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media:professor_yuko_and_the_book_of_agibas

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media:professor_yuko_and_the_book_of_agibas [2019/04/04 03:19] – yoerikmedia:professor_yuko_and_the_book_of_agibas [2019/09/14 06:57] – ↷ Links adapted because of a move operation wes
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 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.  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 [[timeline: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 [[timeline: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]], 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. 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 multi-[[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-[[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 ====
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 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 [[timeline: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 [[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 official release was set on 24 November of [[timeline:ye_39]], but was pushed back to 15 December, to allow the screening to focus upon the [[timeline:events:year-end_traditions]] popularity, mimicking the release of the first film. Official sources from [[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 [[timeline: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 [[timeline: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. 
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 ==== Accolades ==== ==== Accolades ====
-The movie was nominated for 6 [[faction:yamatai:golden_lotus]] in [[timeline: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.+The movie was nominated for 6 [[wip:faction:yamatai:golden_lotus]] in [[timeline: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 [[timeline:ye_19]], and #3 Best Adventure film of all time by the [[faction:yamatai:film_institute]]. The train opening was voted #1 Most fun opening sequence by //Kyoto Times// as well.+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 [[timeline:ye_19]], and #3 Best Adventure film of all time by the [[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.

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