Strangeville Part 3

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Home of Cult Author and Filmmaker Kevin Strange

Your fake computer people would then die in a terrible housefire. Oh, and every now a guest goes completely insane, wanders out into the middle of the desert and has to be dragged back against their will. Despite being apparently built upon the final resting place of an Old One, Strangetown which consists of a hotel, three other buildings and a cow has a surprisingly good tourist business.

The only thing set in stone about your character in this game is that you are an absolutely terrible driver. You start the game careening off of an empty desert road and crashing into the only thing around for miles, a minuscule, and possibly cursed, town in the middle of buttfuck nowhere.

This is how Stephen King novels start. Look at this asshole.

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He introduces himself as Jebidiah S. Jerky, local handyman, and then immediately offers to fix our car, despite the whole attempted-murder thing. Origin is in offline mode. To get access to all Origin features, please go online. Sign In. Language Preferences. The Season 3 Battle Pass is yours when you join Premier. You are currently browsing in the store. Learn more.

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Behind the Scenes Archives • Strangetown, USA.

EA User Agreement. Screenshots and Videos. Create A Sim Items. Show All. Build Mode Items. In this scene, Pancho takes on the world of the elites, The Gold World, making his way to the banquet table, and the stage that seemed destined for him. But amidst the party there are Red World revolutionaries can you spot all of them?

In the end, is he one of us, or one of them? The Gold World saw our most rigorous lighting configuration yet. They were kicked slightly out of focus so as to not be too distracting, but still make the walls more interesting than the otherwise bland brick. Between this and a 2K spacelight, again somewhat center-world, we developed our base illumination. Each of the vignettes then had their own specials added. Our bathing Amazon princess, Jen, shared the 2K zip with Avi, but got her own w special up and above. This had to be placed in such a way that I, as the operator, would not shadow her.

The boxed mannequins received w specials as well, and the woman suspended by paracord inside the box also received a Source 4 topper. Finally, a rear 2K zip added a backlight for the dogs playing poker and betting the pig head. My personal favorite moment of this scene is when we dim the entire world and throw a spotlight onto Pancho via a Source 4 focused adjacent the dog poker scene. It was so perfectly literal.

Moving into the banquet hall, we again employed 2K zips, this time to illuminate the St. Chandeliers hung off on this side as well to give some extra flare. Behind each fire spinner a 2k zip was panned on as a backlight, and behind Pancho a series of three Source 4 backlights was employed. A couple w accent lights illuminated things like the columns on either side of the stage.

Our two FX lights came in very handy for this scene. Two red world workers, now liberated, stand tall after the firing, fists in the air. Did you catch them? This had to be trigged manually, and my dear friend Colin Trenbeath was tasked with hanging out at the top of the step during the shoot, ready to get it going at the right moment.

Since the shot was a continuous one-take, we had to do a handful of trickery behind the scenes. For example, as soon as we were done with the intro beat with Uncle Sam and the toy soldiers, he was cued to then run behind camera and make his way to have a seat at the final table. As Pancho jumps onto the stage, I actually had to jump up onto the banquet table myself so as to hide all of the characters that were about to be killed.

Afterwards, I climb down from the table, and spin my way around to pay off the world with now completely different lighting. All of the lighting cues were accomplished by the Boys setting up scenes in Luminar, and triggering them manually based on where I was with camera in the moment. Simultaneously, all of the characters had their own marks, directions, and actions to fulfill. We spent hours rehearsing this scene, like a stage-play, before we attempted to roll one on camera. We knew we had when the room erupted in applause, and the cooler full of beers was slid out to celebrate with. Truly magical.

When we first started prepping for Strangetown there was always this notion that we would throw a big party as soon as wrapped our second and last day of shooting which was thusly scheduled for a Saturday night. So as soon as we wrapped we had to immediately wrap the set, make it safe, and transition all the lights to party mode.

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This turned out to be a bit of a mad fury and in retrospect, we probably should have cleared the set first so we could make it safe , but in the end we laughed, we cried, we danced, and we stayed up til sunrise honoring the space that had been our home-away-from-home for the past several months. One of my proudest moments of the whole shoot, from a lighting perspective at least, was during strike.

We only had a day to wrap every light, cable, and piece of grip gear before we had to get it all back to DTC. We laid out every crate we had and as things came down from the rigging in the sky, they were organized into bins and counted against our list. It was our small way of thanking them for their hard work in prepping all the gear for us. Strangetown was no exception. This, as mentioned earlier, was a constant negotiation.

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The advantages of more money and more crew are obvious. My thought was that being more specific would save time and help ease the demand for lenses from DTC. In practicality, the amount of light that would have been lost by using a wider lens with an iris another consideration was negligible compared to the amount of time that ended up being lost sorting units and insuring the proper one was in the proper place.

RTS 27: Strangeville Lives

Had all the units just been degree lenses with irises in each one, we would have had more immediate fine control with less time spent on the day. An important lesson. During our second day of shooting, we had dozens of people in an enclosed space and practical fire effects happening. Our 1st AD on the day, Eric Sheehan, bless his heart, kept us all aware of our exits and what an emergency protocol would look like. Will keep that one in the toolkit, for sure.

Trevor Banta jumped on board to help he was basically functioning as a swiss-army-knife all week. Doing it this way with the cables hung above the cross beams meant it would be just as much of a chore to take down as it was to put up, with the cable needing to be fed through each piece of the pseudo-grid.

This was wrong. The proper way to do this, I learned, was to simply tie the cable to the grid with some sash cord, keeping the actual bates cable below the grid. When done this way, all you have to do to wrap the cable is rip out the knot and watch it fall to the ground. I will happily own that one, and will thus never forget it. From the get-go she and the whole warehouse team were on our side. They helped us secure a massive package on a tiny budget, and make sure we had all the necessary safety equipment.

Next, the Boys. With minimal rotating support from a few hard-working extra hands when we had them , Zac and Eric together wired, hung lit, and programmed each of the 7 environments essentially by themselves in two days. Our budget was tiny, and our crew was tiny, but nonetheless these two absolutely astonished everyone with their ability to light and control this set as a two-man team. Tons of gratitude to these two. Eddy at Event Magic was one more true hero of the project. Through the grapevine we heard he was looking to start clearing his inventory and Treigh, master production designer that she is, suggested we go take a look.

We hunted through every square foot of his warehouse and tagged dozens of items for pickup with a rented box truck. Rikuto, thank you for keeping us sharp. Jes, thank you for saving our ass with the Nucleus. Annie, thank you for keeping us organized. Ryan and Justin, thank you for your flexibility and swinging between duties.