What are your views about the upcoming MWIII game?
For me, it seems exciting but at the same time I don't wish the devs to speed up with the story.. because at times when you feel you need to rush things up, you mess with a lot of things, and if they wish to handle the legacy of the reboot MW in good hands? They need to process things right. Though November is still far away, I just don't want them to create a ruckus 😭
And the biggest fear is since it's the THIRD game we're talking about.. it already makes us curious yet worried about what might happen.. it better not end up like the OG, I PRAY TO THE DEVS
OH I HAVE THE SAME THOUGHTS.
I feel like they are trying to rush things, because MW2 was very successful. I have so many expectations about this game, OG MW3 was very iconic. And I feel that they won't match the same level if they rush things.
I feel like they should take their time and develop a good game instead of trying to do everything NOW. They could focus on other games *cough* *cough* Black Ops *cough* *cough* and make a true masterpiece like MW3 deserves.
7 notes
·
View notes
This month Steve Jennings looks at Louis Tomlinson’s Faith in the Future world tour and spoke with Production Designer, Programmer, and Director Tom Taylor of Tanck.co about his design. Taylor, along with Tanck.co partner Francis Clegg, added a video element to support the larger venues on this run.
By: Steve Jennings (Photos and Text)
Wide Focus - August 11, 2023
English singer-songwriter and former One Direction band member Louis Tomlinson is back out on the road in support of his second album, Faith in the Future. For his second world tour, he’s playing to an ever-growing audience—the crowd I witnessed could not get enough of him as evident from the adoring fans singing along to every word he sang. We spoke to Production Designer, Programmer, and Director Tom Taylor of TANCK about the tour.
Designer Tom Taylor started working on the current tour as the new album’s promo materials and aesthetics came to light. Taylor says it’s a more rugged and asymmetrical look than they’ve gone for before, meant to mirror a sort of dive bar aesthetic rather than a beautiful arena production. “This reflects the music off the latest album, which has a more grungy feel to it. There are touches in there such as the light boxes (loosely resembling the fluorescent lights of a nightclub toilet), and our custom camera housing (a hollowed out old VHS camcorder with a Marshall 4K camera inside) that bring it back to a more intimate venue feel than the true scale of the places we’re playing across the world.”
Taylor notes the show itself has definitely progressed and he would say feels more like a ‘show’ than a ‘gig‘ now; it has a start, middle, and end, with themes and segues to connect them throughout. “The video content is more to set a mood for the songs. We’re trying to stay away from anything too literal and obvious. This extends to the lighting programming as well where we largely refrain from hitting everything on the beat, fully ‘perfect’ timecoded hits throughout the rig. Hopefully the end result is that in those moments where we do go crazy with programming and rhythm, it’s much more interesting and stands out in the set.”
Since 2020, Taylor has worked with Francis Clegg on production design. They had worked together for about five years prior to that and have a complimentary skill set. “We’ve accelerated quite rapidly, taking on a design assistant in Jamie Lawrence and soon to have another member of the team joining,” Taylor says. “Whilst one of us is the company face to each artist or client, we work together 50/50 on every project behind the scenes. James Washer [Lighting Programmer] is often the first name on the team sheet when we pick up a show like this one… he just gets it; is a great programmer and time saving resource who knows how to interpret when I say something like ‘can the lights be a little more aggressive.’ Francis (Clegg) is also a fantastic programmer, so I was able to work alongside James in the rehearsals to finesse the previz programming.”
Although he’s on a MA Lighting grandMA3 surface, Taylor runs the show on MA2 software. The reason for that is because this tour goes everywhere in the world, and he knows he can get an MA2 anywhere without having to lug around small form consoles himself. Taylor much prefers to take a USB stick through an airport. “We are running a lot of things through the desk—lighting, video, camera switching, and automation. The MA makes this easier to deal with and the fixture cloning system is excellent, so I know I’m going to get a good replica of the show no matter what fixtures I get thrown wherever we go.”
The venue sizes this time around sort of called for a video element to be added, Taylor says. “The focus of the show is, of course, Louis, so plenty of close-up camera work to amplify his emotion. These are treated with overlays and masks created by [content creators] Two Suns and ourselves, with 3D animation work coming from Boxcat Studio. The whole system is run on a Resolume server. Camera switching is done from the MA console via Open Control, which sends OSC messages to the ATEM switcher, which ultimately sends it to the capture cards. This way we eliminate a touring video director (sorry!) and save a bunch of truck space on outboard equipment. The system works extremely well.”
Colour Sound Experiment out of London is the tour lighting, video, and rigging company. “We use them for a large portion of our shows. It’s very useful dealing with just one company who ‘do it all’ but also don’t cut any corners or scrimp to get the job done. The equipment is well maintained with a good selection of inventory to choose from.” Taylor says it probably took them about three iterations to get to the point they’re at now, keeping ideas from the previous versions until they got somewhere they were all happy with. “It was a bit of a process, but a great payoff. I should probably thank Louis and his Manager, Matt Vines, for their patience in putting it all together. There are a lot of (literally) moving parts to the stage with winches, light boxes, light bulbs, and our shuttering set piece at the back. Ultimately the show is dynamic and exciting, but all the elements sit nicely together as well.” Taylor was a bit unsure on using the GLP X4 Bars across the back because of the brightness difference to GLP’s FR10, for example, but they are exactly the right brightness for this gig without being overpowering, he says. “My absolute favorite moment of the show, where we have some crazy iridescent hyper color animation, is driven by the Ayrton Huracans… amazing lights, just don’t try to pick one up by yourself, they’re beasts!”
Tomlinson was really involved in the design of this one, and also much more open to trying new things and delivering a narrative through the show, adds Taylor. “Matt Vines should have a shout out for his contribution to the ‘ideas factory’ and being a great sounding board as we developed the show. PM Craig Sherwood has been incredible as always, never asking ‘why’ we want to make it look like a derelict bathroom, just making it happen. Finally, the tour’s secret weapon, technical maestro Sam Kenyon, who is quite literally irreplaceable, has been an excellent resource for actually delivering the show in the real world day after day.”
Production Team
Tour Manager: Tom Allen
Production Manager: Craig Sherwood
Production Design, Programmer & Director: Tom Taylor & Francis Clegg, TANCK
Lighting Programmer: James Washer
Lighting Crew Chief: James Box
Lighting Techs: Rick Carr, Amy Barnett
Stage Manager: Torin Arnold
Technical Manager: Sam Kenyon
Video Crew Chief: Dave Mallandain
Video Programmer: Jack Fone
Video Techs: Tim Curwen, Braden Pettigrew
Camera Operators: Mark Lawrence, Braden Pettigrew, Tim Curwen
Rigger: Mark Lawrence
Vendors
Lighting/Video/Rigging: Colour Sound Experiment/Acc. Rep. Haydn Cruishank
LED Trim: LED Creative
Custom Light Housings: OX Event House
Set Construction: Hangman UK
Video Content: Two Suns Creative, Boxcat Studio, TANCK
SFX: BPM SFX
Gear
Lighting
2 MA Lighting grandMA3 full-size
19 Ayrton Eurus Profile
6 Ayrton Huracan LT Profile
5 Claypaky Mini-B
12 Robe Spiider
72 GLP X4 Bar 20
16 GLP JDC Line 1000
10 GLP JDC1 Strobe
12 CHAUVET STRIKE Array 4
2 Chroma-Q Color Force II 12
16 Elumen8 COB PAR Endura
10 LEDJ Spectra Q15
3 Robe BMFL RoboSpot
Video
2 Resolume Server
23 Custom LED Trim
6 Video Screens, 2.5m x 2.5m
7 Marshall 503 Camera
3 Panasonic UE70 PTZ Camera
2 Blackmagic Design URSA G2 Camera
► audio version of the article available at the source
4 notes
·
View notes
"He tells of the history of Panem, the country that rose up out of the ashes of a place that was once called North America."
(THG chapter 1)
"In school, they tell us the Capitol was built in a place once called the Rockies. District 12 was in a region known as Appalachia."
(THG chapter 3)
Where do you think location of Capitol and Panem's districts exactly?
The Appalachian’s span multiple states. Where do you picture District 12?
How long between this time and Panem rise? 200 hundred years? More?
Thank you so much
@curiousnonny
Oh man, @curiousnonny 😓 I'm no map girl. I take hours and hours figuring places out. Also, I'm not from the US so I don't know about the states, etc.
In my fic, The Photograph, I did pick Virginia as the location of D12. That's very random and without much deep thought, other than it is close to the Appalachian mountains.
For the year, Panem is weird because there are elements that are so futuristic and there are those which are old. It's almost like two timelines mashed into one without them actually mixing together 😅😂 I'd just wager 100 years from now? Or even more. I don't know how long it will take for humanity to destroy itself so that we have such a dystopian society.
Take care, @curiousnonny
3 notes
·
View notes
this is a poster i made for my call to action assignment in humanities! it's a bunch of basic and easy stretches for people who sit and work at a desk all day (me)
the idea is that you'd put the poster up above ur desk and do the stretches every 30 minutes or so,, the whole routine won't take more than about 6 minutes to complete and when done regularly it can prevent wrist, shoulder, neck and back pain! :)
all these stretches can be done while sitting (although i HIGHLY recommend you stand up and move around while taking a break from working)
you can get a free digital copy of this poster here on my gumroad!
and you can order a print/poster here from my inprnt!
64K notes
·
View notes