Peter Jackson is Shooting The Hobbit in Stereoscopic 3D

If you are a Lord of the Rings fan who is anticipating the next film in the series with the younger Bilbo Baggings as lead then you may want to know that it will be a digital 3D film. According to Cnet, Peter Jackson is prepping up for a huge 3D release of The Hobbit and is using a stereo 3D camera rig to shoot it.

Cnet reports, “The movie is being made with 48 RED Epic digital cameras, and since it’s shot in 3D, those cameras have to be paired and positioned a specific distance apart.”

That is quite an impressive set-up and 3D fans should be in for a treat. This may be the biggest 3D films ever, even surpassing Avatar. Peter Jackson has to overcome some challenges with such a large 3D rig.

Jackson has to rely on the help of 3ality Technica to create specialize mounts for the cameras used in the upcoming film. The reason for this is that the lenses used in 3D camera rigs make it “nearly impossible” to place the RED digital 3D cameras next to each other. The company, 3ality Technica, that Jackson and the studio is using for the custom mounts happens to specialize in custom camera rigs.

The 3ality Technica mounts that are being used by the studio for shooting allow one camera to be pointed straight ahead at the subject and the other is used to shoot the images reflected off a mirror. In this way, the camera operators can change the distance between the two camera lenses easier. This distance is called the “interocular.”

The report goes into other details regarding just how high the stereo 3D quality should be in the film. It is actually being shot at 5K resolution. This is a resolution of more than six times that of standard 1080p. Another thing mentioned regarding The Hobbit’s production process is that it is being shot at 48 frames per second.

All this leads to the very possible conclusion that this may be the biggest 3D film ever. It may also offer the best 3D image for viewers.it will be interesting to see the depth perception that Jackson alters for viewers and how he takes on this (stereo 3D) style of film making.

The Hobbit will be released on Dec. 14, 2012, according to IMDB. It’s full title is “The Hobbit: An Unexpected Journey” and it will be the first of a two-part series of films. The second film will be called “The Hobbit: There and Back Again.”


Is 4K in Your Future?

This year was the first time that the industry at large has started to take 4K seriously, with new 4K cameras and post solutions. Sony introduced the F65, which incorporates a 20-megapixel 8K sensor. Like other CMOS sensors, the F65 uses a Bayer light filtering pattern, but unlike the other cameras, Sony has deployed more green photosites—one for each pixel in the 4K image. Today, this 8K sensor can yield 4K, 2K and HD images. The F65 will be Sony’s successor to the F35 and become a sought-after tool for TV series and feature film work, challenging RED and ARRI.

Nov. 3rd became a day for competing press events when Canon and RED Digital Cinema both launched their newest offerings. Canon introduced the Cinema EOS line of cameras designed for professional, cinematic work. The first products seem to be straight out of the lineage that stems from Canon’s original XL1 or maybe even the Scoopic 16MM film camera. The launch was complete with a short “Bladerunner”-esque demo film produced by Stargate Studios along with a new film shot by Vincent Laforet (the photographer who launched the 5D revolution with his short film “Reverie”), called “Möbius.”

The Canon EOS C300 and EOS C300 PL use an 8.3-megapixel CMOS Super 35mm-sized sensor (3840×2160 pixels). For now, these only record at 1920×1080 (or 1280×720 overcranked) using the Canon XF codec. So, while the sensor is a 4K sensor, the resulting images are standard HD. The difference between this and the way Canon’s HDSLRs record is a more advanced downsampling technology, which delivers the full pixel information from the sensor to the recorded frame without line-skipping and excessive aliasing.

On the same day, RED launched SCARLET-X to a fan base that has been chomping at the bit for years waiting for some version of this product. It’s far from the original concept of SCARLET as a high-end “soccer mom” camera (fixed lens, 2/3-inch sensor, 3K resolution with a $3,000 price tag). In fact, SCARLET-X is, for all intents and purposes, an “EPIC Lite.” It has a higher price than the original SCARLET concept, but also vastly superior specs and capabilities. Unlike the Canon release, it delivers 4K recorded motion images (plus 5K stills) and features some of the developing EPIC features, like HDRx (high dynamic range imagery).

If you think that 4K is only a high-end game, take a look at JVC. This year the company has toured a number of prototype 4K cameras based on a proprietary new LSI chip technology that can record a single 3840×2160 image or two 1920×1080 streams for the left and right eye views of a stereo 3D recording. The GY-HMZ1U is derivative of this technology and uses dual 3.32MP CMOS sensors for stereo 3D and 2D recordings.

POST AT 4K

Naturally the “heavy iron” systems from Quantel and Autodesk have been capable of post at 4K sizes for some time; however, 4K is now within the grasp of most desktop editors. Grass Valley EDIUS, Adobe Premiere Pro and Apple Final Cut Pro X all support editing with 4K media and 4K timelines. Premiere Pro even includes native camera raw support for RED’s .r3d format at up to EPIC’s 5K frames. Avid just released its 6.0 version (Media Composer 6, Symphony 6 and NewsCutter 10), which includes native support for RED One and EPIC raw media. For now, edited sequences are still limited to 1920×1080 as a maximum size. For as little as $299 for FCP X and RED’s free REDCINE-X (or REDCINE-X PRO) media management and transcoding tool, you, too, can be editing with relative ease on DCP-compliant 4K timelines.

Software is easy, but what about hardware? Both AJA and Blackmagic Design have announced 4K solutions using the KONA 3G or Decklink 4K cards. Each uses four HD-SDI connections to feed four quadrants of a 4K display or projector at up to 4096×2160 sizes. At NAB, AJA previewed for the press its upcoming 5K technology, code-named “Riker,” a multi-format I/O system in development for SD up to 5K sizes, complete with a high-quality, built-in hardware scaler. According to AJA, it will be able to handle high-frame-rate 2K stereo 3D images at up to 60Hz per eye and 4K stereo 3D at up to 24/30Hz per eye.

Even if you don’t own such a display, 27-inch and 30-inch computer monitors, such as an Apple Cinema Display, feature native display resolutions of up to 2560×1600 pixels. Sony and Christie both manufacture a number of 4K projection and display solutions. In keeping with its plans to round out a complete 4K ecosystem, RED continues in the development of REDRAY PRO, a 4K player designed specifically for RED media.

RED Scarlet-X camera shipping now

Why are these dudes so happy? Maybe because they’re among the first to get their hands on RED’s Scarlet-X camera. Indeed, the gentleman in the middle — Tonaci Tran — is officially the first, according to a forum post by RED’s President and “Fire Chief,” Jarred Land. We’d love to get our hands on the $9,750 device, which famously went head-to-head with Canon’s EOS C300 when the two firms had dueling press conferences earlier this month, but it looks like we’ll have to be content with Tonaci’s demos for the time being. And of course, this makes us wonder: is he being nice, or is he showing off? We bet he’s just happy: it has been a long three years (almost to the day) since the project was announced.

Paradise FX Launches Helios 3D Stereo Rig

Press Release from Paradise FX

Van Nuys, CA, USA – Oct 19, 2011 – Paradise VFX (www.paradisefx.com), the world’s most experienced provider of 3D stereo camera systems and production services, has launched HELIOS, a wireless, self-contained, 3D stereo rig, whose advanced design and operational features support faster on-set deployment, streamlined post production, and more cost-effective 3D stereo production.

HELIOS harnesses Paradise FX’s 20 years of expertise in 3D camera system design, and delivers a leading-edge, 3D capture system suitable for all types of untethered camera work, including handheld, Steadicam and studio applications, with optimized metadata handling, crucial to VFX-oriented 3D production. When provided as part of a production service package from Paradise FX, HELIOS reduces the technological and crewing footprints of 3D stereo cinematography, bringing them into line with 2D production practices.

HELIOS is manufactured from rigid, lightweight magnesium and aluminium alloy. It is currently designed for use with RED EPIC cameras, with future support for ARRI® Alexa M and Sony F3 cameras. It is offered with a range of matched lens pairs, including ARRI® Ultra Primes and Angenieux® Compact Zooms.

Using Preston G4 wireless controls, HELIOS’ interaxial range can be adjusted from 0 to 2-inches, and convergence from 10-inches to Infinity. It measures 18.5”(H) x 18.5”(L) x 8.5”(W), with a mirror box width of 15-inches. The rig’s naked weight is 18lb; 42lbs in Steadicam mode; 47lbs in handheld mode; and 53lb in full studio mode.

Paradise FX has designed HELIOS to meet the requirements of all key departments on a 3D stereo production – the camera team, producers and directors, and editorial/VFX. HELIOS builds on, and is complementary to, Paradise FX’s existing range of 3D stereo rigs, including the Atlas and Maxi studio rigs, and the Tridelta and Triton Underwater rigs.

As HELIOS is lightweight, self-contained and untethered, Steadicam operators can move as freely as they do on a 2D shoot. Its self-balancing design means that interaxial convergence controls move out from the center of the rig, preventing a weight shift from affecting the Steadicam operator’s performance.

For cinematographers, a unique design advantage of HELIOS is its ability to quickly adapt from one camera configuration to another, between tripod, dolly or crane, to handheld or inverted shooting modes, saving time and money.

When HELIOS is provided as a package from Paradise FX, the labor footprint emulates 2D camera positions, resulting in faster set-ups for the director, and significantly reducing the financial burden for producers.

To boost post production workflow, HELIOS can be deployed with Paradise FX’s Mercury metadata capture system. Files, timecodes, associated lens and 3D stereo information, such as interaxial and convergence metadata, can be offloaded for post or VFX. In addition, camera moves can be played back on-set in the same way as a motion control system. To support even more efficient post-production workflow, Paradise FX also provides an on-location Digital Lab facility for fast dailies review, archiving and post adjustment of 3D footage.

Outfitted with RED Epic cameras, HELIOS provides the smallest package for a 35mm chip, and unsurpassed quality and firepower allowing up to 96fps at 5K and 300fps at 2K.

“HELIOS meets head-on the demand for more versatile, cost-effective 3D stereo capture,” said Paradise FX co-founder/CTO Max Penner “It can be quickly deployed for different shooting modes, and supports highly-efficient capture-to-post workflows. By bringing the crewing requirement into line with traditional 2D, HELIOS provides a dramatic impact on the producer’s budget too”

Cinematographer Sam McCurdy BSC commented: “With HELIOS, Paradise FX has developed a system that gives me the ability to easily jump from Steadicam to crane to dolly with one rig. Its rigid, stable build has given me more freedom than ever when shooting 3D stereo. I don’t know of any other rig that performs as well as HELIOS in the constantly demanding environment we shoot in today.”

Andy Serkis Says ‘The Hobbit’ Teaser May Be Under Your Tree By Christmas (So Be Good for Goodness Sake)


Since the first teaser for Peter Jackson‘s “Lord of the Rings: Fellowship of the Ring” debuted about a hear ahead of its December 2001 bow, speculation has been high that we’d get our first glimpse at Jackson’s 3D-ified “The Hobbit: An Unexpected Journey” sometime this holiday season. Now someone close to the production says that yes, indeed, that is the case. So all of those geeks who put “Seeing a ‘Hobbit’ Teaser” on their Christmas list will be very, very happy. Ho-ho-hobbit!

According to Andy Serkis, who not only reprises his role as Gollum for the new films (a second film, “The Hobbit: There And Back Again,” will be out in December 2013) but is also serving as the Second Unit Director on the mammoth production, told IGN that, “There will be a trailer fairly soon, actually. Around Christmas time, I believe.” The site speculates that it’s likely to be attached to either Warner Bros‘ “Sherlock Holmes: A Game of Shadows” (man, that subtitle doesn’t get any less stupid, does it?) or, more likely, Steven Spielberg‘s “Adventures of Tintin,” since Jackson is a producer on ‘Tintin,’ and, quite frankly, a little more incentive for an American audience, largely unfamiliar with the source material, to show up for the film, would be a huge plus. If it’s attached to ‘Tintin,’ too, there’s a possibility that it could show off the neato new 3D technology “The Hobbit” is using courtesy of the Red Epic camera system, since everyone will already be wearing those silly Buddy Holly 3D glasses.

Serkis, who costars in ‘Tintin’ and will soon be making the Oscar rounds for his performance in the unexpectedly wonderful “Rise of the Planet of the Apes,” doesn’t know which film it’s supposed to be attached to, but told the site, “It’s just around the corner.” The site commented that this remark was punctuated with a “gleeful” laugh, but we picture him screeching out the comment before leading us up a perilous volcanic cliff face.

“The Hobbit: An Unexpected Journey” is expected in theaters on December 14th, 2012. And in case you missed it, here’s the fourth video blog from the set.

Andy Serkis Teases ‘The Hobbit’ Trailer; Talks Second Unit Directing

the hobbit trailer peter jackson

It’s been an excellent year for master motion-capture performer Andy Serkis, between his acclaimed turn as the ape Caesar in Rise of the Planet of the Apes and his (already well-liked) role as Captain Haddock in Steven Spielberg’s The Adventures of Tintin.

The actor’s win streak shouldn’t be broken anytime soon, seeing how he’ll soon return in CGI-enhanced form once again – this time, as the miserable Gollum in Peter Jackson’s two-movie adaptation of J.R.R. Tolkien’s The Hobbit, a prequel to the Lord of the Rings trilogy.

Jackson has been keeping fans up-to-date on The Hobbit by releasing production diary videos every so often. However, according to Serkis, the next big treat for Tolkien lovers will take on the form of a teaser trailer.

Serkis informed IGN that the first Hobbit theatrical preview is “just around the corner” and should be released by “around Christmas [2011] time.” While the actor was uncertain about exactly which upcoming holiday flick would feature the Hobbit trailer, the most likely candidates include fellow Warner Bros.’ production Sherlock Holmes: A Game of Shadows and the Tintin movie, which Jackson produced.

What with the Hobbit teaser, the Dark Knight Rises‘ prologue, and new previews for other highly-anticipated 2012 releases (ex. the full-length Amazing Spider-Man trailer) potentially being released during the 2011 holiday season, there’s arguably more excitement for the upcoming slate of theatrical promos than regular releases – all things considered.

the hobbit peter jackson andy serkis

Andy Serkis and Peter Jackson on the set of ‘The Hobbit’

Besides his mo-cap acting duties, Serkis is also serving as a second unit director on Jackson’s Hobbit films. Here is what he had to offer IGN, concerning the experience:

“It’s quite fascinating. I’m having a ball. It’s a huge operation, really. We’re on the road at the moment, at various different locations on South Island in New Zealand. There are some truly remarkable landscapes that we’re filming in. It’s just stunning.”

On the matter of The Hobbit being shot at twice the normal frame rate (via the use of RED EPIC 3D cameras):

“It’s unlike anything I have ever seen before. The brain has become so attuned to watching films at 24 frames a second. This is something completely different. It’s incredible. You feel inside it and surrounded by it. It’s really great. People will not be disappointed.”

3D has (understandably) earned a bad rap over the past year, given the plethora of post-converted releases that did little to nothing creative or innovative with the technology. Hopefully, between Jackson’s Hobbit movies and other upcoming 3D projects from high-caliber directors (ex. Spielberg’s Tintin adaptation, Martin Scorsese’s Hugo, Ang Lee’s Life of Pi) that trend will start to reverse itself in the future.

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The Hobbit: An Unexpected Journey arrives in U.S. theaters on December 14th, 2012.

The Hobbit: There and Back Again will hit U.S. theaters on December 13th, 2013.

Source: IGN

Check Out Screen Rant’s Superman: Man of Steel Photo Gallery

Superman: Man of Steel Photo Gallery

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Alfa Romeo UK introduce MiTo Quadrifoglio Verde Aquabatics Challenge

Alfa Romeo is preparing not only to break records with its new campaign for the range topping MiTo Quadrifoglio Verde but burst them, as they take the ultra-sporty hatchback to the track.

London, UK (PRWEB UK) 14 November 2011

Alfa Romeo is preparing not only to break records with its new campaign for the range topping MiTo Quadrifoglio Verde but burst them, as they take the ultra-sporty hatchback to the track.

In an exercise which integrates Alfa’s skills within social media, marketing, film and technology, the Italian marque developed an innovative way to showcase the new Alfa MiTo’s high performance abilities.

Using professional stunt driver Terry Grant, Alfa Romeo constructed its iconic brand logo with thousands of balloons and then mercilessly destroyed them by using the power and precision of the 170 bhp MiTo , leaving just four lonely balloons at the end.

Combining with a Facebook campaign, the four entrants who select the correct grid location of one of the four surviving balloons will win an unforgettable and exclusive Alfa Romeo track day at the famous Goodwood Motor Circuit.

Using the latest pre-production Red Epic camera, the filming of this stunt was done in such a way that you could forgive yourself for thinking you were watching a Hollywood blockbuster- Peter Jackson’s The Hobbit has been filmed using this method. At 300 frames per second and using IMAX quality resolution, the final outcome is truly something to behold.

The stunt has also been put forward for a Guinness World Record, as never before have so many balloons been burst by one car alone. Alfa’s driver, Terry Grant, who has 19 world records to his name, ensured the balloons stood no chance. Guinness now have Alfa Romeo’s submission which is likely to be announced as a World Record shortly.

As November fast approaches for the big reveal of this exceptional video and campaign, get over to Alfa Romeo’s Facebook page now to join in the competition, get your grid reference and see if your balloon can withstand the might of the Alfa MiTo Quadrifoglio Verde.

Visit Facebook for more details or visit http://www.alfaromeo.co.uk

###

Phil
Alfa Romeo
020 8541 3434
Email Information

TNA Impact Review – 10/11/11 – James Storm vs Rob Roode

TNA Impact Wrestling. 10th November 2011

First we recap Roode smashing a bottle over Storm to take his world title from him, with further emphasis on the spit and some epic music just to emphasise the heel turn. Then we are in Georgia for Impact Wrestling. And Robert Roode is first out with his new World Title and music that proclaims him to be off the chain. He says that each and every one of us would have done what he did. He tells us this is a generation of selfishness and he is the leader. Doing things the right way in society today gets you nowhere. In a picture in picture shot we see James Storm at the Gorilla position watching, then getting stopped by security when he tries to come out. THAT’S interesting, I like that. Finally wrestling addresses the question “Why do they only interrupt after letting them speak for ten minutes.” Storm breaks free and makes his way out while security try and keep him from the ring. He decks two of them then hip tosses one right into the camera man. He charges the ring but Roode escapes. It takes D Lo and Al Snow to hold Storm back. While Roode backs up the ramp, Sting makes his presence known. Sting trips over his words but eventually tells us that tonight Storm gets his rematch.

Eric Young and Ronnie from Jersey Shore are wandering backstage, and so is Dixie Carter and the CEO of Bellator Fighting Championship.

Pope D’Angelo Dinero (Where you been?) vs. Crimson
Disappear for ages, face Crimson out of the blue? Sorry Pope. Pope does manage to get in some offence early on with a DDT and a fist drop, then another fist drop from the middle rope. Crimson comes back with knee strikes but Pope sneaks in the 4 Up Uppercut. He goes back up top but when he flies off is caught and Bombed with the Red Sky for the one, two, three. Crimson continues his streak. Hes hardly gunna lose before he faces Morgan now is he?

Gunner is talking about being beaten as a child and relates it to beating Garrett Bischoff.

Gunner (w/Naitch and Bisch) vs. Garrett Bischoff
Ric Flair looks exhausted. Must be the back to back tapings. Garrett may not have entrance music or video, but he sure does have a nice white vest. Gunner trash talks him at the bell. Garrett catches him off guard with an arm drag and pretends he’s shocked he can do it. Another one. And a hip toss and a back body drop. Gunner heads to the outside and takes a break, Flair jumps in the ring and shoves the ref over causing the DQ. Garrett backs up the ramp while one old guy in the crowd starts a Garrett chant.

The Two Robbies are trying to get into Ronnie’s dressing room but a security guard stands in the way. Eric Young opens the door and Robbie E tells Ronnie to save himself the embarrassment tonight.

When we come back from commercial, James Storm is found unconscious slumped in a heap and covered in blood. One really unhelpful stage hand calls for help AND A TOWEL. Storm starts to come around but is clearly worse for ware, stumbling and completely out of it.

Zema Ion vs. Jesse Sorensen
Sorensen with the arm drags and a high cross body to the outside right away. Back in the ring Zima hits an amazing spinning cross body. He looked like Dhalsim flying through the air! He flips Jesse into a backdrop, spins around and sticks a knee in his face. Up top he goes, Jesse rolls away from a 450 Splash then drops him with a modified Cross Rhodes and picks up the win. Kid Kash comes out with a mic after the bell and sarcastically congratulates Jesse calling him “Mr Ten Days in the Business.” Kash tells him hes giving him the opportunity of a lifetime. In his hand is a contract for a match at Turning Point. An X Title match, Jesse vs. Austin Aries VS Kid Kash. Jesse for some reason stalls signing…but does. Kash then makes a your mother joke and Jesse jumps him. This brings out Austin Aries to jump Jesse and they double team away.

Backstage Karen Angle tells Gail Kim she is beautiful and sort of brushes off Madison then berates Traci Brooks.

Knockout Tag Titles
Velvet Sky and Mickie vs. Gail Kim and Madison Rayne
Karen makes sure Madison starts the match. Velvet spears her right away. Mickie James tags in and gets thrown off the top rope by Gail Kim. Gail then tags in and takes over on Mickie. After short domination, Mickie manages a neck breaker and a tag to Sky. Velvet gets her double knees and a running face buster. Madison comes in but Mickie takes her out with a Thesz Press. Velvet then goes for finisher but Karen gets on the apron. Velvet gets the sit out Pedigree on Madison but Gail comes in and gets the dropping boot to the face and the ref comes back in just in time to count the three.

Sting comes in on James Storm who doesn’t know who attacked him. HE insists he’s fine but he falls over. Never a good sign. IM FINE STANNGG!!

The Two Robbies vs. Eric Young and Ronnie
Ronnie starts in there with E. Wrestling wearing a t shirt and jeans. Robbie T tags in, so does Young. Eric Young locks up with the ref, cause that’s still funny to five people. Then he gets away with a bite but falls to a high back body drop. E tags in now that EY is down. He works him briefly then tags Robbie T in. Hanging suplex. He drops EY over his knee and E comes off the ropes with an elbow for the double team. E misses a corner charge and takes a belly to belly. Ronnie gets a tag and clotheslines E then gives him a body slam. And off comes the top. EY goes up top and hit’s a nice flying elbow and…where did his shorts go? While Im preoccupied with that, Ronnie pins Robbie.

Jeff Jarrett is yelling into the camera promising tonight to take out Hardy. Steiner is there too and he’s all like “BASTIDS IM GUNNA KICK ASS YA BASTIDS AND YO MOMMAS AND IM GUNNA TAKE A HARDY AND ANDERSON RIGHT NOW” and he goes for a dump and Bully Ray shouts in “Don’t forget to courtesy flush. You had a lot of eggs today.” This really happened.

In catering, Mexican America comes up on the Ink Inc and a brawl starts. Including the ladies. Ink Inc run them off.

Bjorn Rebney, founder of Bellatore joins the commentary team.

Chris Daniels vs. AJ Styles
AJ is getting good support in his home state. This match is weird, theyre hyping Bellatore on the commentary like crazy and talking about how great it is that the Bellatore fighters fight for glory. Sounds a bit counter productive against TNA to me. Meanwhile in the ring, Daniels drops Styles on the ropes following an attempted springboard. Daniels hit’s a nice split leg moonsault for two then puts Styles in a leg scissor. AJ fights back with his nip up head scissors out of nowhere, but Daniels then rolls him up for two. He goes for angels Wings but Styles counters. Then he gets his beautiful springboard reverse DDT that I could watch forever. Daniels charges but misses and Styles gets some stiff strikes on him. Springboard clothesline and a nip up. Clash called for, Daniels blocks, PELE! Daniels gets his foot on the rope! Daniels goes under the ring but Styles follows him out. He dives off the apron but Daniels catches him with a knee and a slam on the floor. He goes back under the ring and finds his screw driver. He backs up against the ropes and acts like he’d use it but RVD comes out and takes it away. Daniels turns around and Styles catches him in the Clash and that’s a THREE for AJ Styles.

Bully, Steiner, Jarrett vs. Anderson, Hardy and a Surprise
After an ad break between entrances, ABYSS is revealed as the partner of the faces. Immortal are not happy. After a bit of messing about, Steiner and Hardy end up in there. Steiner hip tosses him and shouts WHITE TRASH to Georgia. Hardy gets his back kick and tags in Anderson. Bully gives Anderson a shot from the apron to let Immortal take over on him. Steiner with the clothesline and elbow and the trademark push ups. Anderson manages a clothesline out of nowhere. Hardy tags in and takes out Bully. He gives him a second rope leg drop then goes up for the Swanton. Jarrett crotches him from the outside which allows Steiner to give him a falling slam from the top rope. Bully comes in and gets a two. Jarrett tags in, but when he whips Hardy, he climbs the ropes and hits him with the Whisper in the Wind. Hardy manages a tag to Abyss who drops all of Immortal with clotheslines and boots. Jarrett goes for the Stroke, Abyss shoves him and takes him out with the Shock Treatment! Bully up and clotheslines him outside. Hardy gives Bully the Twist of Fate then straight to the top for a BIG Swanton. Hardy to his feet, but receives a Stroke! Anderson comes in and hit’s the Mic Check on Jarrett, but then Steiner gives HIM a belly to belly. Hes about to put on the Recliner but Abyss comes in and gives him a Black Hole Slam! One, Two, Three! Abyss, Hardy and Anderson win it.

Bobby Roode comes out dressed to wrestle. But obviously Storm wont be competing. They hit his music and his Mickie James style entrance video but he doesn’t show. They hit his music a second time…and he does come out but still bloodied and stumbling. And with less than 5 minutes left in the show, we clearly aren’t getting a proper match. Storm charges the ring, Hebner rings the bell without even checking him…

James Storm vs. Rob Roode
Storm gets a back body drop but it staggers him and he just slumps to the mat. Referee throws up the fake “X” sign to the back and a trainer comes out. MAYBE YOU SHOULDN’T HAVE RANG THE BELL THEN! The ref tells Roode its not happening. Roode tells them to call an ambulance and helps the ref help Storm to his feet. “Match is over right? You rang the bell?” Ref tells him he didn’t ring the bell. Roode rolls him up and makes the referee count. Styles and Kaz sprint out to help Storm and stare at Roode in disbelief.

Sting comes out and goes past Roode on the ramp into the ring. Styles gets on the mic and yells at Roode. AJ challenges him to step in against him. Styles tells Sting he wants Roode at Turning Point! Sting gives it to him as we go off the air.

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