The Witch Part 2 Hindi Dubbed Download 720p
Brayan Jacobsen
That night launched a brief few years of memorable get-togethers with a grand talent and an immeasurably compassionate, gentle, and A#1 human being. So, in the weeks ahead, I hope to share a few additional anecdotes about Margaret Hamilton back home in New York City -- at the theater, in a cabaret audience, and relaxing at the apartment of her friends. Please stay tuned!
Soon I was making dozens of drawings, obsessively defining and finessing my notions of what a witch should be. Nothing new, but just a recognisable shorthand for a witch. Squat, hook-nosed, spindle legged, sporting either a peasant headscarf or a steeple-hat, incongruously carrying a handbag as she trotted about on short legs, quite mumsy but for her piercing, unnerving stare. But still a joke at this point. Nothing too threatening.
As work began in earnest, I was still endlessly toying with notions of who the witch was and what her defining characteristics would be. I created a sort of natural-history for her, as though her evolutionary path had at some point bifurcated from the one on which humans were headed. I had the above drawing as a template, though I kept tinkering with her, rethinking the principles of how she would fit together to do what would be required of her.
I even made a flat card maquette with a little mechanism that raised/lowered her teeth to the eating or resting positions, and another that made her eye roll back in its socket as a preparation to feeding. (The eye-rolling-back thing is very creepy, based on apparently what happens when sharks lunch! And though not used in the final book, not wasted either, because all those researched details add depth to the creativity.)
To celebrate having got to the finishing line, master-bookbinder Christopher Shaw made a specially bound and boxed edition for me, and he produced something of such extraordinary artistry that it lifts my heart every time I look at it. Presented within a heavy red leather box tooled in gold with the outline of the pursuing witch, the book has boards covered in mustard-yellow linen, blind-stamped and inlaid with hand drawn oak-leaves placed as though blown across its covers. I love it.
mejustgotlucky is a full-time writer, fan and dreamer. A part-time realist and romanticist. Loves South Korea and fan fictions like they are the most essential for breathing. Secretly, she dreams on travelling the world and capturing them under the lens of a camera. One day, she dreams of writing about all of her travels and experiences .
The Korean Lass and mejustgotlucky is in no way affiliated with the names, contents or links being posted in this blog. The author is solely focused on posting such content for non-profit and entertainment purposes only.
Yuri wrote the script for the narration really quickly, and composed the music in a matter of hours. It was deeply impressive. Our narrator, Roubharb, recorded the narration on one of the first nights, giving a viable backing track that we could start animating to.
To make the stage look really good I needed nice physics-based materials to texture it with. Fortunately, there are a great many libraries of free PBR texture maps out there nowadays. One of the major ones is PolyHaven, and a lot of our materials came from there. Using PBR textures and the Principled shader makes things incredibly easy: you get all the realistic speculars and Fresnel effect just like that.
In addition to that, there is a spotlight which shines in the centre of the stage. Another driver controls both the size and brightness of this spotlight, giving it the appearance of opening an aperture.
On top of all these lights are the house lights, which are created by an HDRI image from PolyHaven. I turn down the brightness of this HDRI at the beginning as the curtains open, which gives us a glimpse of the normal map on the back screen.
These four lights, which could all be turned on and off individually, proved a suitable combination for lighting the scene. The four front lights can be turned down all together, or individually, allowing specific areas of the stage to be lit up. And you get a really pretty gradient from top to bottom with the different colours.
The first part of this expression cancels out the automatic frame advancement, the second part then sets it to the frame number that we want, changing every 10 frames instead of every 1. This is used for the diffuse colour, while the AO, roughness, displacement and normal textures all come from a paper material on Poliigon. Honestly, these maps likely made little difference compared to a regular diffuse material.
One feature I really liked was the geared device which shows the sun and moon above the stage. I actually planned to have lots more geared mechanisms attached to the motion of various elements that would be faintly visible in the background, but there was not time for this in the end. Still, the sun/moon was p strong on its own!
I modelled the moon first, and then when we came to do the later scene where we wanted to imply time is passing, hit on the idea of the sun being on the other end of the arm. This led to a number of problems, since the sun and moon had a nasty habit of clipping through the walls of the theatre. I had to do some finicky animations to avoid visible clipping. However, it was totally worth it.
The gear train is modelled and animated using the Precision Gears addon by Maker Tales. This addon is actually designed for making real gears in a CAD setting, so the shape of the teeth is actually the mathematically correct shape for optimal power transfer. For my purposes though, it also gives you a very convenient way to set up a tree of dependent gears. The backend runs on Geometry Nodes.
The train exits through a door that swings up at the edge of the stage. I made sure to give it a bit of a bounce when it swings back down. This ended up looking so nice that I had it come back across the stage during the credits.
For the actual animation, there are two stages. We start by moving a small cluster of vertices at the inner edge of the curtain outwards, as if there is a hidden string tugging the curtain open. That looks like this:
The tricky part about cutting these was keeping the UVs clean. I absolutely could not move vertices, since that would result in UV stretching. Instead, I used the Loop Cut and Knife tools to split edges, creating a bunch of extra topology, then deleted faces wherever wood would need to be removed to accomodate some character or scenery.
We animated the short pretty much in order, beginning to end. As we reached the part where the Witch goes into seclusion to make her machines, Yuri suggested the house could be made in 3D. This was an exciting challenge for me, and I set about making the house out of virtual cardboard.
The light bulbs caused no end of trouble. I wanted to model real light bulbs with filaments. However, when I did this, the render would become incredibly noisy and take much much longer. Even with the AI denoiser (discussed later), we were getting nowhere near acceptable results.
Eventually, I found the solution was to make the bulbs invisible to shadow rays. It turns out that somehow, when a ray passed through a layer of glass, it would mess with the light transport algorithms in Cycles and, when the light bulbs were the main light source in the scene, the render would take much longer to converge. This is because every light ray had to go [emissive filament] -normal ray-> [into glass] -transmission ray-> [out of glass] -normal ray-> hit something -> camera. Those extra steps at the beginning threw a huge spanner in things.
A render with the same 1024 samples and higher noise threshold as we used in the final film, but no AI denoising, and glass shadows enabled. The light has barely even begun to scatter through the scene at this point.
Geometry Nodes is essentially a graphical system for functional programming. We start with a curve object, convert it to a series of points along the curve, and then instance the LED model at each point, rotated to follow the curve.
The little magic sparkle in the lantern is a looping animation drawn by Yuri. I animated it using the same method as the line boil effect, and set it to be emissive. The size of the spark can be animated using the control rig, so we could make it light up when the Witch enters her house, and extinguish when she leaves.
Glad you liked it! And yeah, as I think I wrote in the post, the first film, I thought, was really underrated. What they did with general ambiance and intensity, without actually showing the witch, was awesome.
As I mentioned in the first part of this review of Episode 5, we stumble through a series of contrivances to get Simon and River kidnapped. Mal and his crew continue to make baffling choices. They decide to leave Simon and River behind. Mal essentially says that they were stupid enough to get themselves caught, so they are on their own.
But of course, the woman does not hesitate. In response, Simon stutters like an idiot, failing to realize that he is the only doctor on the planet and that his sister helped an innocent child. The woman shrieks once again that his sister is a witch and scrambles off into the night.
It looks like the end for the doctor and his sister, but Mal and the crew return just then, the ship hovering over the camp to rescue them. Mal has just recently remembered that Simon and River are a part of his crew.
This is baffling because Mal\u2019s driving force is worry about his crew, and he\u2019s long since made it clear that he considers Simon and River to be part of his crew. Because he was the one who had told them to take a hike, one would think that he\u2019d feel some sort of responsibility for their predicament. But he doesn\u2019t.
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