, I rebuilt the hover text inside the SVG. I then referenced the mask on the foreignObject with a bit of JavaScript. And it worked! The button’s structure looks more complicated than I wanted it to be, but that happens quite often when you need to make something work across different browsers 😃 Crafting 100 Buttons with Osmo ⏳ Total time: 96h

Eduard Bodak

67,560 Aufrufe • vor 3 Monaten

This scene in TOTAL RECALL absolutely BLEW my mind when I watched it in 1990. That experience was incredibly influential on my screenwriting. The gut-punch, the fun of being totally, 100% surprised, and the emotion of hating the bad guys so dam much. I don't think I have ever written a twist where I wasn't trying to recapture that feeling I had when I first saw it. But how do you match it? The story, the concept, all lined up for it. Everything comes together in that moment. And the execution is so perfect! Those smirks! The flippancy. And the way Cohaagen (Ronny Cox) steps into frame... The whole story is a fun, over-the-top, mind-trip, but it's this moment that made TOTAL RECALL one of my favorites. I love this movie.

This scene in TOTAL RECALL absolutely BLEW my mind when I watched it in 1990. That experience was incredibly influential on my screenwriting. The gut-punch, the fun of being totally, 100% surprised, and the emotion of hating the bad guys so dam much. I don't think I have ever written a twist where I wasn't trying to recapture that feeling I had when I first saw it. But how do you match it? The story, the concept, all lined up for it. Everything comes together in that moment. And the execution is so perfect! Those smirks! The flippancy. And the way Cohaagen (Ronny Cox) steps into frame... The whole story is a fun, over-the-top, mind-trip, but it's this moment that made TOTAL RECALL one of my favorites. I love this movie.

Tom Vaughan

87,726 Aufrufe • vor 4 Monaten

Sharon Stone was so badass in Total Recall that Arnold called her “Female Terminator.” But this scene was a nightmare to film. “I was supposed to grab her by the neck, and she freaked. “Don’t touch me! Don’t touch me!” Arnold first thought it was no big deal. She just hadn’t been brought up “like a tomboy”. But he found out she’s had a “serious neck trauma early in her life.” Then he told Sharon “Why did you not tell me this when we all rehearsed in hotel room on Sunset?” “We were going through scene by scene. Why did you never say, ‘By the way, when we get into the fight scene, it says here that you’re strangling me, I have a little hang-up about my neck’? “Then we could have worked around it step-by-step. I would gently put my hand on your neck, and then you let me know when I can squeeze tighter and when we can get a little rough. Because I’m the first one to understand.” Director had to calm her down.

Sharon Stone was so badass in Total Recall that Arnold called her “Female Terminator.” But this scene was a nightmare to film. “I was supposed to grab her by the neck, and she freaked. “Don’t touch me! Don’t touch me!” Arnold first thought it was no big deal. She just hadn’t been brought up “like a tomboy”. But he found out she’s had a “serious neck trauma early in her life.” Then he told Sharon “Why did you not tell me this when we all rehearsed in hotel room on Sunset?” “We were going through scene by scene. Why did you never say, ‘By the way, when we get into the fight scene, it says here that you’re strangling me, I have a little hang-up about my neck’? “Then we could have worked around it step-by-step. I would gently put my hand on your neck, and then you let me know when I can squeeze tighter and when we can get a little rough. Because I’m the first one to understand.” Director had to calm her down.

Emir Han

77,452 Aufrufe • vor 4 Monaten

It was a total thrill to both work with the legendary Industrial Light & Magic for the first time on The Running Man Movie and also reunite with Andrew Whitehurst, who I first worked with on 'Scott Pilgrim'. Here Andrew takes us through the incredible blend of in camera photography, practical effects and (yes) magnificent digital wizardry that we managed to achieve in just this last year. My endless praise goes out to him and the whole team (at Rodeo and Untold too) for their tireless work and enthusiasm. Enjoy!

It was a total thrill to both work with the legendary Industrial Light & Magic for the first time on The Running Man Movie and also reunite with Andrew Whitehurst, who I first worked with on 'Scott Pilgrim'. Here Andrew takes us through the incredible blend of in camera photography, practical effects and (yes) magnificent digital wizardry that we managed to achieve in just this last year. My endless praise goes out to him and the whole team (at Rodeo and Untold too) for their tireless work and enthusiasm. Enjoy!

edgarwright

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🚨 KATE SPADE DIES BY “SUICIDE” - 48 HOURS LATER HER HUSBAND EMERGES IN A STRANGE MASK AS THE STORY GETS SEALED Two days after Kate Spade is ruled dead by “suicide” in June 2018 - officially recorded as suicide by hanging using a red scarf - cameras catch her husband Andy Spade outside their Manhattan apartment wearing a full mouse mask. The mask wasn’t random - it was a mouse from Disney’s The Rescuers. This happens as: • The cause of death is finalized fast • A private note to their 13 year old daughter leaks • Her sister speaks out - then says pressure follows • The narrative locks and moves on Kate wasn’t just a fashion designer. She circulated in elite donor and political circles, overlapping with Clinton-world charity and Manhattan power networks tied to the Clinton Foundation. And Andy Spade is the brother of David Spade. If this was all normal - why does it still feel so wrong?

🚨 KATE SPADE DIES BY “SUICIDE” - 48 HOURS LATER HER HUSBAND EMERGES IN A STRANGE MASK AS THE STORY GETS SEALED Two days after Kate Spade is ruled dead by “suicide” in June 2018 - officially recorded as suicide by hanging using a red scarf - cameras catch her husband Andy Spade outside their Manhattan apartment wearing a full mouse mask. The mask wasn’t random - it was a mouse from Disney’s The Rescuers. This happens as: • The cause of death is finalized fast • A private note to their 13 year old daughter leaks • Her sister speaks out - then says pressure follows • The narrative locks and moves on Kate wasn’t just a fashion designer. She circulated in elite donor and political circles, overlapping with Clinton-world charity and Manhattan power networks tied to the Clinton Foundation. And Andy Spade is the brother of David Spade. If this was all normal - why does it still feel so wrong?

HustleBitch

4,856,265 Aufrufe • vor 6 Monaten

A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.

A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.

Joseph Mallozzi 🏴‍☠️

42,764 Aufrufe • vor 8 Monaten

Tron turns 44 today — released on July 9, 1982. The craziest part? This groundbreaking “computer movie” was snubbed by the Academy for Best Visual Effects. Why? They ruled that using CGI was basically cheating and gave filmmakers an unfair advantage over traditional practical effects and hand animation. That “cheating” technique is now the foundation of every major blockbuster for the past 20+ years. Well done, Tron. The future you predicted won. ⚡ Bonus wild fact: The official Tron arcade game (released by Bally Midway right after the film) actually out-grossed the movie. While the film made about $33–50 million worldwide at the box office, the arcade cabinets sold around 10,000 units and raked in an estimated $100–200 million in quarters during its peak years. It even won Coin-Operated Game of the Year. What amazes me most is that there was never a proper Commodore 64 adaptation. Almost every other big 80s sci-fi movie got turned into a C64 game… but the one literally set inside a computer world with light cycle races? Nope. (There was a late, unrelated Tron-like game in 1989, but nothing official at the time.) Mind-blowing.

Tron turns 44 today — released on July 9, 1982. The craziest part? This groundbreaking “computer movie” was snubbed by the Academy for Best Visual Effects. Why? They ruled that using CGI was basically cheating and gave filmmakers an unfair advantage over traditional practical effects and hand animation. That “cheating” technique is now the foundation of every major blockbuster for the past 20+ years. Well done, Tron. The future you predicted won. ⚡ Bonus wild fact: The official Tron arcade game (released by Bally Midway right after the film) actually out-grossed the movie. While the film made about $33–50 million worldwide at the box office, the arcade cabinets sold around 10,000 units and raked in an estimated $100–200 million in quarters during its peak years. It even won Coin-Operated Game of the Year. What amazes me most is that there was never a proper Commodore 64 adaptation. Almost every other big 80s sci-fi movie got turned into a C64 game… but the one literally set inside a computer world with light cycle races? Nope. (There was a late, unrelated Tron-like game in 1989, but nothing official at the time.) Mind-blowing.

Commodore Computer Museum 🕹

20,068 Aufrufe • vor 1 Monat

12-YEAR-OLD ACHIEVES NUCLEAR FUSION AT HOME A seventh grader in Dallas built a nuclear fusion device in a spare room. Yep, nuclear fusion. The same type of reaction that powers the Sun and has cost governments billions to study because it is extremely hard to pull off. And he is 12. He reportedly spent years learning the physics before putting the machine together, using a vacuum chamber and high voltage equipment to make it work. Only a small number of amateur builders worldwide have ever achieved fusion. Most of them are adult engineers.

12-YEAR-OLD ACHIEVES NUCLEAR FUSION AT HOME A seventh grader in Dallas built a nuclear fusion device in a spare room. Yep, nuclear fusion. The same type of reaction that powers the Sun and has cost governments billions to study because it is extremely hard to pull off. And he is 12. He reportedly spent years learning the physics before putting the machine together, using a vacuum chamber and high voltage equipment to make it work. Only a small number of amateur builders worldwide have ever achieved fusion. Most of them are adult engineers.

NewsForce

78,805 Aufrufe • vor 6 Monaten

MANN-PISHACH A zero-budget film experiment by Rahi Anil Barve. An 80-minute film built on a home PC using two actors (Yaaneea Bhardwaj, Deepak Damle), a 60-page script, hand-drawn storyboards, iPhone recordings, Photoshop, generative AI and After Effects. Total cost: ₹33,000. If even one broke filmmaker realizes something can be created from nothing, the experiment was worth it. Trailer + upcoming full film in 4K: #MannPishach #IndianHorror #AIFilm #IndieFilm #ZeroBudgetFilm

MANN-PISHACH A zero-budget film experiment by Rahi Anil Barve. An 80-minute film built on a home PC using two actors (Yaaneea Bhardwaj, Deepak Damle), a 60-page script, hand-drawn storyboards, iPhone recordings, Photoshop, generative AI and After Effects. Total cost: ₹33,000. If even one broke filmmaker realizes something can be created from nothing, the experiment was worth it. Trailer + upcoming full film in 4K: #MannPishach #IndianHorror #AIFilm #IndieFilm #ZeroBudgetFilm

rahi anil barve

145,974 Aufrufe • vor 5 Monaten

Jumanji came out in the mid nineties and critics were kind of split, but audiences immediately got it. Reviewers weren’t always sold on the chaos, yet everyone agreed it was imaginative as hell and clearly made with a ton of heart. Over time it’s aged way better than people expected, especially for a big effects driven family movie. Robin Williams is the soul of the whole thing. He’s funny, sad, frantic, and weirdly moving all at once, and you can tell he’s giving it everything. The kids are solid, Bonnie Hunt is endlessly charming, and the movie just works because everyone commits to the madness instead of winking at it. As an adventure fantasy, it absolutely rules. It’s scary in that kid safe way, creative, fast paced, and never boring. The practical effects mixed with early CGI give it a rough charm that modern movies kinda lack. It was a big hit, pulling in over two hundred million worldwide, which was huge at the time. It scored a Saturn Award win and even snagged an Oscar nomination for visual effects. Its legacy is massive. Jumanji became a childhood staple, a Robin Williams classic, and eventually a whole franchise. That board game still feels dangerous.

Jumanji came out in the mid nineties and critics were kind of split, but audiences immediately got it. Reviewers weren’t always sold on the chaos, yet everyone agreed it was imaginative as hell and clearly made with a ton of heart. Over time it’s aged way better than people expected, especially for a big effects driven family movie. Robin Williams is the soul of the whole thing. He’s funny, sad, frantic, and weirdly moving all at once, and you can tell he’s giving it everything. The kids are solid, Bonnie Hunt is endlessly charming, and the movie just works because everyone commits to the madness instead of winking at it. As an adventure fantasy, it absolutely rules. It’s scary in that kid safe way, creative, fast paced, and never boring. The practical effects mixed with early CGI give it a rough charm that modern movies kinda lack. It was a big hit, pulling in over two hundred million worldwide, which was huge at the time. It scored a Saturn Award win and even snagged an Oscar nomination for visual effects. Its legacy is massive. Jumanji became a childhood staple, a Robin Williams classic, and eventually a whole franchise. That board game still feels dangerous.

Love Classical Music and Movies 🎺🎻💖🎥🎬

144,125 Aufrufe • vor 8 Monaten

At a Chick-fil-A play area, a grown man really walked up to a 3 year old and started scolding her like he’s the parent, telling her to wear a mask just for coughing. The mom told him to back off and he still wouldn’t drop it, just kept pressing a little kid. That’s the kind of behavior that crosses a line fast, you don’t step to someone else’s child like that. People are getting way too comfortable forgetting boundaries in public

At a Chick-fil-A play area, a grown man really walked up to a 3 year old and started scolding her like he’s the parent, telling her to wear a mask just for coughing. The mom told him to back off and he still wouldn’t drop it, just kept pressing a little kid. That’s the kind of behavior that crosses a line fast, you don’t step to someone else’s child like that. People are getting way too comfortable forgetting boundaries in public

Clown World ™ 🤡

383,521 Aufrufe • vor 4 Monaten