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Kenny calling it like it is: "Our offense was just really bad. ... Stagnant, iso, not moving it, so that was the negative. ... We kept telling the guys, okay they're playing zone, but we can still play with pace. We don't have to hold it, take 10 dribbles...

55,582 Aufrufe • vor 6 Monaten •via X (Twitter)

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🐻 Oh the story about Chanel the cat was really shocking. 🐹 What Chanel the cat? 🐻 So there is so much stuff inside our dorm because there were five girls living there. At the time, Wendy was left at the dorm while Joy and I went out to watch a movie. Yerimie opened the main door because she was gonna go out when something scurried inside. At the time, Yerim was really scared of animals. Like she was just scared of animals themselves. So they texted 'something entered the dorm!' 'It seems like an animal entered the dorm'. In real-time, Wendy texted that it kept going around scratching at the door. Yerimie was so scared she couldn't go out because she didn't know what kind of animal it was. Meanwhile, in Sooyoung and I's case, we love animals so we were like 'Let's go back quickly and check!' At first we thought it was a puppy, because puppies are cute. So we were like, let's try to find it! But no matter how we looked, we couldn't find it. Since there was so much stuff, we couldn't find it even as we searched every corner. It just wouldn't come out. Then I kept hearing this meowing sound from somewhere. So we tried luring it out with some food but even so, it wouldn't come out. Then in one corner, we saw a white cat. Anyone looking at it could tell it was an expensive one. It's a Cheongdam cat, so of course! That's why we called it Chanel. It really felt like a 'Chanel'. So we were like 'Chanel~ Chanel~ come on out~'. We looked for the owner. We tried talking to the maintenance office and found that its owner lived in the same neighborhood. So we brought it back.

KSG Updates

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Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

22,952 Aufrufe • vor 6 Monaten