mouse-of-mischief

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The Fall

fiiiiiiiiinally did a Sherlock to go with my John from this piece. hopefully they look like they go together ;;

originally inspired by this song

*dies*

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Hey it’s another Valentine’s Day in Johnlock Hell.

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‘Mrs Hudson was right you do look cute’  ‘It’s a disguise John and Mrs Hudson is our landlady’  ‘… and I am your boyfrend. We all have our own little problems. Now tell me how do you even write wearing this thing’ for @seasonsofjohnlock because some time ago we were talking and if I remember correctly I promised you a drawing of Sherlock wearing easter bunny costume. 

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Clueing For Looks

I MADE IT INTO A MUG AND PUT IT UP ON RED BUBBLE! <—–Click here or the image!

Took me long enough.

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Whole scene is basically Sherlock saying, "Mum, Dad, get out of my room! I have a boy over!"

Oh, for God—Sorry about that.

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so i’m basically just a horrible person

he looked so goddamn pretty in that scene tho sweet christ ;w;

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John’s asleep,

his back exposed,

the thin sheet clinging

to the rise of his hip

Sherlock traces

the hills and valleys

of his spine

with one finger,

marveling at the

naked, smooth skin

He leans down,

his lips touching

the small of John’s back

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Not only really interesting information on how things are filmed, but amazing clips of Setlock that I haven't seen before!

Sherlock S1 Behind the Scenes

CLAPPER LOADER, aka 2nd AC (Assistant Camera)

The 2nd AC ensures the smooth operation of the camera department as a whole. These are a few of her duties on digital productions: she maintains shooting records; changes out lenses, mounts, media cards and camera batteries; operates the slate; and supervises camera department trainees, interns, and production assistants (PAs). etc. In the UK they call her a clapper loader. In the US she’s known as a 2nd AC.

CRANE OPERATORS

Crane operators in the film industry are specially trained film crew. They’re usually grips and provide camera support.

DOLLY TRACK

The dolly, its track, assembly and operation is the responsibility of the dolly grip. 

…the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the “boom”. If both axes are used simultaneously, this type of dolly shot is known as a compound move.

DOLLY

This is the camera dolly on the set of TBB being dragged backwards without riders. A nifty thing about the dolly is that the seats are often lazy susans and spin around. This is so the camera operator can use their glutes to stabilize their shots and help save their shoulders and back. Yes, that shot is smooth due in large part to somebody’s ass!

FOCUS PULLER, aka 1st AC; DOLLY GRIP; & CAMERA OPERATOR

THIS! This is how a tracking shot works. It’s a dance, a freaking dance I tell you!

The dolly grip pushes the camera operator (seated) along the track while the focus puller/1st AC (in front) does NOT fall on his ass while walking backwards over a track (missing any cords that might be in the way) and focusing the camera with the power of his mind and one arm! The guy in front of the monitor is wrangling the cords and is therefore saving the focus puller and dolly grip from serious injury. In this shot from TGG director Paul McGuigan is watching what the camera is capturing on a remote monitor. The mic is in the car and he’s listening to the dialog in headphones.

Here’s the whole thing from the focus puller’s pov. In this case it appears that he does have a (hooded) monitor to look at. Most of the time focus pullers don’t. 

HANDHELD

Hand-held camera shots often result in an image that is perceptibly shakier than that of a tripod-mounted camera. Purposeful use of this technique is called shaky camera and can be heightened by the camera operator during filming, or artificially simulated in post-production. To prevent shaky shots, a number of image stabilization technologies have been used on hand-held cameras including optical, digital and mechanical methods. (x)

The ASiP cameraman is outfitted in an Easyrig Cinema 3. 

Cinema 3 gives you the advantages of both a handheld and tripod mounted camera; i.e. with the speed and mobility of the handheld camera you can still achieve steady pictures. It also has improved steadiness because of the integrated hip and back support. (x)

Here’s DP Fabian Wagner wearing one in Hounds:

PRODUCTION DESIGN

The assistant is covering up the light cord so it’s not obvious on camera. Why? The team installs the light every time they shoot because it’s covering up a blue historical marker. 

STEADICAM

Steadicam is a brand of camera stabilizer mount for motion picture cameras that mechanically isolates it from the operator’s movement. It allows for a smooth shot, even when moving quickly over an uneven surface. (x)

Steadicam was invented in 1975 by cinematographer Garrett Brown. Stanley Kubrick used it extensively in The Shining. Steadicam operators are a bit special. They usually own their own gear (upwards of $100,000 worth!) and have to undergo intensive professional training to be certified. It’s one of the most difficult jobs on the set and here’s how it works. 

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Before they’re a couple Sherlock has more hair products than John and John has more bath products. Over time they start sneaking each other’s until one morning in the kitchen they bump together and realize they share the same scent. They don’t speak of it but smile to themselves.

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The pain, the grief, and comfort in a gentle hand dance.

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You’re a bit like my dad. He’s dead. No, sorry— When he was dying, he was always cheerful, he was lovely.

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It’s Sunday evening in 221B Baker Street. John sorts through the various bills that have gathered in a pile next to his chair and he frowns, then tosses them aside with a short sigh. Sherlock enters the sitting room, a tall glass of amber beer in each hand.

“What’s this?” John asks, a confused smile tugging at his lips as he takes the glass Sherlock offers him.

“It’s for you,” Sherlock answers simply before seating himself in the opposite chair. His jacket is off and his shirtsleeves are rolled up, a nod to the warmth of the day.

John takes a grateful sip of the beer, the glass cool on his fingertips. His shoulders relax and he leans more deeply into his chair, then stretches out his legs.

He flicks his gaze up to Sherlock, who is tasting the liquid delicately, as if he’s not quite sure he’ll like it. John smiles again, knowing Sherlock usually prefers a higher class of beverage.

“You looked worried,” Sherlock finally says, nodding at the stack of envelopes. “Thought you could use a drink.”

John rubs his forehead, embarrassed about his monetary predicament. “Er, yeah, well…”

Before he goes on, Sherlock waves a dismissive hand. “I’ll lend you my card.”

“I can’t— thank you, but—”

Sherlock raises his hand, palm flat, halting John’s protests. “I insist.”

John knows it’s pointless to argue, so he looks away, mumbling a thank you. But his pride suddenly bubbles up, and he’s fighting a flash of anger. “Why? Why do you do always do this?” He grips the beer glass, feeling bitter. “I’m not a charity case.”

Sherlock’s expression remains placid. “I certainly don’t think that.”

“You don’t have to pity me, you know.”

Sherlock levels his gaze at him. “I don’t.”

John looks away. “I just need a job. Something steady. I can pay you back—”

Sherlock lets out a dramatic sigh. “Oh, do shut up, John.”

John stops, taken aback, and Sherlock continues to speak.

“I don’t care about the money. Take my card, take whatever you need. It doesn’t matter. I just need you.”

John stares, not sure he heard correctly.

“I need you on the cases,” Sherlock rushes to say. “Can’t have you working long hours at some boring job and missing all the fun. Who will embellish the details and record my feats of genius for the world?”

John keeps his eyes on the rug. “I don’t embellish that much.”

“And who else, with their simple questions and tenuous grasp of the obvious, could help illuminate the facts quite the way you do?”

John’s brows knit together, unsure if that was a compliment.

Sherlock waves his hand again. “No, no, no, I can’t permit you to waste your talents elsewhere when you are very much required here.”

John lifts his eyes to Sherlock’s, his anger slowly dissolving. “I promise I’ll pay you back.”

Sherlock holds his gaze, turning more serious. “You already have. Countless times.”

John swallows, emotions racing through him, sensing something unspoken. “You… really… need me?”

Sherlock hesitates, then smiles slightly. “More than you know.”

They fall silent, gazes locked until they both glance away. They sip their drinks, their feet gradually sliding closer, almost closing the gap between them.

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you guys can decide whether this is good end or bad end :C

teenagegallifreyan: Can you draw John rescuing Sherlock from the pool? supermisu: Watson saving Sherlock from drowning?

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for violethunted, the last winner of Jawn’s Red Pants giveaway~

the request was “angst and pain and misery” so i hope this is angsty enough lol

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Title: “Cypher”

Author: roane

Rating: Mature

Word Count: 2,438

Summary: When Sherlock fails to solve a case in time, John will need to be there to pick up the pieces.

Notes: This is for reapersun, who won me in the Fuck Yeah Johnlock Fanfic author giveaway, and who gave me this utterly gorgeous piece of art as my prompt. Thanks to thisprettywren, hiddenlacuna, ardatli, greywash, and breathedout for speedy and awesome beta work and for setting me straight when I got off-track.

Excerpt: 

The ground was giving way beneath John’s feet. It felt like the pavement was crumbling away in the rain. “Yeah.” His throat ached. He felt the first bit of damp seeping through his coat, which was proving less water-resistant than advertised. It was stupid of him to keep standing out here. “Um. Don’t stay out here long, all right?” Sherlock still wouldn’t look at him. “I’ll—leave you be then.” He turned to go.

“John.” Sherlock’s voice was so soft, John nearly missed it beneath the dull roar of the rain. “I’m sorry.”

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based on The Mountain Goats cover of I Still Feel the Bruise, originally by Trembling Blue Stars

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so i haven’t listened to every Mountain Goats song

because when i run out of music i like to download an old album that i haven’t heard yet so it’s new to me you know

and i downloaded this album recently and

this song suddenly

i just