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Messages - JOE SOAP

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Off Topic / Re: The Political Thread
« on: Today at 03:47:16 am »
In the future, we'll probably look back at talcum powder in the same way we now look at mercury enemas and trepanning

Ah, the days when we used to drill holes in our heads just to let off some steam.

Help! / Re: Can the FX in the prequel Star Wars be in 4K?
« on: 13 December, 2018, 07:06:34 pm »
Would they render it all out again?

There are very few, if any, big films that currently render out 4k FX and I'd say very few will ever, or for the foreseeable, re-render their FX as it's too expensive.

The problem with both Attack of the Clones and Revenge of the Sith is that, unlike The Phantom Menace being shot on 35mm film, the films themselves were both shot 1080p and matted to 2.39: 1, so they can never be truly 4k, or even reach true 2k – so it's upscale all the way.

Off Topic / Re: The Political Thread
« on: 12 December, 2018, 04:33:07 pm »
Prof. Bear offered Sharky an open door to his ideal anarcho-dream-state, and he walked on by.

Who needs a functioning government anyway?  We haven't had one here in Northern Ireland for ages and the bins still get collected.

Off Topic / Re: The Political Thread
« on: 11 December, 2018, 10:18:39 pm »

And you still have Brexit to look forward to.

Film & TV / Re: Christmas Telly?
« on: 11 December, 2018, 07:31:42 pm »

Film & TV / Re: Christmas Telly?
« on: 11 December, 2018, 06:42:03 pm »
Christmas – a time for quality Star Wars content.

Film & TV / Re: Christmas Telly?
« on: 11 December, 2018, 01:47:47 pm »
Surprised they could raise the budget for a second season- McFarlane's hair and teeth alone cost the same as 26 episodes of Voyager.

But they suppply warmth and renewable energy for millions.

Film Discussion / Re: Dredd 4K Ultra HD Blu-ray available to pre-order now!
« on: 10 December, 2018, 03:45:12 pm »
Dredd doesn't really benefit too much from the 4k upgrade simply because of the way the film is lit and the way it intentionally has that gritty look to it, which was noticeable even in the theater. If anything, the 4k looks like an upscaled version, not unlike older films like The Matrix and Saving Private Ryan.

Dredd wasn’t mastered in 4k so it can only ever be an upscale.

Film & TV / Re: Last movie watched...
« on: 07 December, 2018, 01:46:18 am »
There's also this really weird neon aesthetic in a lot of scenes that make them look like something from one of those CW superhero shows, only shot on film so it looks 10-15% less garish and cheap

No-one shoots on film anymore apart from a few outliers and luddites like Nolan, PT anderson, and big studios for the nostalgia porn of the Star Wars saga, and serious, important DCEU films – because WB thought it would make them more like Nolan films and less like Marvel.

That's partly why a lot of TV and film can look generally the same.

General / Re: Favourite dialogue in 2000AD
« on: 04 December, 2018, 04:52:00 am »
Too many from Wagner, Grant, Mills, Moore so went for something relatively recent that made this grump burst-out into an actual laugh - but also brilliantly sets up the theme of Joe Dredd being regarded as something more than a Judge.

Prog / Re: Prog 2109 - Shark-Infested Waters
« on: 26 November, 2018, 10:57:09 pm »

They missed a trick in The Small House by not having Gerhart ride in from the Cured Earth on Henry Ford.

Off Topic / Re: The Political Thread
« on: 26 November, 2018, 02:10:42 am »
I assumed Mrs Brown's Boys was revenge for Partition.

Has to be Give My Head Peace.

News / Re: Rebellion Sets Up $100 Million U.K. Film and TV Studio
« on: 25 November, 2018, 03:29:31 pm »
Advertising in industry mag Variety that you have a large studio to rent (amongst your IP wares) is not a bad move.

A small country like Ireland with loads of free space has about half a dozen large scale film/TV studios for rent and more proposed.

2000AD productions may or may not be exactly imminent but studio rental is a game to be in. Rebellion obviously wants to diversify and expand its portfolio, and is willing to borrow and invest large capital to do that.

Marvel, while not originally needing or intending to build their own infrastructure, did something similar on a larger, riskier scale by borrowing $525 million from Merrill Lynch to fund their Phase One films.


Blade made $70 million at the U.S. box office, but Marvel only pocketed a shocking $25,000. Because of a flat-fee negotiation, Marvel made nothing off the success of X-Men.

In 2003, Endeavor talent agent David Maisel pitched Marvel a simple, but radical idea: why continue to give away your best assets to other companies for a paltry fee? Create your own production studio, develop and produce these titles in house and retain 100% of the profits.  At the time, Marvel was intrigued but hesitant to move forward. After about seven years toiling away at profitability in the wake of their bankruptcy, they were finally starting to see some returns, as small as they were. Why risk all that on a plan that leave them broke again?

Maisel was persistent; his main argument was that if this deal failed they were arguably no worse off than where they currently were, but with a chance to become their own successful studio and finally in creative and financial control of their own assets. In 2005, the Marvel board approved Maisel's plan and a seven-year, $525 million financing deal with Merrill Lynch was announced that would launch Marvel Studios, an internal production company that would “give Marvel complete creative control” over their films (an agreement was reached with Paramount Pictures who would market and distribute the films).

But, to get that $525 million, Marvel had to put something up as collateral: almost everything they had.

The deal included 10 properties — Captain America, The Avengers, Nick Fury, Black Panther, Ant-Man, Cloak & Dagger, Doctor Strange, Hawkeye, Power Pack, and Shang-Chi — and if the Marvel Studios plan failed, they would lose the rights to every single one of those properties. The bank would own them and the plans for a Marvel Cinematic Universe would be dead.

News / Rebellion Sets Up $100 Million U.K. Film and TV Studio
« on: 25 November, 2018, 12:21:53 am »
Judge Dredd Owner Rebellion Sets Up $100 Million U.K. Film and TV Studio

Judge Dredd and Rogue Trooper are shooting into action near Oxford, England.

Video-game company Rebellion, which is moving into film and TV, has bought a large former print works that will be converted into studio space for its highly anticipated Judge Dredd TV series, “Judge Dredd: Mega-City One,” and its Rogue Trooper film, directed by Duncan Jones (“Source Code”). Both projects feature characters from the legendary British comic book series “2000 AD,” which Rebellion bought, appropriately enough, in 2000.

As well as servicing Rebellion’s burgeoning slate of film and TV projects, the studio will also be made available to third parties in a boost for the entertainment industry in Britain, where demand for space is outstripping supply.

The site in Didcot, about 50 miles west of London, was previously a printing press for the Daily Mail newspaper. With large soundproofed spaces already in place, parts of the facility will be ready for use within weeks, without the need to go through the lengthy planning permission process.

Major expansions are underway at Pinewood, Shepperton, Church Fenton and other studios, and there are plans to build new facilities in Liverpool, East London and Leeds. But with its proximity to production bases in London and Bristol, the new Rebellion Studios will provide much-needed additional space now. It boasts an overall area of 220,000 square feet, including a 25,000-square-foot sound stage.

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Jason Kingsley, who founded Rebellion with his brother Chris, said the site would be used as a location as well as a studio. The company expects to create up to 500 new jobs as the new studio gets up and running.

In the gaming world, Rebellion is known for the “Sniper Elite” series and such recent releases as “Strange Brigade.” It has acquired a raft of comic book IP, having bought “2000 AD” from Egmont and, two years ago, the Fleetway and IPC Youth Group archives from the same seller, a deal that handed it titles and characters including “Battle,” “Action” and “Roy of the Rovers.”

Jason Kingsley told Variety that the barriers between different types of screen-based entertainment and storytelling are falling away. “I think we are pretty good at creating content in all different types, screen content and interactive games and all sorts of stuff, and I’m hoping we’re going to be equally good at making TV and film,” he said.

The Kingsleys were producers on the 2012 feature film “Dredd,” and the hard-hitting lawman will return in TV series “Judge Dredd: Mega-City One.” That will be produced by Rebellion Studios, which, with pilot script in hand, is talking to potential broadcast and platform partners. The Rogue Trooper film features the titular blue-skinned, genetically engineered super-soldier, and is being developed in partnership with Duncan Jones and Stuart Finnegan, who are directing and producing, respectively.

Part of the reason for setting up the new studio, which sits near Rebellion’s Oxford base, was a lack of space to pursue these new projects, Kingsley said.

“We’ve got a huge library of good stories, and we’ll do original stuff as well,” Kingsley said. “We make computer games. VFX is an area we are looking at as well. There is a whole bunch of interesting stuff, but you do need the craft skills and you need facilities…and it is hard to find them. We were looking and couldn’t find anywhere to shoot the stuff we have ambitions to do.”

Chris Kingsley noted that the growth in the demand for content from the likes of Netflix and Amazon is an opportunity, but has also presented a challenge in terms of space and facilities. “We’re seeing more big players wanting to get in on the action,” he said. “This is very exciting for the domestic and global film industries, but it’s also meant that our infrastructure is under increasing pressure.”

The Rebellion library covers superheroes but also touches on other genres. Through its acquisition of the TI Media library, it has an archive stretching back 130 years that includes “Comic Cuts,” which dates back to 1888 and is arguably where the term “comic” originated.

“We have plans, we have a lot of scripts in development, we have got a lot of scripts written, we have pilots that are looking for people to work with, we have people going out to the U.S. to talk to the people who are the routes to market,” Jason Kingsley said.

Help! / Re: Judge Dredd fact checking
« on: 22 November, 2018, 12:58:19 am »

Cyberleader2000's talent entered fan-lore and made the prog – not many can claim that prize.

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