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The Matrix Reloaded was largely filmed at Fox Studios in Australia. Filming began on March 1, 2001 and ended on August 21, 2002, concurrently with the filming of the sequel, Revolutions. The freeway chase and "Burly Brawl" scenes were filmed at the decommissioned Naval Air Station Alameda in Alameda, California. The producers constructed a 1.5-mile freeway on the old runways specifically for the film. Some portions of the chase were also filmed in Oakland, California, and the tunnel shown briefly is the Webster Tube, which connects Oakland and Alameda. Some post-production editing was also done in old aircraft hangars on the base. The city of Akron, Ohio was willing to give full access to Route 59, the stretch of freeway known as the "Innerbelt", for filming of the freeway chase when it was under consideration. However, producers decided against this as "the time to reset all the cars in their start position would take too long". General Motors was hired to donate over 300 cars to be used during production, destroying them for the sake of creating art. MythBusters would later reuse the Alameda location in order to explore the effects of a head-on collision between two semi trucks, and to perform various other experiments. It took 27 days to film the Burly Brawl sequence, which was combined with motion capture and CGI. This would become one of the most expensive action scenes, costing $40 million to make. Around 97% of the materials from the sets of the film were recycled after production was completed; for example, tons of wood were sent to Mexico to build low-income housing.
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Positive comments from critics included commendation for the quality and intensity of its action sequences, and its intelligence. Tony Toscano of Talking Pictures had high praise for the film, saying that "its character development and writing...is so crisp it crackles on the screen" and that "Matrix Reloaded re-establishes the genre and even raises the bar a notch or two" above the first film, The Matrix. Roger Ebert of the Chicago Sun-Times also commended the film, giving it three and a half stars out of four. He described it as "an immensely skillful sci-fi adventure, combining the usual elements: heroes and villains, special effects and stunts, chases and explosions, romance and oratory" and praised the fact that "it develops its world with more detail than the first movie was able to afford, gives us our first glimpse of the underground human city of Zion, burrows closer to the heart of the secret of the Matrix, and promotes its hero, Neo, from confused draftee to a Christ figure in training." He also compared the choreography of the "Burly Brawl" fight to that of Yuen Woo-ping in the 2000 film Crouching Tiger, Hidden Dragon, and called the scene "one of the three great set pieces in the movie" (along with Morpheus' announcement to the people of Zion and the freeway chase).
Six months after the events depicted in The Matrix, Neo has proved to be a good omen for the free humans, as more and more humans are being freed from the matrix and brought to Zion, the one and only stronghold of the Resistance.
Of course, video games being a different medium entirely meant that the developers of Path of Neo were free to play around, and both deepen the world's wider lore and build on the incredible fight sequences that had been featured in the second and third movies.
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Most apparent is, as mentioned above, the familiar green filter of the Matrix world noticeably being toned down, but now, that greenish hue seems to alternate from scene to scene, looking heavy one moment but near-faded another. Still, primaries are full-bodied and richly-saturated, making the movie seem fresh and reanimated, but secondary hues appear about the same although flesh tones are a tad richer and more natural. Also, the overall picture is much sharper with significantly improved clarity and detailing in most scenes. Objects in the background and in the far-distance are well-defined and plainly visible while also showered in a thin, fine layer of natural grain, giving it a welcomed, lovely film-like appeal.
The article was substantially improved from the first version. However I still have a few suggestions to improve its readability.something went wrong on page 5, line 140: "For intermediate tucks, and to avoid..." the symbols for Tie3 are wrong.The labels used in the various grammars are inconsistent. While this does not invalidate the results, it makes it substantially more difficult to understand the role of each rule. For instance, I do not understand the logic in introducing in the first grammar on page 6, while this was not present in the first grammar in Section 4.1. (I think it is more clear with "last" present)In the grammar given in 4.2, can refer to either information at the current position (for instance : "A this stage the surrounding context has two more T than W mod 3") or information about the content (for instance : this is a tuck starting with W). This is very annoying and I think unneccessarily complicates the grammar and misses the opportunity of fully using the power of Theorem 1. I suggest: ---> (the 2 hints that #W-#T = 2 mod 3 inside) ---> (the 1 hints that #W-#T= 1 mod 3 inside) and both to , which indicates that #W - #T mod 3 = X. In this way, with minor adjustments, one needs only 3 rules instead of 6 or , one only ever considers #W-#T (not #T-#W, which only complicates things), and the grammar of 4.2 only ever uses labels that refer to their content, not the position (which is a legacy from the original tie problem, which Theorem 1 dispenses us of). Simplifying the grammar in this way might also be helpful for the generating function that memory-bombed later in the paper. When defining the grammars, particularly in 4.2, a reminder on the precedence of would be useful. More spacing would also be helpful. Theorem 1 should be rephrased: "if the position is preceded by..." "If the subsequence of the last 2k W or T symbols is such that"The automaton on page 7 and its description don't match: "Execution starts in the middle node" ???Page 7, line 179 "At most context-free" -> "At worst context-free". This introduces a value judgement (more properties == better), but what does it really mean if left as is? Page 10, line 249: Unclear to me what U'UU is.