STAR ARMY

Sci-fi roleplaying and worldbuilding community

User Tools

Site Tools

Trace:
media:professor_yuko_and_the_book_of_agibas

Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revisionPrevious revision
Next revision		Previous revision
Next revisionBoth sides next revision
media:professor_yuko_and_the_book_of_agibas [2017/12/31 09:18] – yoerikwip:media:professor_yuko_and_the_book_of_agibas [2018/05/23 23:19] – ↷ Links adapted because of a move operation meta_mahn
Line 4: Line 4:
 </WRAP> </WRAP>
  
-The Book of Agibas is the second instalment of the Professor Yuko franchise, and was released in late [[calendar:ye_39]]. It was produced by Firefly Films, a subsidiary of [[wip:corp:yukosfilm]], and Vibrant Cloud Filmworks, an independent production house from [[system:anisa]]. The film's previuous stars, Shiba Koki and Araya Mioko, return to portray their characters, as well as director Hiruken Kayo and other crewmembers. It is a sequel to [[media:professor_yuko_and_the_secret_of_the_tomb|The Secret of the Tomb]], the first film of the franchise.+The Book of Agibas is the second instalment of the Professor Yuko franchise, and was released in late [[calendar:ye_39]]. It was produced by Firefly Films, a subsidiary of [[wip:corp:yukosfilm]], and Vibrant Cloud Filmworks, an independent production house from [[system:anisa]]. The film's previuous stars, Shiba Koki and Araya Mioko, return to portray their characters, as well as director Hiruken Kayo and other crewmembers. It is a sequel to [[wip:media:professor_yuko_and_the_secret_of_the_tomb|The Secret of the Tomb]], the first film of the franchise.
  
 ^  General Information  ^^ ^  General Information  ^^
Line 17: Line 17:
 |  Music by  |  Johann Wilhelmus  |  |  Music by  |  Johann Wilhelmus  | 
 |  Cinematography  |  Donald Gleeston  | |  Cinematography  |  Donald Gleeston  |
-|  Costs  |  ~35 million [[faction:yamatai:ks]]   |  +|  Costs  |  ~35 million [[faction:yamatai:ks]]   | 
 +|  Domestic Gross  |  ~350 million [[faction:yamatai:ks]]  |  
 |  Personnel involved  |  ~29,000  | |  Personnel involved  |  ~29,000  |
 |  Screen time  |  ~129 minutes  | |  Screen time  |  ~129 minutes  |
Line 39: Line 40:
 The search for his father leads them deep into a dark forest, that houses a hidden bunker complex. Agido leads them to the bunker, and Yuko sneaks in at dark. As he searches the compound, he is startled by a familiar voice. As the lights go one, he stares into the face of his father, Mio. They exchange a clumsy greeting, and Yuko tells Mio to get out. Unfortunately, they are discovered, and to Yuko's surprise, Wallis is revealed working with Costello, along with a mysterious woman called Mari(Mori), who is Wallis' lover. They used Mio to track Yuko to them, so that he can lead them to the Book. In the meantime, Rieko and Agido discover that Yuko is delayed, and devise a plan to bust them out. They find a stalled truck, and use it to break through the fences of the bunker entrance.  The search for his father leads them deep into a dark forest, that houses a hidden bunker complex. Agido leads them to the bunker, and Yuko sneaks in at dark. As he searches the compound, he is startled by a familiar voice. As the lights go one, he stares into the face of his father, Mio. They exchange a clumsy greeting, and Yuko tells Mio to get out. Unfortunately, they are discovered, and to Yuko's surprise, Wallis is revealed working with Costello, along with a mysterious woman called Mari(Mori), who is Wallis' lover. They used Mio to track Yuko to them, so that he can lead them to the Book. In the meantime, Rieko and Agido discover that Yuko is delayed, and devise a plan to bust them out. They find a stalled truck, and use it to break through the fences of the bunker entrance. 
  
-The truck busting in startles Costello's crew, and amidst all the commotion, Yuko and Mio sneak out. They beat up a bunch of the henchmen, but they are followed, and have to avoid being shot at, as the bunker's courtyard becomes a shootout. Mio asks Yuko mockinly: "Do you always getting shot at doing this?". Adigo manages to get out of the bunker with the Ashages. A chase ensues, and the group has to dodge the guards as they exit the courtyard through the same gate. Costello orders his crew to follow them, and they get chased down the forest. At one point, they reach a river, and they get chased alongside it. Yuko has to fight of several henchmen of their truck, until he is himself thrown into one. He fights of another goon before falling back into the other truck by Rieko bumbing into his. The pursuers decide to end the chase after one of their trucks falls into the river, and Yuko gets to much of a distance.+The truck busting in startles Costello's crew, and amidst all the commotion, Yuko and Mio sneak out. They beat up a bunch of the henchmen, but they are followed, and have to avoid being shot at, as the bunker's courtyard becomes a shootout. Mio asks Yuko mockinly: "Are you always getting shot at when doing this?" Adigo manages to get out of the bunker with the Ashages. A chase ensues, and the group has to dodge the guards as they exit the courtyard through the same gate. Costello orders his crew to follow them, and they get chased down the forest. At one point, they reach a river, and they get chased alongside it. Yuko has to fight of several henchmen of their truck, until he is himself thrown into one. He fights of another goon before falling back into the other truck by Rieko bumbing into his. The pursuers decide to end the chase after one of their trucks falls into the river, and Yuko gets to much of a distance.
  
 Agido guides the Ashages and Rieko back to Alabaster, where Yuko tells his father about their mission to get the Book of Agibas. Mio, surprised by his son's enthusiasm, tells him of his search, and that he is close to locating it. They need to find an old hermit that has knowledge about the book. He appears to live on an island far from society. They leave Alabaster and Agido behind, and board a cargo air-plane, seeking to hide from Costello, however some of Costello's men see the group leave and tell their boss. The plane is flown by Tom Gaston(Astar), an old acquaintance of Agido. Tom Gaston is a flamboyant fly-boy, and uses his charms to impress Rieko, much to Yuko's displeasure. Mio reassures his son, saying that a woman like Rieko would never fall for such easy tricks, just like Yuko's mother. Yuko isn't sure how to react to that. Agido guides the Ashages and Rieko back to Alabaster, where Yuko tells his father about their mission to get the Book of Agibas. Mio, surprised by his son's enthusiasm, tells him of his search, and that he is close to locating it. They need to find an old hermit that has knowledge about the book. He appears to live on an island far from society. They leave Alabaster and Agido behind, and board a cargo air-plane, seeking to hide from Costello, however some of Costello's men see the group leave and tell their boss. The plane is flown by Tom Gaston(Astar), an old acquaintance of Agido. Tom Gaston is a flamboyant fly-boy, and uses his charms to impress Rieko, much to Yuko's displeasure. Mio reassures his son, saying that a woman like Rieko would never fall for such easy tricks, just like Yuko's mother. Yuko isn't sure how to react to that.
Line 118: Line 119:
   * Edited by: Victor Mastew & Matthew Nigarath   * Edited by: Victor Mastew & Matthew Nigarath
   * Casting by: George F. Leward & Michael Ronter, William Master (Fight Choreographer)   * Casting by: George F. Leward & Michael Ronter, William Master (Fight Choreographer)
-  * Production: Yukate Maro & Taira Geshin (Designers), Leroy Spall (Manager), Hirama Tokira (Coordinator), Karami Jusha ([[system:anisa]] Supervisor), George Fallerton & Yoshi Makote (Associate Producers), Kira Makota (Production Assistant)+  * Production: Yukate Maro & Taira Geshin (Designers), Leroy Spall (Manager), Hirama Tokira (Coordinator), Karami Jusha ([[system:anisa]] Supervisor), George Fallerton & Yoshi Makote (Associate Producers), Kira Makota (Production Assistant), Francine Spall (Accountant)
   * Art: Hedwig Godroe (Director), Tsuna Makaga (Set Designer), Lewis Vallman (Illustrator), Rijake Mojo (Graphic Artist)   * Art: Hedwig Godroe (Director), Tsuna Makaga (Set Designer), Lewis Vallman (Illustrator), Rijake Mojo (Graphic Artist)
-  * Set: Richard Etcon (Set Decorator), Ian Filby (Greens-man), Katuro Mai (Buyer), Agi Sowogo (Location Scout) +  * Set: Richard Etcon (Set Decorator), Ian Filby (Greens-man), Katuro Mai (Buyer), Agi Sowogo (Location Scout), Onaga Dashi (Set Dresser) 
-  * Costume: Rafid Cagnasterif (Design, [[species:iromakuanhe]]), Kanai Ekiken (Supervisor), Saginas Hakisabenor (Wardrobe Supervisor, [[species:iromakuanhe]]), Ekira Mana (Key Costumer) +  * Costume: Rafid Cagnasterif (Design, [[species:iromakuanhe]]), Kanai Ekiken (Supervisor), Saginas Hakisabenor (Wardrobe Supervisor, [[species:iromakuanhe]]), Ekira Mana (Key Costumer), Lily Albon (Costume Standby), Norugo Tamaro (Breakdown Artist) 
-  * Makeup: Lushi Kantore (Supervisor & Key Hair), Hadai Yuyu (SFX Makeup), Eve Kathy (Senior Artist), Ogu Hakira (Senior Hair)+  * Makeup: Lushi Kantore (Key Make-up Artist & Supervisor), Agora Matiri (Key Hair), Hadai Yuyu (SFX Makeup), Eve Kathy (Senior Artist), Ogu Hakira (Senior Hair)
   * Director of Photography: Donald Gleeston, Sonai Kobi ([[system:anisa]] Supervisor), Fashina Koj ([[system:albini]] Supervisor)   * Director of Photography: Donald Gleeston, Sonai Kobi ([[system:anisa]] Supervisor), Fashina Koj ([[system:albini]] Supervisor)
-  * Sound Effects: Bob Stanton (Supervisor), Tikati Mo (Senior Sound Mixer & Sound Editor), Benjamin Bartolemeus ([[species:abwehran]], Senior Sound Designer), Kenneth Garlic (Boom Operator), Ekari Mono (Dialogue Editor)+  * Sound Effects: Bob Stanton (Supervisor), Benjamin Bartolemeus ([[species:abwehran]], Senior Sound Designer), Tikati Mo (Senior Sound Mixer & Sound Editor), Kenneth Garlic (Boom Operator), Harry Clam (2nd AS), Ekari Mono (Dialogue Editor), Michael Granson (Foley Artist)
   * Camera Operation by: Magnus Högmann (First Unit, [[species:abwehran]]), Albus Haupt ([[species:abwehran]], Second Unit) & Harold Agherton (Second Unit Backup)   * Camera Operation by: Magnus Högmann (First Unit, [[species:abwehran]]), Albus Haupt ([[species:abwehran]], Second Unit) & Harold Agherton (Second Unit Backup)
-  * Camera: Eniba Kenji (Focus Puller, First Unit), Albert Erges (Focus Puller, Second Unit), Grant Teller (Clapper operator), Amy Deanes & Kichi Ariwan (Film Loaders) +  * Camera: Eniba Kenji (Focus Puller, First Unit), Albert Erges (Focus Puller, Second Unit), Grant Teller (Clapper operator), Amy Deanes & Kichi Ariwan (Film Loaders), Jake Limber (Camera Intern) 
-  * Lighting & Grip: Karl Hagner (Gaffer), Onaga Heibi (Best Boy Lighting), Hashito Mago (Senior Lighting Technician), Edward Salter (Key Grip), Moriko Haba (Best Girl Grip), Himana Kari (Dolly Grip)+  * Lighting & Grip: Karl Hagner (Gaffer), Onaga Heibi (Best Boy Lighting), Hashito Mago (Senior Lighting Technician), Edward Salter (Key Grip), Moriko Haba (Best Girl Grip), Himana Kari (Dolly Grip), Wokana Mui (Sound Grip)
   * Special Effects: Lunarflix Lighting & Effects, Terry Bolder(Effects Supervisor), Jeffrey Kandwinn(Mechanical Effects Supervisor), Onaga Sofi (Miniatures Supervisor), Shima Takesi (Senior Pyrotechnic), Riyake Mojo (Concept Artist), Tokuda Kokei Studio (Mold Shop)   * Special Effects: Lunarflix Lighting & Effects, Terry Bolder(Effects Supervisor), Jeffrey Kandwinn(Mechanical Effects Supervisor), Onaga Sofi (Miniatures Supervisor), Shima Takesi (Senior Pyrotechnic), Riyake Mojo (Concept Artist), Tokuda Kokei Studio (Mold Shop)
-  * Visual Effects: LLE, Jigato Mar (Supervisor), Louis Scanton (Animation), Yutani Toki (3D Model Supervisor), Tashi Kanora (Compositor), Matthew Nigarath (VFX Editor), Karen Mitkund (Rotoscope Artist), Rarufu Mikari (Matte Painter), Makojo Souwjin (Pre-Visualisation Artist), Edwin Starkin (Motion Capture Supervisor)+  * Visual Effects: LLE, Jigato Mar (Supervisor), Motaru Jaba (Producer), Louis Scanton (Animation), Yutani Toki (3D Model Supervisor), Tashi Kanora (Compositor), Matthew Nigarath (VFX Editor), Karen Mitkund (Rotoscope Artist), Rarufu Mikari (Matte Painter), Makojo Souwjin (Pre-Visualisation Artist), Edwin Starkin (Motion Capture Supervisor)
   * Music Written, Composed and Conducted by: Johann Wilhelmus, Elester (Associated)   * Music Written, Composed and Conducted by: Johann Wilhelmus, Elester (Associated)
-  * Music Orchestrated by: Johann Wilhelmus, Kyoto National Symphony Orchestra & Choir, recorded at [[location:imperial_theatre]], [[location:kyoto]]+  * Music Orchestrated by: Johann Wilhelmus, Kyoto National Symphony Orchestra & Choir, recorded at [[wip:location:imperial_theatre]], [[location:kyoto]]
   * Stunts: Chuck Falstron (Supervisor), Maruti Kenjo (Koki double), Albert Gardener (Fallerton double), William Master (Choreographer)   * Stunts: Chuck Falstron (Supervisor), Maruti Kenjo (Koki double), Albert Gardener (Fallerton double), William Master (Choreographer)
   * Script Supervisors: Makino Yu & Hara Esumi   * Script Supervisors: Makino Yu & Hara Esumi
Line 138: Line 139:
   * Based on a Story by: Marcus Elester    * Based on a Story by: Marcus Elester 
   * Creative Consultant: Yoshi Makore   * Creative Consultant: Yoshi Makore
 +  * Dialogue Coaches: Harold Agherton, Morio Karuwi
   * Transportation: Isaki Mojo (Coordination), Ebiji Koro (Senior Manager), Giba Marji (Manager), Lily Fantel (Captain)   * Transportation: Isaki Mojo (Coordination), Ebiji Koro (Senior Manager), Giba Marji (Manager), Lily Fantel (Captain)
-  * Construction: Seta Kojuro (Coordinator), Waniba Koju (Head Carpenter), Kari Makono (Propmaster), Taira Geshin (Key Scenic)+  * Construction: Seta Kojuro (Coordinator), Waniba Koju (Head Carpenter), Kari Makono (Prop-master), Anthony Farlyle (Armourer), Ogoto Mashimi (Prop-maker), Taira Geshin (Key Scenic)
  
 ===== Production ===== ===== Production =====
 ==== Development/Pre-Production ==== ==== Development/Pre-Production ====
-Marcus Elester, executive producer and spiritual creator of the source work for Professor Yuko, was very pleased with the success of the original [[media:professor_yuko_and_the_secret_of_the_tomb]]. With that, he began work on another set of stories for his personal series "Adventures of Doctor Jackal". Also, several ideas of his original stories, such as the penultimate air-plane chase, were implemented in the film's script to keep the original content alive. Karathi Migotha and Ronald Frankton, writers of the previous film, worked closely with Marcus, and also renowned film-writer Luke Mirage made contributions to the final screenplay. +Marcus Elester, executive producer and spiritual creator of the source work for Professor Yuko, was very pleased with the success of the original [[wip:media:professor_yuko_and_the_secret_of_the_tomb]]. With that, he began work on another set of stories for his personal series "Adventures of Doctor Jackal". Also, several ideas of his original stories, such as the penultimate air-plane chase, were implemented in the film's script to keep the original content alive. Karathi Migotha and Ronald Frankton, writers of the previous film, worked closely with Marcus, and also renowned film-writer Luke Mirage made contributions to the final screenplay. 
  
-Several characters were derived directly from Marcus' source work, but some characters, such as the character of Fallerton, were created solely for the movie. This differed slightly from the previous movie, where nearly all characters were those created by Marcus'. To accommodate this, several new actors were hired, but Yuko and Rieko, along with some other supporting staff, would return to star in the film. In [[calendar:ye_39]], it was revealed that multi-[[faction:yamatai:golden_lotus]] winner Ronald Makron would also feature in a supporting role, and two months later it was revealed he would play Yuko's father Mio. He was eventually elevated to a starring role in the credits.+Several characters were derived directly from Marcus' source work, but some characters, such as the character of Fallerton, were created solely for the movie. This differed slightly from the previous movie, where nearly all characters were those created by Marcus'. To accommodate this, several new actors were hired, but Yuko and Rieko, along with some other supporting staff, would return to star in the film. In [[calendar:ye_39]], it was revealed that multi-[[wip:faction:yamatai:golden_lotus]] winner Ronald Makron would also feature in a supporting role, and two months later it was revealed he would play Yuko's father Mio. He was eventually elevated to a starring role in the credits.
  
-Also, producer Higaro Mate left shortly after the first film's completion to focus upon production of two other films. With that, Vibrant Cloud Filmworks, an independent production house from [[system:anisa]], placed a stake on the film's production to compete with Firefly. Nevertheless, Firefly remained in possession of the official film rights, and producer Inaba Kin replaced Mate's place in Firefly. Firefly remained the main provider of most of the Film's resources, but Vibrant Cloud Filmworks had a large part for providing the location on [[system:anisa]].+Also, producer Higaro Mate left shortly after the first film's completion to focus upon production of two other films. With that, Vibrant Cloud Filmworks, an independent production house from [[system:anisa]], who had provided construction crew for the previous instalment, placed a stake on the film's production to compete with Firefly. Nevertheless, Firefly remained in possession of the official film rights, and producer Inaba Kin replaced Mate's place in Firefly. Firefly remained the main provider of most of the Film's production and crew, but Vibrant Cloud Filmworks had a large part for providing the location on [[system:anisa]] and co-producing the film.
  
-Thanks to camera operators Högmann and Haupt, who both worked on the previous film, shooting time could be cut to a minimum. Also, Production designer Yukate Maro and Costume designer Rafid Cagnasteriff returned to provide services, all aided by a new employee in their field. Make-up designer Gerald Mulhausen quit shortly after the completion of the first film, but luckily was replaced by [[faction:yamatai:golden_lotus|Golden Lotus]] winner Lushi Kantore. Donald Gleeston returned as cinematographer. Johann Wilhelmus returned to write and conduct the score, and Lunarflix provided the visual effects and sound, with [[faction:yamatai:golden_lotus|Golden Lotus]] winner Tikati Mo as sound mixer and editor. Henry Murrel, Visual supervisor for the previous film, was replaced by Jigato Mar, the Animator for the original films. Actor Ronald Agherton, antagonist of the previous film, would return for operating duties, as the backup camera operator for Haupt's second unit, and dialogue coach. Yoshi Makora, original writer of the previous film, would return as "Creative Consultant" due to his knowledge of Marcus' material, and Yoshi Makote, another star of the previous film, would become associate producer along with new cast member Fallerton.+Thanks to camera operators Högmann and Haupt, who both worked on the previous film, shooting time could be cut to a minimum. Also, Production designer Yukate Maro and Costume designer Rafid Cagnasteriff returned to provide services, all aided by a new employee in their field. Make-up designer Gerald Mulhausen quit shortly after the completion of the first film, but luckily was replaced by multi-[[wip:faction:yamatai:golden_lotus|Golden Lotus]] winner Lushi Kantore. Donald Gleeston returned as cinematographer. Johann Wilhelmus returned to write and conduct the score, and Lunarflix provided the visual effects and sound, with multi-[[wip:faction:yamatai:golden_lotus|Golden Lotus]] winner Tikati Mo as sound mixer and editor. Henry Murrel, Visual supervisor for the previous film, was replaced by Jigato Mar, the Animator for the original films. Actor Ronald Agherton, antagonist of the previous film, would return for operating duties, as the backup camera operator for Haupt's second unit, and dialogue coach. Yoshi Makora, original writer of the previous film, would return as "Creative Consultant" due to his knowledge of Marcus' material, and Yoshi Makote, another star of the previous film, would become associate producer along with new cast member Fallerton.
  
 ==== Principal Photography ==== ==== Principal Photography ====
-[[wp>Principal photography]] began nearly instant after the completion of post-production for [[media:professor_yuko_and_the_secret_of_the_tomb]], in late May of [[calendar:ye_37]]. The first shots were filmed in [[location:kyoto]], for the University scenes, as well as Yuko's parental house, which was filmed in the northern outskirts. Some filming was done inside the [[faction:yamatai:hoshiutsu_studios#moonfield_complex|Hoshiutsu Studios]], which was different from the previous film, where most filming was done on location. Most of the scenes in the studio revolved around the air-plane chase, which was the centrepiece of the filming there. Afterwards, the cast & crew were moved to [[system:albini]], to shoot the scenes involving the plane and the island. The hermit's hut was an old abandoned abode from ancient priests that since left the island, and the cave was a natural occurrence. Special underwater camera's were developed to film in [[system:albini]]'s oceans.+[[wp>Principal photography]] began nearly instant after the completion of post-production for [[wip:media:professor_yuko_and_the_secret_of_the_tomb]], in late May of [[calendar:ye_37]]. The first shots were filmed in [[location:kyoto]], for the University scenes, as well as Yuko's parental house, which was filmed in the northern outskirts. Some filming was done inside the [[wip:faction:yamatai:hoshiutsu_studios#moonfield_complex|Hoshiutsu Studios]], which was different from the previous film, where most filming was done on location. Most of the scenes in the studio revolved around the air-plane chase, which was the centrepiece of the filming there. Afterwards, the cast & crew were moved to [[system:albini]], to shoot the scenes involving the plane and the island. The hermit's hut was an old abandoned abode from ancient priests that since left the island, and the cave was a natural occurrence. Special underwater camera's were developed to film in [[system:albini]]'s oceans.
  
-Several other scenes, including the opening, were filmed on [[system:anisa]], on Vibrant Cloudworks' grounds. The opening scene included the use of a large [[wp>steam train]], as well as a large abandoned part of rail track. The scenes in Alabaster were filmed in one of Anisa's mayor cities. The kingdom of Agibas was a large soundproof set that was constructed on the site of [[faction:yamatai:hoshiutsu_studios#crossroads_complex|Hoshiutsu Studios]] back in [[location:kyoto]], in [[wp:corp:yukosfilm]]'s studios. +Several other scenes, including the opening, were filmed on [[system:anisa]], on Vibrant Cloudworks' grounds. The opening scene included the use of a large [[wp>steam train]], as well as a large abandoned part of rail track. The scenes in Alabaster were filmed in one of Anisa's mayor cities. The kingdom of Agibas was a large soundproof set that was constructed on the site of [[wip:faction:yamatai:hoshiutsu_studios#crossroads_complex|Hoshiutsu Studios]] back in [[location:kyoto]], in [[wip:corp:yukosfilm]]'s studios. 
  
 Principal photography was concluded in September of [[calendar:ye_38]] on [[system:anisa]], almost two months behind schedule, due to a reported accident that destroyed two of Haubt's cameras. Photography was done out of chronology, a departure of the previous instalment, but this was due to the amount of locations where it was shot. Also, an extra week of shooting for the second unit had to be done on [[system:anisa]], due to the poor weather earlier in the shooting. Principal photography was concluded in September of [[calendar:ye_38]] on [[system:anisa]], almost two months behind schedule, due to a reported accident that destroyed two of Haubt's cameras. Photography was done out of chronology, a departure of the previous instalment, but this was due to the amount of locations where it was shot. Also, an extra week of shooting for the second unit had to be done on [[system:anisa]], due to the poor weather earlier in the shooting.
  
-Some of the shots were filmed using the 70mm Super HydroScope, one of [[wip:corp:yukosfilm]]'s own creations and a widely used camera system. This was a difference from [[media:professor_yuko_and_the_secret_of_the_tomb]], which only used 35mm HydroScope cameras. This was done to achieve a higher resolution, and also allow for wider shots to be used, but most footage was shot with 35mm HydroScope cameras. It was reported by [[wip:corp:yukosfilm|Yukosfilm]], that a total of thirteen different [[wp>dolly]] rigs were used, the most up to that point. Also, the film saw limited use of [[wp>Motion capture]] inside Yukosfilm's [[faction:yamatai:hoshiutsu_studios|studios]], which was used to create King Agibas and his guards.+Some of the shots were filmed using the 70mm Super HydroScope, one of [[wip:corp:yukosfilm]]'s own creations and a widely used camera system. This was a difference from [[wip:media:professor_yuko_and_the_secret_of_the_tomb]], which only used 35mm HydroScope cameras. This was done to achieve a higher resolution, and also allow for wider shots to be used, but most footage was shot with 35mm HydroScope cameras. It was reported by [[wip:corp:yukosfilm|Yukosfilm]], that a total of thirteen different [[wp>dolly]] rigs were used, the most up to that point. Also, the film saw limited use of [[wp>Motion capture]] inside Yukosfilm's [[wip:faction:yamatai:hoshiutsu_studios|studios]], which was used to create King Agibas and his guards.
  
 ==== Post-production ==== ==== Post-production ====
Line 167: Line 169:
 After that, visual effects were put into place. Again, the focus was on the use of mechanical and principal effects, rather than on digital effects, although there was a significant increase in the use of [[wp>saturation]] and [[wp>tints and shades|Colour Toning]]. The death scene of Wallis was created using several models and stop-motion, but eventually was enhanced digitally to create a more real experience. Also, [[wp>CGI]] was used in a limited way to enhance the physical performance of the actors, in particular during action scenes. All these upgrades pushed the budget passed at least twice that of the last film, especially with the motion capture, that included Agibas and his guards. After that, visual effects were put into place. Again, the focus was on the use of mechanical and principal effects, rather than on digital effects, although there was a significant increase in the use of [[wp>saturation]] and [[wp>tints and shades|Colour Toning]]. The death scene of Wallis was created using several models and stop-motion, but eventually was enhanced digitally to create a more real experience. Also, [[wp>CGI]] was used in a limited way to enhance the physical performance of the actors, in particular during action scenes. All these upgrades pushed the budget passed at least twice that of the last film, especially with the motion capture, that included Agibas and his guards.
  
-The official release was set on 24 November of [[calendar:ye_39]], but was pushed back to 15 December, to allow the screening to focus upon the [[faction:yamatai:year-end_traditions]] popularity, mimicking the release of the first film. Official sources from [[wip:corp:yukosfilm]], however, claimed that post-production was delayed by almost a month, which led to the pushback. The film received a PG-13 rating, with 'Violent' and 'Scary Content' warnings, the same as its [[media:professor_yuko_and_the_secret_of_the_tomb|prequel]]. +The official release was set on 24 November of [[calendar:ye_39]], but was pushed back to 15 December, to allow the screening to focus upon the [[faction:yamatai:year-end_traditions]] popularity, mimicking the release of the first film. Official sources from [[wip:corp:yukosfilm]], however, claimed that post-production was delayed by almost a month, which led to the pushback. The film received a PG-13 rating, with 'Violent' and 'Scary Content' warnings, the same as its [[wip:media:professor_yuko_and_the_secret_of_the_tomb|prequel]]. 
  
 The original title of both the script and initial marketing campaign, the Scrolls of Agibas, was rebranded as the Book of Agibas in June [[calendar:ye_38]], to prevent the titles of the two films from appearing to similar. This prompted a return of almost all original matte paintings by Riyake Mojo, who was ordered to redesign the film poster.  The original title of both the script and initial marketing campaign, the Scrolls of Agibas, was rebranded as the Book of Agibas in June [[calendar:ye_38]], to prevent the titles of the two films from appearing to similar. This prompted a return of almost all original matte paintings by Riyake Mojo, who was ordered to redesign the film poster. 
Line 177: Line 179:
 Critics have been mostly positive, most notably for the decisions to retain the original cast and director. During a preview from //Kyoto Times//, the film received positive reception, for its "Returning members", with Johannes Wilhelmus being voted the best returning member. During a preview voting on //Film Entertainment Online//, a number of 135 voters voted an unanimous 'top', with most critics valuing both the original cast and the newcomers, and also the decision to retain original crew, and the hiring of two 'Golden Lotus Winners'. Kayo also received praise from renownded  Critics have been mostly positive, most notably for the decisions to retain the original cast and director. During a preview from //Kyoto Times//, the film received positive reception, for its "Returning members", with Johannes Wilhelmus being voted the best returning member. During a preview voting on //Film Entertainment Online//, a number of 135 voters voted an unanimous 'top', with most critics valuing both the original cast and the newcomers, and also the decision to retain original crew, and the hiring of two 'Golden Lotus Winners'. Kayo also received praise from renownded 
  
-The reception was not without sceptics, and //[[system:anisa]] News// voted, out of 34 reviews, negative on the film's previews, fearing that the film would fail to overcome [[media:professor_yuko_and_the_secret_of_the_tomb]]'s success and become "Another failed sequel". Renowned critic Hashotin Kuri gave the preview a negative estimation, fearing "It would lean to much on previous Professor Yuko success" and "Show less new, and more of the same". Also, the rebranding during the latter part of the marketing was confusing to several fans, however it was quickly dealt with.+The reception was not without sceptics, and //[[system:anisa]] News// voted, out of 34 reviews, negative on the film's previews, fearing that the film would fail to overcome [[wip:media:professor_yuko_and_the_secret_of_the_tomb]]'s success and become "Another failed sequel". Renowned critic Hashotin Kuri gave the preview a negative estimation, fearing "It would lean to much on previous Professor Yuko success" and "Show less new, and more of the same". Also, the rebranding during the latter part of the marketing was confusing to several fans, however it was quickly dealt with.
  
 ==== Box Office ==== ==== Box Office ====
-The film premiered on 15 December of [[calendar:ye_38]], which led to a opening grossing of 4 million [[faction:yamatai:ks]], and became the fastest earning movie of [[calendar:ye_38]]. It regained its budget of ~35 million within ten days. With that, it became the 3th fastest earning adventure movie galaxy-wide, and the 1st fastest earning movie in Yamatai alone. It became the 5th highest grossing movie for [[wip:corp:yukosfilm]] after grossing little over 350 million in its theatrical run. This was an impressive increase in grossing over the last installment, making little over 100 million more profit. The home entertainment release was set for 20 March [[calendar:ye_39]], but was pushed back to 25 March due to various problems with [[wip:corp:yukosfilm]]'s home entertainment branch, in particular the creating of the cover.+The film premiered on 15 December of [[calendar:ye_38]], which led to a opening grossing of 4 million [[faction:yamatai:ks]], and became the fastest earning movie of [[calendar:ye_38]]. It regained its budget of ~35 million within ten days. With that, it became the 3th fastest earning adventure movie galaxy-wide, and the 1st fastest earning movie in Yamatai alone. It became the 5th highest grossing movie for [[wip:corp:yukosfilm]] after grossing little over 350 million in its theatrical run. This was an impressive increase in grossing over the last installment, making little over 100 million more profit.  
 + 
 +The home entertainment release was set for 20 March [[calendar:ye_39]], but was pushed back to 25 March due to various problems with [[wip:corp:yukosfilm]]'s home entertainment branch, in particular the creating of the cover. An extended edition was also announced just after the release, with an additional runtime of ~20 minutes, but was cancelled due to time restraints. A deluxe edition, featuring the deleted footage, was announced instead.
  
 ==== Critical Reception ==== ==== Critical Reception ====
Line 188: Line 192:
  
 ==== Accolades ==== ==== Accolades ====
-The movie was nominated for 6 [[faction:yamatai:golden_lotus]] in [[calendar:ye_39]], and received 5 of them, for //Best Sound Design//, //Best Sound Mixing//, //Best Original Score//, //Best Visual Effects//, and //Best Production Design//. Its other nomination was for //Best Costume Design//.+The movie was nominated for 6 [[wip:faction:yamatai:golden_lotus]] in [[calendar:ye_39]], and received 5 of them, for //Best Sound Design//, //Best Sound Mixing//, //Best Original Score//, //Best Visual Effects//, and //Best Production Design//. Its other nomination was for //Best Costume Design//. This was one more award than the previous instalment, but the categories were very similar to then.
  
-Along 5 [[faction:yamatai:golden_lotus]], the movie was named #1 Adventure movie by //Kyoto Times//, thwarting //The Train Robber//, that had held that position since [[calendar:ye_19]], and #3 Best Adventure film of all time by the [[faction:yamatai:film_institute]].+Along 5 [[wip:faction:yamatai:golden_lotus]], the movie was named #1 Adventure movie by //Kyoto Times//, thwarting //The Train Robber//, that had held that position since [[calendar:ye_19]], and #3 Best Adventure film of all time by the [[wip:faction:yamatai:film_institute]]. The train opening was voted #1 Most fun opening sequence by //Kyoto Times// as well.
  
 ===== OOC Notes ===== ===== OOC Notes =====
 [[user:yoerik]] created this article on 2017/05/20 06:12. The plot was revealed on 17/12/17. This article is inspired by Indiana Jones and the Last Crusade, so all credits go to Spielberg and Lucasfilm. [[user:yoerik]] created this article on 2017/05/20 06:12. The plot was revealed on 17/12/17. This article is inspired by Indiana Jones and the Last Crusade, so all credits go to Spielberg and Lucasfilm.

Page Tools

Content copyright StarArmy.com and/or individual contributors and used under license. Star Army is a registered trademark.
Terms of Service - Privacy Policy