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Post by gothicarchiesfan on May 11, 2018 12:51:41 GMT -5
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Post by gothicarchiesfan on May 14, 2018 10:01:18 GMT -5
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Post by nisforknowledge on May 24, 2018 14:00:34 GMT -5
Hey gothicarchiesfan, do you think you could do the music for the season 2 trailer?
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Post by gothicarchiesfan on May 26, 2018 10:00:59 GMT -5
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Post by destinychild on May 27, 2018 20:58:06 GMT -5
Noticed on a rewatch Esme says "If I had known adopting them would have brought you [Olaf] into my life sooner, I would have orphaned them myself". (Ersatz Elevator, Pt2 not longer after she throws them down the shaft) Rules out that Esme started the Baudelaire mansion fire in the TV series.
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Post by Uncle Algernon on May 28, 2018 12:04:47 GMT -5
Noticed on a rewatch Esme says "If I had known adopting them would have brought you [Olaf] into my life sooner, I would have orphaned them myself". (Ersatz Elevator, Pt2 not longer after she throws them down the shaft) Rules out that Esme started the Baudelaire mansion fire in the TV series. Yes, we've discussed that one a lot already.
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Post by gothicarchiesfan on May 29, 2018 12:23:31 GMT -5
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Post by gothicarchiesfan on May 29, 2018 12:32:06 GMT -5
Hey gothicarchiesfan, do you think you could do the music for the season 2 trailer? Here you go nisforknowledge . :Edit: I apologize for the low quality of this track because since it's not from an actual episode, I wasn't able to seprate it using my normal methods.
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Post by nisforknowledge on May 30, 2018 9:49:11 GMT -5
Thanks gothicarchiesfan!
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Post by gothicarchiesfan on May 30, 2018 22:05:08 GMT -5
The Film/TV industry award prediction website GoldDerby recently did a video interview with season 2 composer Jim Dooley.
There isn't much in the way of new information, but it does provide an interesting look at his composing process.
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Post by gothicarchiesfan on Jun 1, 2018 17:14:06 GMT -5
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Post by gothicarchiesfan on Jun 7, 2018 16:20:37 GMT -5
AwardsDaily.com published an interview with Bo Welch about his work on season 2: What a world to live in. What was that initial conversation with Barry about creating the world of Unfortunate Events?I do live in it and I lived in it for two years and it’s a very fun world to live in. It began with a phone call from Barry and you know we’ve worked together on many occasions together. He called me and he actually called me when he was going to direct the feature film version of A Series Of Unfortunate Events but I was doing something else. As it turns out, he didn’t end up making the film. When it came back full circle and he had the opportunity to do it for Netflix, he called me with an incredible amount of joy because it had come back to him and landed in his lap. He could do it properly and film the thirteen books over 25 episodes so you have a chance to get into the A and B stories and all the characters you accumulate over the course of the series. That’s where it started, with this enthusiastic phone call. I had never done Netflix or TV and I was slightly skeptical but his enthusiasm is infectious. I knew together we could do something fun and special and something that was close to our sensibilities and our tone. I was setting up the art department in Vancouver and had a month to six weeks to generate the design for the first four books. I fast and furiously started drawing and designing. At the same time, Barry and I were having conversations trying to hone in on the particulars of our aesthetic. Through drawings and concept art we arrived at a lovely collection of 15 or so pieces of concept art that I had commissioned based on my rough designs. Then we took it to Netflix, they loved it and secretly thought to themselves that we’d never get it done. They loved it, looked at it and thought we were insane. It’s very particular and designy, especially with the timeframe and budget. First and foremost, I re-read the books and started drawing, picking references and started smashing it together. Let’s talk about some of the wild sets you created. Let’s start with the Austere Academy:I design all these environments and they really are, to me, a series of unfortunate settings for these lovely hopefully children to inhabit, surrounded by buffoons and ridiculous evil grown-ups. I actually went to a private boarding school and it was beautiful. It was the old-time kind with stone, brick, and ivy. I wanted to do a traditional school like that but then knock it down, run it down to the degree that you have the sense that it once had its heyday and it was almost like a prison than a school. The key to it was that the orphans were housed in a tin shack. That to me generated the idea of quadrangles so that you could put a small beat up tin shack in the center of a quadrangle. You’re right in the center so that conceptually everyone is looking at you all the time to enhance the embarrassment and hideousness of the situation. It was a series of quadrangles that led from one quad to the other and finally to the rundown athletic field. The dorms looked like giant headstones and it was a pretty extreme allusion to a graveyard anchored by a rundown school and within it lived the kids in a hideous tin shack infested with crabs and mold. We designed it book at a time. Barry felt he should do the season kick off and was spending time in this hideous school. I directed one block per season and he didn’t like Ersatz Elevator when he read it and said I could do it. Design-wise, it’s all clean and beautiful and stylish. I never heard the end of it. He had to live in Austere Academy in all of its hideous and rundown state, and I got to live in the penthouse apartment and in Ersatz Elevator. Describe the look of the carnival and that concept.I can’t think of a production designer working today who if offered the chance to design a horrible, rundown carnival/circus with all of the tents and wagons and all of the grotesquery, wouldn’t leap at the opportunity because it’s so much fun at an aesthetic level. Clowns and circuses are creepy to begin with. When you put in the backstory and it’s rundown and abandoned but it still operates and you add the layers of narrative on top, it’s pure heavenly. I can’t get enough of it. It was fun to execute. You can reference a lot of old carnivals. I looked at a lot of rundown Eastern European architecture. Actually, throughout season two, I would say it had a pretty heavy abandoned Eastern European aesthetic through the whole thing. Talk about the grotesquery of the Hostile Hospital because grotesquery is now a word.Again, let’s go back to the abandoned Eastern European something that usually ends in -Stan and you look at their rundown once heroic architecture and you wonder what the hell planet are we on. That inspired me for Hostile Hosptial which was half complete and half under construction. It was abandoned and horrible but still being operated by grownups. People have asked and said that it looks great. I think there are some underlying concepts that are repeated. We build and shoot everything on stage and that gives it a uniformity for lighting and sound. There’s a certain amount of restriction that comes with constructing all that stuff on stage that gives it a uniform feel. I loved looking at that world. I love it too. I look for beauty and a pleasing aesthetic within the most mundane, most banal and try to find beauty. As horrible as those places are, you still get it and think it’s sort of cool. The goal is to experience it cinematically and in person and bathe in it. www.awardsdaily.com/2018/06/07/bo-welch-on-designing-the-grotesquery-look-of-unfortunate-events/
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Post by gothicarchiesfan on Jun 13, 2018 11:27:56 GMT -5
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Post by gothicarchiesfan on Jun 14, 2018 11:23:03 GMT -5
I found an interesting interview with some of the people who worked on some of season 2's different post-production aspects: 'A Series of Unfortunate Events' further impresses with the visual design in Season 2 by detracting the Baudelaire children away from family acquaintances into a vast world outside their comfort zone in five diverse locales in the Austere Academy (aka: school), Ersatz Elevator (aka: Penthouse), Vile Village, Hostile Hospital, and the Carnivorous Carnival. With an opportunity to broaden the settings of the story from Season 1, the multi-faceted visual aesthetic of this show integrates the realistic production design with an additional layering of immersive visual effects and capped off by incredible High Dynamic Range coloring. The five surroundings emulate actual physical locations; but in reality, production designer, Bo Welch ('Men in Black' franchise) conceptualized these peculiar settings from the source material as he drew, designed, and had his team build all the sets. Welch explained, "The school, what was at one time probably a highly regarded private boarding school, modeled after an east coast or English boarding school and then we distressed it within an inch of its life. The Penthouse is all about people who are completely obsessed with style and fashion and what it's like staying ahead of the trends. The Vile Village is located in the Hinterlands, which we decided would be flat and in the middle of nowhere consisting of a town hall, a bar, crow fountain, gas station, feedstore, and a jail. The Heimlich Hospital is half built, deserted, and horrifically depressing. The Carnivorous Carnival stems from a design standpoint including tent clowns, scary material, all partially abandoned spaces and run down." The visual effects are seamlessly integrated into the production design as it is an extension of the set. Visual Effects supervisor, Eric Brevig ('The Maze Runner') and visual effects producer, Tom Horton ('Emerald City') elaborated on the intertwined collaboration. \'The art department here builds and sets the reality standard for what the buildings are supposed to look like. It's our job to take their designs and continue it so that whenever the camera looks off of the set to the wide views or establishing shots, that the entire structures are seen. The buildings are built 20-24 feet high, everything else above that line is all visual effects. We are also adding Hinterland environments with beautiful sunset skies that extend to the background, to the horizon, and fill in the sky with clouds so that it all feels like one place," expressed Brevig. Horton added, "Every building is specifically designed with a stylized look, stylized world. We will often have a 10-page dialogue scene in an exterior town square in a 360-degree green screen. We added a roller coaster extension to the carnival set and the fountain valley with a CGI environment. In the Vile Village episodes, the rooftop is covered with 10,000 crows that are fully CG, plus those crows murmuring and landing in a tree total about 800 shots. We even open up Budapest as a potential location for some of the driving shots. All the driving shots were all CG. We're tracking about 300 shots per episode. The show is not about the real world, it really just has this look to it.” As the visual effects amplifies the production design, the final stages to enrich the visual fullness is topped off within the coloring process from colorist Laura Jans Fazio ('Hawaii Five-0'). "Every time we moved into a different place in the story line, it really came alive by the set design and then me adding the color into it and making it this soft beautiful palette of color that enhances everything in wardrobe and set design. The palette is a softer contrast, more filmic, more painterly, like a hand painted black and white photograph from back in the day; and a very sort of pastel with a blue veil across it. It's a subtle approach to telling the story and utilizing the colors that are designed for it," the colorist elaborated. The entirety of Season 2 is very stylized and realistic, but episode 210 is the one that stands out the most. Episode 210, known as "The Carnivorous Carnival: Part Two" is a carnival set built to the edge of a giant green screen stage. This episode displays the elaborate constructed production design with incredible exterior night skies which maintain a special palette of stunning colors. 'A Series of Unfortunate Events' Season 2 parades a rich hyperrealism design that is visually conspicuous from the unprecedented craft of production design to capturing the visual effects with a painterly image through the wide scope of color dynamics, as these components uniformly create a unique and specific look. www.btlnews.com/news/?id=180631338
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Post by Liam R. Findlay on Jun 25, 2018 4:27:13 GMT -5
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