statistically speaking, it's still the safest way to travel

[mimesere]

Saw Superman Returns again (in the company of the Geeky Coworkers) in IMAX 3D.

OMG. OH MY GOD, y'all. The scene where Superman lifts the yacht half out of the water was a-fucking-mazing in 3D. All of the scenes were, but that one in particular was stunning.

And just...he was all good and stoic and pretty and Clark was adorable and wow, *wow* does Jimmy ever have a mancrush on Clark. Not on Superman, but on *Clark*. And oh, Clark. How can people not love Clark? Clark is wonderful and adorable and a total goober and the cutest thing ever with his big grin and wave.

Also? Jason wears AQUAMAN PAJAMAS. Cutest! Thing! Ever!

ETA: Apparently, I got signed up for Premiere and After Effects classes at work! I win at life!

Comments

[jennyo.livejournal.com]

Fuck, I gotta remember the vid layout stuff, that reminds me. But we gotta fix the aspect ratios on the DVD footage -- take that 848 resize off the motherfucker.

Okay, so we're to Roslin jumping as she wakes up, so it's the first instrumental bridge. What I want to do with that, and that's 1:08 to 1:39 (1:39.5?), is to show how the two blur into each other. We have that clip I did with Six Degrees of Separation still in the project, but I also want a sequence of Six in 33 (or possibly in Colonial Day, both have her in the white jacket) seguing over to Roslin in Home 1, when she's in a similar white jacket -- 33 would be better because Six is soggy in the woods, too. Then I want a third sequence where Laura reaches out to touch the baby and pet her head (in Downloaded) with mini!Six touching the baby in a similar way. Each of those sequences should follow the Six Degrees clip trope of connecting them via central image, so if we can get a shot of a baby being held without anyone else in shot (I think there is one in the mini), and hmm, the crunchy bones in 2.2 (Valley of Darkness) as the connector for the white jackets. The sequences should be linked with Roslin walking in the woods in Flesh and Bone (actually, instead of the walking, have her running) and I think the last jump beat, similar to what I did with the 1:08 shot, should be Laura lighting the candle with Elosha (the shot that's also in the Jerusalem vid).

Second Verse

[jennyo.livejournal.com]

1:39.5 -- 2:33
as I walk on 1:41
through troubled times 1:42 - 1:46
Actually, I want this to be Laura standing firm with her guards to 1:41 with a dissolve cut to her stumbling in at the end of "Sacrifice" to look at Billy (probably two clips from that -- her stumbling walk in, and her fixing Billy's hair)

1:47-1:53 my spirit gets so downhearted
sometimes
Because I'm playing with irony, I want happy, laughing Roslin -- her clapping in Colonial Day, her dancing with Adama, and her throwing up her hands and laughing in LDYB 1. If we need more stuff there, the kiss with Adama in Res Ship II.

1:54-1:56 is more instrumental. Cut to Laura seizing up in Epiphanies. I think the point is that Laura is hard to pin down and that she is a creature of contradictions, also to provide counterpoint to Laura's happiness.

so where are the strong?
Because the point is that Laura is the strong, the trusted, and the harmony, and that all of her advisors fail at matching her. So the "so where are the strong" is going to be her turning away from Adama in Res Ship II (pushing the arm away) with maybe the start of it being Adama falling from the two gunshots. So that sequence should be Adama and Roslin facing each other between the bars in KLG2, Adama's post-shooting fall, and then Laura pushing him away (hand close-up) in Res Ship II.

who are the trusted?
I want to split this between Lee and Cottle -- I want that angry glower that Cottle gives her in Downloaded, I want Lee pulling his gun on Tigh and the knowing look Laura gives him in Resistance.

and where is the harmony?
Actually, this works best with Boomer. I want their glare-off in Home I, the Mexican standoff from the same, and the Boomer and Roslin on matching gurneys in Epiphanies. The problem is that "harmony" lasts forever. So there's also the clip of Roslin watching Boomer in Epiphanies, the "you are so my mommy god" look in I think Home II, and possibly we can have the wanky drop of Boomer blood from Resistance.

sweet harmony
Irony shot -- I want Roslin, Maya, and the baby from Downloaded (or possibly in LDYB II if that shot exists) against "I'ma choke a bitch" Boomer.

cuz each time I feel it slippin away (2:11-2:14)
Okay, the point is that she's feeling her power slip away, so I want her raving on the floor from Fragged, her shock of recognition at Leoben in Flesh and Bone, and then her expression at President Baltar.

just makes me wanna cry (2:15-2:19)
back and forth cut from the finale: Laura looking utterly impassive against Cylon centurions marching. like a second of Laura's reaction, a second of close-up on the centurion, repeat.

what's so funny bout peace love and understanding? (2:19-2:24)
Roslin and her schoolchildren, dissolve into the bleak surroundings of New Caprica, dissolve into Baltar's weepy-ass tears at signing over his colony.

what's so funny bout peace love and understanding? (2:27 - 2:33/4)
Roslin ordering Leoben's death (anything from her stone-face there), his evacuation into space, and then a shot of Gina and the explosion on Cloud Nine -- and then Six waking up in the tank in Downloaded.