Sam Carter/Amanda Tapping Discussion/Appreciation

[starlover]

Here are some Ripple Effect Behind the Scene pictures of AT

Ripple Effect Behind The Scene Slideshow

thanx great slideshow!

[Skydiver]

How about a new CAPTION THIS:

Sam: Kiss me again and we're gonna find out if there's live ammo in this gun.

Cam: *gulp*

[blueiris]

i know!

***snipped***

and that ending scene, where sam and jack see the fish in jack's supposedly fishless pond... how nice to add that little touch that gives the viewers the impression that all is NOT normal and reset. was it just a joke? was jack fibbing about the fish all along (because he was too embarrassed to admit he just couldn't catch the danged fish?). did the writers add that little remark because it was a simpson's joke? did rda?

basically, moebius left me feeling... sad.

sally

I remember reading in the Ask JMallozzi thread, and I would find it if I had the time, that JM said regarding that scene that Jack only thought there was no fish. But that there was fish in the pond all along. I choose to believe that.

[minigeek]

Thanks tsaxlady, I always appreciate your pictures

And just think how much time it would have taken Amanda to shoot that one scene

Days. Weeks, even?


Not that anyone would really care, but you guys want to know how this is usually done? It's kind of neat. It's a combination between splitting the screen for the moments when two or more identical characters interact with one another (which most of you already know a little about) and chromakeying, which is what the green screen shots are for. The thing is, calculating the camera position(s) and lighting levels is really tricky in this kind of thing because the camera cannot move, or else the scene is broken. Some of the newer cranes are programmable these days and can reproduce identical motion arcs, but they have to be locked in position before that happens too, and they're expensive pieces of equipment so most often the cameras are simply set up and never move. Then the light levels are kept identical (which is tough day after day of a shoot, every shadow, every level has to be identical or you get lines across the screen which shows where the cheat(s) are). Lighting levels are most often the thing we have to compensate for in the studio, because rarely do we get a perfect shoot, so we'll usually feather out the line edges, but with a scene like Amanda had, that kind of effect cheat can get very dicey - anywhere there's a feathered edge, there cannot be an actor. Or else you'd obviously see part of them fade out in a weird way. Sort of like a ghost disappearing into thin air. You can sometimes cheat this by using a cutaway shot instead of worrying about the visible scene join, but if the entire scene takes place in the same space and you've got a long shot there, it's not as simple. So what it looks like they did here, was shoot each scene with Amanda talking to (herself) by using a stand-in for an over the shoulder shot. Basically, one character (the one whose face you see) is Amanda and the "over the shoulder" character is the stand in with the appropriate clothing on. That's just for the purposes of the interaction when you cut between the characters, you don't notice it because they have identical blocking. So in a room full of "Sam Carters" for example, a lot of them are in the same space but don't actually meet or interact - that makes things easier to cheat, because you can give every character the full screen space as long as the cameras don't move and the lighting levels remain constant. You've got the room as an immobile constant in front of which you can either chromakey multiple Carters into the scene and/or film her sitting in different places at different times, film the stand-ins around her for "back and shoulder" continuity, and then cut the segments all together in post whereby (so long as nothing else changed or moved), each cut in the scene will then appear as though we're moving from one Carter to another, to another. Amanda must be in every single position of every single stand-in (identical) blocking for such a scene, but the post team makes all the joins invisible thereafter... est voila!

geeeek

[starlover]

Days. Weeks, even?


Not that anyone would really care, but you guys want to know how this is usually done? It's kind of neat. It's a combination between splitting the screen for the moments when two or more identical characters interact with one another (which most of you already know a little about) and chromakeying, which is what the green screen shots are for. The thing is, calculating the camera position(s) and lighting levels is really tricky in this kind of thing because the camera cannot move, or else the scene is broken. Some of the newer cranes are programmable these days and can reproduce identical motion arcs, but they have to be locked in position before that happens too, and they're expensive pieces of equipment so most often the cameras are simply set up and never move. Then the light levels are kept identical (which is tough day after day of a shoot, every shadow, every level has to be identical or you get lines across the screen which shows where the cheat(s) are). Lighting levels are most often the thing we have to compensate for in the studio, because rarely do we get a perfect shoot, so we'll usually feather out the line edges, but with a scene like Amanda had, that kind of effect cheat can get very dicey - anywhere there's a feathered edge, there cannot be an actor. Or else you'd obviously see part of them fade out in a weird way. Sort of like a ghost disappearing into thin air. You can sometimes cheat this by using a cutaway shot instead of worrying about the visible scene join, but if the entire scene takes place in the same space and you've got a long shot there, it's not as simple. So what it looks like they did here, was shoot each scene with Amanda talking to (herself) by using a stand-in for an over the shoulder shot. Basically, one character (the one whose face you see) is Amanda and the "over the shoulder" character is the stand in with the appropriate clothing on. That's just for the purposes of the interaction when you cut between the characters, you don't notice it because they have identical blocking. So in a room full of "Sam Carters" for example, a lot of them are in the same space but don't actually meet or interact - that makes things easier to cheat, because you can give every character the full screen space as long as the cameras don't move and the lighting levels remain constant. You've got the room as an immobile constant in front of which you can either chromakey multiple Carters into the scene and/or film her sitting in different places at different times, film the stand-ins around her for "back and shoulder" continuity, and then cut the segments all together in post whereby (so long as nothing else changed or moved), each cut in the scene will then appear as though we're moving from one Carter to another, to another. Amanda must be in every single position of every single stand-in (identical) blocking for such a scene, but the post team makes all the joins invisible thereafter... est voila!

geeeek

Wow great explanation...now i understand it better. thanks
but it still must have took a long time to record it all

[Mandysg1]

Days. Weeks, even?


Not that anyone would really care, but you guys want to know how this is usually done? It's kind of neat. It's a combination between splitting the screen for the moments when two or more identical characters interact with one another (which most of you already know a little about) and chromakeying, which is what the green screen shots are for. The thing is, calculating the camera position(s) and lighting levels is really tricky in this kind of thing because the camera cannot move, or else the scene is broken. Some of the newer cranes are programmable these days and can reproduce identical motion arcs, but they have to be locked in position before that happens too, and they're expensive pieces of equipment so most often the cameras are simply set up and never move. Then the light levels are kept identical (which is tough day after day of a shoot, every shadow, every level has to be identical or you get lines across the screen which shows where the cheat(s) are). Lighting levels are most often the thing we have to compensate for in the studio, because rarely do we get a perfect shoot, so we'll usually feather out the line edges, but with a scene like Amanda had, that kind of effect cheat can get very dicey - anywhere there's a feathered edge, there cannot be an actor. Or else you'd obviously see part of them fade out in a weird way. Sort of like a ghost disappearing into thin air. You can sometimes cheat this by using a cutaway shot instead of worrying about the visible scene join, but if the entire scene takes place in the same space and you've got a long shot there, it's not as simple. So what it looks like they did here, was shoot each scene with Amanda talking to (herself) by using a stand-in for an over the shoulder shot. Basically, one character (the one whose face you see) is Amanda and the "over the shoulder" character is the stand in with the appropriate clothing on. That's just for the purposes of the interaction when you cut between the characters, you don't notice it because they have identical blocking. So in a room full of "Sam Carters" for example, a lot of them are in the same space but don't actually meet or interact - that makes things easier to cheat, because you can give every character the full screen space as long as the cameras don't move and the lighting levels remain constant. You've got the room as an immobile constant in front of which you can either chromakey multiple Carters into the scene and/or film her sitting in different places at different times, film the stand-ins around her for "back and shoulder" continuity, and then cut the segments all together in post whereby (so long as nothing else changed or moved), each cut in the scene will then appear as though we're moving from one Carter to another, to another. Amanda must be in every single position of every single stand-in (identical) blocking for such a scene, but the post team makes all the joins invisible thereafter... est voila!

geeeek

Thanks for explaining all that, minithetruelyamazinggeek

[minigeek]

Thanks for explaining all that, minithetruelyamazinggeek

Nah, you know what's TRULY amazing? I've almost got that poster done!!!

The messages and signatures all look fantastic! Wheee!

geeek (I'll let folks see a version of it when it's complete)

[Skydiver]

bsg the week before friday had a 'cylon 360' where all the versions of the known cylons were in a room, and multiple copies of them, so you had a motion controled camera, lines that had to be said at the exact second plus costume/wardrobe changes

very difficult and very trying on the actors involved. ron moore mentions it in his podcast

it looked fantastic on tape, but had to have taken hours/days to do

[Skydiver]

Nah, you know what's TRULY amazing? I've almost got that poster done!!!

The messages and signatures all look fantastic! Wheee!

geeek (I'll let folks see a version of it when it's complete)

i cannot WAIT to see it.

and gabit is getting even more real....and it's only a month away

over the weekend i got my instructions on how to meet up with MG and how we'll present the poster

a month from now, i'm gonna be in london!!!!!!!!!

[Mandysg1]

Okay, so I missed my 3000th post on this thread but for my 3001st post, I will say something of great importance!

Mini and Sky, we want pics and an indepth report on what went on at Gabit, esp with the presentation of the poster

[MickSpeed]

Just read the last 10 or so pages cause I came back from Intermot-Cologne in the night yesterday.

#1

Still...they're not overly airbrushed/filtered like the previous ones.

very nice pics and good to see, that they ALL don't nee any photoshop like reworks! (there're also two new unedited ones from Atlantis on which this applyies as well!)

#2 The Interview and Sam/AT/ship discussion thing. I don't wanna start it up again but it's a really interesting and imo also quite important topic on that I read very much, intersting, different and conflicting opinions. All in all I'd say everyone has his own, which partly is the same like others but in some aspects everyone has a different point. That's why we write 5 or more pages here every single day.

#3 I wanna see the poster, mini - NOW!

#4 ....more to come when I read on...

ah! ..aand sally: #4 is.. I'm working on getting the AT/RDA interview on my computer. I'm not really satisfied jet. I'll give you all a sign, when I found a good way.

[MickSpeed]

going on with the numers thing

#5

Okay, so I missed my 3000th post on this thread but for my 3001st post, I will say something of great importance!
Mini and Sky, we want pics and an indepth report on what went on at Gabit, esp with the presentation of the poster

yeah, definitely!

#6 I found a nice looking icon from the FMA Vancouver event:
say's it all imo!

#7 Just had a look at some screencaps of season 9, being inspired by tsaxlady's posts from yesterday. I can't wait to see Season 9. I've seen all previous seasons and what we could see from s10 till now. We will get s9 in november. I wanna see, how the introduce(-d) the Ori and how it came to the battle in Camelot. As far as I saw on the caps ther will be some cool eps. I'll propably be leaving a comment on each when I saw it.

#8 I can't wait to hear what's going on with AT and her "new scifi project(s)". I love winter, but can we start winter after february and start february tomorrow?

ok, that's it for now, maybe some more thought's come to my mind later..

Mick.

PS: Have seen great bikes at Intermot. Someone interested to buy one for me?

[Gate gal]

Okay, so I missed my 3000th post on this thread but for my 3001st post, I will say something of great importance!

Mini and Sky, we want pics and an indepth report on what went on at Gabit, esp with the presentation of the poster

Congrats on 3000! Wow, that's a lot of posting!

Mini, can't wait to see the poster. Someone better get a picture of Mini, Sky, and Amanda during the presentation. We want all the details please!

[STARGATE7777]

I've been reading this thread for the past while and have decided to delurk (for what it is worth). I have been a fan of Stargate for 10 years (OK, just the first 8) but an online fan for only 2. I have 5 people I know who watch Stargate but do not go online, go to conventions or read fan fiction. When I ask them about Stargate and the characters they never make comments like " the portrayal of Sam diminishes the role of women" or "that episode was unbalanced in using the characters." For them, it is very simple: They like the show...they watch it. They don't enjoy the show...they stop watching.

I think what often gets obscured is the line between what has been discussed, debated and argued online as compared to what has actually been shown on television.

I have lately asked these people their opinion of the show and they have all stopped watching. Why? Two didn't realize that it was still on and three of them started watching and found it boring. "What happened to Jack?" or "It's not the same show without Jack."

In regards to Sam and Jack, they ALL thought they were together and didn't have a problem with it. They did ,however ,wonder why Sam wasn't the leader.

I guess what I'm trying to say is that it is easy to get involved in the show. We love it and the characters. We have strong opinions and choose to analyze and debate. It's fun and harmless (for the most part). It is not however, fact, but simply our viewpoint or perspective. The average fan (85%)(and who the writers are writing for) just want an entertaining and enjoyable show which... apparantly 1/3 of fans have decided isn't.

[the dancer of spaz]

Days. Weeks, even?


Not that anyone would really care, but you guys want to know how this is usually done? It's kind of neat. It's a combination between splitting the screen for the moments when two or more identical characters interact with one another (which most of you already know a little about) and chromakeying, which is what the green screen shots are for. The thing is, calculating the camera position(s) and lighting levels is really tricky in this kind of thing because the camera cannot move, or else the scene is broken. Some of the newer cranes are programmable these days and can reproduce identical motion arcs, but they have to be locked in position before that happens too, and they're expensive pieces of equipment so most often the cameras are simply set up and never move. Then the light levels are kept identical (which is tough day after day of a shoot, every shadow, every level has to be identical or you get lines across the screen which shows where the cheat(s) are). Lighting levels are most often the thing we have to compensate for in the studio, because rarely do we get a perfect shoot, so we'll usually feather out the line edges, but with a scene like Amanda had, that kind of effect cheat can get very dicey - anywhere there's a feathered edge, there cannot be an actor. Or else you'd obviously see part of them fade out in a weird way. Sort of like a ghost disappearing into thin air. You can sometimes cheat this by using a cutaway shot instead of worrying about the visible scene join, but if the entire scene takes place in the same space and you've got a long shot there, it's not as simple. So what it looks like they did here, was shoot each scene with Amanda talking to (herself) by using a stand-in for an over the shoulder shot. Basically, one character (the one whose face you see) is Amanda and the "over the shoulder" character is the stand in with the appropriate clothing on. That's just for the purposes of the interaction when you cut between the characters, you don't notice it because they have identical blocking. So in a room full of "Sam Carters" for example, a lot of them are in the same space but don't actually meet or interact - that makes things easier to cheat, because you can give every character the full screen space as long as the cameras don't move and the lighting levels remain constant. You've got the room as an immobile constant in front of which you can either chromakey multiple Carters into the scene and/or film her sitting in different places at different times, film the stand-ins around her for "back and shoulder" continuity, and then cut the segments all together in post whereby (so long as nothing else changed or moved), each cut in the scene will then appear as though we're moving from one Carter to another, to another. Amanda must be in every single position of every single stand-in (identical) blocking for such a scene, but the post team makes all the joins invisible thereafter... est voila!

geeeek

Oh boy...

You never should've opened that door, mini. You're gonna regret that I'm your roomie by the time GABIT's over!

/me begins a list of techie questions