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Download Episode 1.111


Flip This House features a man in dire need on every episode. Will you merely re-design your interior decor or do you plan to make a complete home overhaul? Clear out clutter and remove any hidden items. Paint chairs and tables are a must. You don't have to be a millionaire to make your home a dream. But, it is up to you to decide if guests will call the house "my home". They deserve the chance to design their dream home!




download Episode 1.111



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To download Flip This House: Decoration & mod from HappyMod.com.You need enable the option "Unknown Sources".1. Click on the above link to download Flip This House: Decoration & mod APK.2. Save the file in your device Downloads folder.3. Now tap on Install and wait for the installation to finish.4. Once it is done, open the game and start playing it right away.


To download Flip This House: Decoration & from HappyMod APP, you can follow this:1. Open your browser and download the HappyMod APK file from HappyMod.com - the only official website of HappyMod.2. Open Android Settings and go into Privacy or Security.3. Tap the option to Allow Unknown Sources and enable it.4. Go to your Android downloads and tap the APK file.5. Follow the directions on the screen to install it.6. Search Flip This House: Decoration & in HappyMod App.


The film, which retraces the plot of the first six episodes of the series, enjoyed a positive reception in Japan, grossing about two billion yen and generating considerable revenue for the home video market. Abroad, Evangelion: 1.0 received a more polarized reception, although generally positive; critics described it as too derivative of the classic series and claimed that it cut important details, while others praised its direction, soundtrack, and plot, with particular attention to its use of CGI graphics. The feature film also won accolades, receiving awards at, among others, the Animation Kobe and Tokyo International Anime Fair.


Hideaki Anno was assisted in the direction of You Are (Not) Alone by Masayuki and Kazuya Tsurumaki, who were assistant directors on Neon Genesis Evangelion. At the beginning of production, Anno asked Tsurumaki what he would like to do after finishing Diebuster between working on an Evangelion-related project, or on a new project about a famous anime. While confused by the question, he instinctively answered Evangelion. If Tsurumaki had refused, Anno was prepared to offer the role of assistant director to someone else, but Tsurumaki eventually accepted, albeit with reservations. Tsurumaki had regrets about the sixth episode of Neon Genesis Evangelion, "Rei II", which after the storyboard "was ordered by another company, and Gainax had no control over it", and felt he could address the issues he had with the episode.[19] Meanwhile, Ōtsuki contacted Masayuki in February 2006. Like with the theatrical release of 1997, Masayuki was originally working on just the layout and helping with animation; however, Khara quickly promoted him to assistant director, since Tsurumaki alone could not do all the work within the production schedule.[20]


Anno originally planned a simple graphic remake of the series[21] with the addition of about one hundred fifty cuts and the use of more advanced animation techniques.[22][23] Tsurumaki, however, claims that Anno initially made plans for a project different from Neon Genesis Evangelion: instead of being a "pure sequel", the film would be similar to what Mobile Suit Gundam Seed did for the Gundam franchise.[19] To Tsurumaki, the director planned to create "a compilation that wasn't really a compilation", similar to the forty-fifth episode of Mobile Suit Victory Gundam, a recap episode that reveals more about the plot, or like the fourteenth episode of Neon Genesis Evangelion. The initial project also called for a film to be released every six months, though the films would be a quick, easily produced year and a half time commitment. According to Tsurumaki, Anno himself probably had no intention of officially directing the film, instead completely outsourcing the project, and the plans changed only during the production of Evangelion: 1.0.[19][24]


At the beginning of production, Hiroshi Haraguchi and other crew members began the process of banking, an operation consisting of recovering the sheets containing the original drawings from Evangelion. Because of the importance of the process, Haraguchi started early, before storyboards were even in place.[25] Anno joined them midway through the process and, as he was the director of the original series, found the frames quickly. The banking process was long and complex, as some sheets were not and place or have been used over the years for other projects.[26] At first, an attempt was made to simply convert the original film of the episodes to digital by doing tests at Imagica, a company specializing in film post-production. The film was converted from the original 16mm format to a full 35mm format; however, the images were of lower quality than expected, especially in terms of color and definition.[27] Considering the low quality of the process, and the calculated costs of the entire procedure, Khara decided to start directly in digital and redo everything from scratch.[16][22]


Tsurumaki initially set a length of ninety minutes, but in the storyboarding process the film was almost one hundred ten, so cuts were made in the first rough editing phase.[39] Tsurumaki also had problems understanding Higuchi's storyboards because the drawings were made spontaneously and because the notes added to the storyboards were too generic.[17] He attempted to make the story more serious than Neon Genesis Evangelion, which was originally supposed to be a robotic version of Sailor Moon. As elements from this original vision could be seen in the episodes of the series which were centered in the film, Tsurumaki elected to not write those elements back in. It was particularly difficult to introduce elements of surprise, as Neon Genesis Evangelion: Death & Rebirth (1997) already served as a recap film of the series. Instead, he had to devise ways to make the audience understand that Evangelion: 1.0 and the Rebuild tetralogy set out to tell a different story.[41] He and Anno also made it their goal to correctly represent Shinji and Misato's story, as well as Misato and Ritsuko's generation.[42]


To Tsurumaki, Evangelion: 1.0 was a story of growth, so he painted in the storyboard a clear picture of Shinji's evolution, adding a happy ending to the story. However, Anno changed the plot again, adding nuance because he thought Tsurumaki's idea went too far.[39] In its first half, Neon Genesis Evangelion maintained a normal mecha story setting and then became mature and serious in the second half; to balance this, Anno added an adult and serious tone by introducing mature conversations between Ritsuko and Misato during all parts of the tetralogy. According to Tsurumaki, however, Shinji's character was not changed much compared to the classic series. He described the Rebuild as a kind of "virtual war", a type of game in which hypothetical scenarios are imagined from historical facts.[41] The scene in which Shinji escapes and gets on a train, introduced in the fourth episode of the series, was initially cut from the script; however, Tsurumaki pushed to introduce it again to better represent Tokyo-3.[44] Instead of the sequence in which Shinji meets his friend Kensuke Aida in the middle of the fields, also present in the fourth episode, a sequence in which Shinji wanders on a deserted highway at night was inserted, conceived by Kyoda.[40]


Yoshiyuki Sadamoto, the character designer of the original series, returned to his role for Evangelion: 1.0 and the other Rebuild films. At first, he tried to work on the character color specs by simply replacing those in the series with digital equivalents. However, Sadamoto felt the digital colors looked unnatural, and the skin colors tended towards orange.[59] Anno gave particular importance to color, controlling it in every cut. The color was especially important in the case of information-dense layouts or layouts rich in mechanical elements.[60] The director wanted to use flashy, dense colors without lowering the quality of the image, so he joined color designer Kazuko Kikuchi and worked tirelessly on color specifications.[61] Kikuchi also had difficulties during the process; in the end, Khara decided to adjust the color scheme according to the character's personality, thinking long and hard about what to do and taking months to do it.[62] Hidenori Matsubara designed the clothes of Misato, Ritsuko, the Nerv workers, and some details of the pilots' suits, taking inspiration in particular from some choices introduced in Sadamoto's manga.[63] Haraguchi was also involved in the design choice, as the drawing style was a constant topic of discussion among the directors. In the end, the production opted for a style that was neither too realistic nor overly cartoony. In the original first episode, for example, Misato makes cartoonish expressions of surprise, which were eventually removed from the film.[31] In the original anime, the city of Tokyo-3 was portrayed as a fictional half-uninhabited capital due to the large amount of work required to animate the background characters, while Nerv workers and random inhabitants were drawn for the film.[44]


After the banking process, backgrounds and sets were completely recreated, and the drawings were redone from scratch trying to maintain the basic atmosphere. The team could not use the old backgrounds from the series, as although they managed to recover about half the material, after twelve years in storage much was physically deteriorated and unusable.[45] The backgrounds were still important for the animators for reference, as in some scenes the color palette used in Neon Genesis Evangelion was recreated to evoke a sense of nostalgia. In other scenes, they simply copied the backgrounds over, increasing detail to an amount that was not possible with old technology.[66] In the first scene of the film, for example, more weeds were added to the backgrounds while still maintaining the same impression.[67] Anno also gave the animators the goal of evoking the idea of a live-action film with special effects.[68] Shunji Suzuki, who had already been the animation director for the first episode of the series, was called to supervise the key animations, or key frames.[69] He was also in charge of correcting the animation layout, with Yuji Moriyama and Kazuya Kise eventually joining him as supervisors. Suzuki tried to give a sense of unity to the animation, as different parts of the film were worked on simultaneously by different directors.[70] The overall workload increased exponentially during the process, and he found himself struggling in a state of chaos, always working on three or four things at once.[42] 350c69d7ab


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