Crazy bus gif12/24/2023 ![]() ![]() WITAJ W MOIM ŚWIECIE.Hej, zajmuje się tworzeniem filmików na YouTube od 2010 roku - nagrywam głównie Minecrafta bo mogę i lubię :)Komputer, który używam: htt.17 Elmira. Sometimes, the only way to get through another workday is to. If you’ve ever counted the hours, minutes and seconds until your shift is over, or retreated to the bathroom just to have a few moments of silence, or skipped out of the office on a Friday evening feeling as if you’ve won the lottery, you’ll appreciate these workplace memes.Meso H1 Relic.Bear Grylls Likes To Play Minecraft (Meme)Subscribe: : : the_vee_aarReddit: 27, 2023 Every player then has 15 seconds to rate these meme creations.Never even played the game, haha.Finally! This video has received 2 dislikes!Thank you so much for feedback!Neo G1 Relic (Radiant) 20.00 %. Once the game starts, each player gets a random meme and has to come up with a funny caption within the given time. Simply create or join a lobby and wait for other players to join. Head back to befores & afters soon for Part 2 looking at Luma’s final VFX shots for the sequence.Make It Meme is a funny game where you create and score memes with your friends or real players online. We studied footage of crazy bus stunts and real bus driving plates to get a better sense of what a bus can do… yes, you can drive a bus on two wheels! But ultimately it came down to what served the story and felt right, trying never to break the sense that this was a real bus doing these things. In terms of getting the physics right, Destin, the director, always wanted to have the drama amped up a bit, with the bus careening and lurching downhill this meant we had to tread that fine line between reality and movie reality. They all needed to be augmented to some degree. We had several buses we used there, some set up for driving generally, some where the back half was removed and the engine moved to the front of the bus (the engines on these articulated buses are actually at the back), some rigged for the big crash at the end. Similarly, for the practical shots of the bus driving in San Francisco, sometimes we could use the actual bus, just having to add digital double passengers inside, but other times we had to add or replace the back half. The bus and garbage truck at the Sydney shoot. However, for several shots we wanted to twist the back half of the bus more than it could physically do, or bend it more this required replacing the back half and the articulated joint in CG. For the exterior shots, some were shot on the bluescreen stage, and we tried to use the complete bus, as photographed. We had two different complete articulated buses, without wheels for our bluescreen photography one was on an air bladder system, for general driving shots, the other on a six axis gimbal for the more dramatic twists, turns and jumps. It was a very complex sequence to shoot made even more difficult as it was in such a confined space, swinging around on a gimbal. It worked very well as a methodology and I think the sequence as a whole benefited hugely from us making a plan and sticking to that plan. Simu Liu as Xu Shang-Chi / Shaun during shooting of the bus fight. The entire flight sequence was very carefully prevised (by The Third Floor) and stuntvis’d first so that when we got to the actual shooting we knew exactly what it was we were aiming for it was an interesting process iterating between stuntvis and previs, often starting with previs, taking that into the stunt world, having them do versions based on the general idea in the previs, throwing in some more ideas and suggestions, taking it back into the world of previs to change camera angles etc. The shots of the fight outside the bus relied more on full CG builds of sections of the city, which Luma did based on LiDAR and texture photography taken on location. ![]() These array plates were then fastidiously stitched together to create the world of San Francisco outside the bus. ![]() However, we managed to get most of what we needed in an eight camera array set of plates, mounted on a car, driving through the streets. There were production restrictions with some of the streets we wanted to shoot so we had to improvise. Joe and I spent a long time mapping out the entire route and once created, we asked the small additional unit who was filming in San Francisco to shoot array plates along that path. Obviously San Francisco isn’t really quite that big so we had to get creative, but tried to maintain some geographical logic. Planning the sequence was quite complex, as we had to map out the route that the bus took through the streets of San Francisco, always trying to maintain a downhill motion during the most dramatic parts of the fight. Looking back at problem solving in VFX with Ben Snow ![]()
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