#Essential Film Holder

[ultralowoxygen]

A year in film - day 7 - Homecoming by f/5.6ish Via Flickr: Nikon FM, Nikkor 35mm f/2 Ai, Harman Phoenix

[johnnymartyr]

Johnny Martyr's Camera Bag Essentials

By Johnny Martyr We tend to take them for granted but camera bags and what we put in them, besides our actual cameras, can make or break a shoot. Regardless of if you’re a hobbyist or a professional photographer, film or digital, or both, you never know when some small item might just save your ass! Below I want to share some specific product recommendations that have gotten me through…

[creatingblackcharacters]

“The Same Place as the Music” Lighting & Color

“Where is the light coming from?” “The same place as the music.” Andrew Lesnie, Cinematographer of LOTR

How & Why It's A Problem

If I had to summarize the frustration I have with this topic in one image, I'd use JeCorey Holder's (queer Black creative!) meme:

Now here's the thing. I'm not saying you have to be a master at lighting. I'm surely not. Hell, I still play around with lighting in my art in ways that aren’t the ‘most realistic’. You can’t ask me the technical explanations behind ‘color theory’ or 'contrast' without me doing some more reading. However… I don’t think anyone needs an art degree to understand this point:

We should be able to SEE your brown skinned Black characters!

I brought this up in my lessons about skin tones and blushing, and it applies with lighting as well. If all of your other characters have focused light and shadows, so should your Black characters.

However, this does NOT mean making them lighter-skinned!!!!

It's not funny nor logical at all to suggest that they somehow can't be seen like your other characters when you’re the one creating the piece. It's like a classic fifth-grade racist joke, “You blend in at night”. Har-de-har.

I was once rudely told to my face (well in the DMs) that a Black character that was completely Europeanized looked like that “because of the [sepia] lighting”. So I'm going to give you all, gracious readers, an example to show that that's not true.

This is Ana Flávia, Afro-Brazilian model! Gaze upon her beauty! Notice how in both of these filters, Ana did not, in fact, turn into a white woman! Because, my friends, that is not how that works! At all!

Here are some other examples of Black people in non-color lighting:

None of these people vanished from the frame just because there was no color. They didn't have to paint on lighter makeup to be captured by the camera. What do they all have in common (in this example)?

Lighting!

Now let’s discuss different ways to think about and potentially try instead!

What I want you all to keep in mind, is that the art you’re painting:

And I know that's silly right, like yeah no shit Ice, we knew that. BUT my point here is don’t be afraid to study photography, theatre, and staging for ideas. They actively work with light! It’s why I share so many images of models; it’s purposeful, focused staging of light with many of these compositions!

Brown-skinned Black people- brown-skinned people in general- GLOW in the light! Our skin reflects environmental light! There’s so much opportunity to play with that, and you can see different examples in those mediums.

Here are a couple articles of lighting in film focused on Black actors.

When lighting a person with dark complexion, the answer is not LIGHTENING THE SKIN, it’s understanding how light reflects off of dark skin.” -Nilah Magruder

Nilah Magruder (Black creator!) has an ENTIRE, thorough and wonderful essay on the topic, far better than I could give! She incorporates the use of cameras, lighting, painting, and more- so rather than be redundant here, I'm going to spotlight (ha see what I did there. It's okay, I know I'm funny) her and her explanation.

Incorporating Blackness in Color/Colorful Lighting

@dsm7 has an excellent and short visual explanation of how picking certain colors will lead to washing out or whitewashing Black characters, and how certain lighting and backgrounds (think the black and white photos on brighter backgrounds) will change the way their skin tone looks.

@nicosbighead has one of my favorite images on here, that shows how many different colors can still be used to convey the image of Blackness. Notice how all those pinks still worked?

@gaksdesigns has a beautiful picture here that I feel utilizes the light in a very minimal yet effective way to show highlights even on a palette that's fully brown.

This article approaches from a lighting perspective via filmmaking, but essentially Sade Ndya suggests instead of increasing the amount of light, change the color/lens of the light based on your character’s skin, as well as for the circumstances of the scene. They'll remain vibrant that way, and you’ll still capture what you need.

I know one way I do this on CSP (I think I’ve mentioned this but I can’t remember) is to use the Add Glow tool with the same or a similar shade of the character’s brown skin tone as a highlight under natural light, or maybe use different colors or filters depending on the sort of light on their skin at the time.

Here’s a reddit about it too, just because I know y’all value Reddit on here, and someone else discussed the topic that both Nilah and Sade discussed.

Is It Intentional?

There are going to be times where you intend for the light to be minimal. Maybe it’s a style choice. That should still show purposeful composition. Here’s an interview with famed Black director Ava Duvernay discussing the intentional darkness on Black actors in the prison scene in the movie Selma. To show that they're both trapped in prison AND that Martin is temporarily low on resolve- it's a part of the story that's being told.

I'm always talking about this: there is a difference between intention (and following through), and neglecting to think about it at all. And neglect isn't what we want, because often we can tell visually when it is- when an artist simply did not think to do it for one versus the rest.

Sidenote, on Youtube in the suggestions after Ava's interview, are also plenty of videos discussing lighting for dark-skin as well- why not take the chance to look?

Conclusion

We do not lack for light! We aren’t flat and lightless when you see us in life. It's actually a pretty awesome part of being brown-skinned. If you’re giving proper, flattering lighting to everyone else, give it to us as well. Study and experiment with ways to highlight brown skin.

You already know what I’m going to say. It’s going to take practice, same as anything else, because it’s the thought that counts, but the action that delivers!

[menonlywrestling]

KYTV Cable station NYC Pro Wrestling Part 1

This cable station was famous for it's Friday night and Saturday afternoon Pro Wrestling programming from 1955 to 1985. Wildly popular in it's hay day, thanks to syndication and the extremely high quality of it's Pro Wrestling output, filmed at their New York studio, the station essentially had it's own league, with many Pros making their name after appearing and competing there.

Saturday afternoons were a bit more family friendly, however the Friday 11pm shows were often more wild and intense.

Here we have some images of some of the Tag Team TV championship title holders from that period.

[doamarierose-honoka]

Ten years ago, musician Usman Riaz grabbed a pencil and started to sketch.

He might have hoped, but didn't know at the time, that it would start him on a path to making history.

That initial drawing became The Glassworker - Pakistan's first ever hand-drawn animated feature film.

It follows the story of young Vincent and his father Tomas, who run a glass workshop, and a war that threatens to upend their lives.

Vincent's relationship with violinist Alliz, the daughter of a military colonel, begins to test the bond between father and son.

Usman tells BBC Asian Network the characters ultimately come to learn "that life is beautiful but fragile, like glass”.

He describes The Glassworker as an "anti-war film" set in an ambiguous and fantastical world that takes inspiration from his home country.

“I wanted to tackle issues and themes that would have been difficult to tackle if it was based in Pakistan," he says.

The country doesn't have the thriving film industry of neighbouring India and there is no government support or incentive for budding creatives like Usman.

So The Glassworker was a passion project, he says.

“These 10 years for me have just been purely driven with passion and obsession.

“Since I was a child, I have loved hand-drawn animation and there's something so magical about it.

"The beauty of the lines drawn and painted by the human hand always resonated with me.”

Usman says he travelled the world looking for mentors and his search took him to Japanese animation house Studio Ghibli.

The influence of the Oscar-winning artists behind classics such as Spirited Away and Princess Mononoke can be seen in The Glassworker's own style.

Usman says the industry veterans at Ghibli were also the ones who encouraged him to start the production himself.

After raising $116,000 through a 2016 crowdfunding campaign he founded his own studio, Mano Animations.

From there it's been a painstaking process, especially since full production started in 2019.

“What you are watching is essentially a moving painting,” says Usman.

“Every single frame you see, whether it's a background or the character moving, it's all drawn by hand.”

Usman says that, so far, he hasn't made any money from the project and has been unable to pay his wife Maryam and cousin Khizer, who he recruited to help him.

But there's hope that the labour of love could be the start of something bigger.

Usman Riaz says he's always been a fan of animation

Sharmeen Obaid Chinoy is another experienced industry figure Usman turned to for advice about getting The Glassworker off the ground.

She directed 3 Bahadur, a computer-generated tale that was Pakistan's first-ever animated feature film.

On its 2015 release it broke box office records, even surpassing US imports and dethroning previous record-holder Rio 2.

Her studio was also the country's first female-led animation studio, and she understands the challenges of getting started better than most.

“Everything in Pakistan is driven by passion” she says. “I had to run pillar to post.

“We're a country that has limited access to electricity and our industry is heavily taxed.

"We're unable to import computers and hardware needed for animation.”

But Sharmeen – who is going to direct upcoming Star Wars film New Jedi Order – says The Glassworker could be a “monumental step” for Pakistan’s animation scene.

If it finds commercial success, she believes it will “ignite” something in the country, but there are barriers to home-grown animation becoming a red-hot trend.

The Glassworker is partly about the romance between characters Vincent and Alliz

Arafat Mazhar from Lahore-based Puffball animation agrees that “the technical skills are already there” in Pakistan despite there being “no formal training or schools available”.

But “how do you not censor yourself?” he asks.

It's a question facing any Pakistani filmmaker who has to deal with its strict board of film censors.

“Every time there's a good film that comes out that's sincere, the state ends up censoring it,” says Arafat.

He doesn't believe the rules are likely to relax soon.

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Sharmeen agrees the government will only encourage the domestic film industry to grow if they work to "provide opportunity to create a level playing field for us to compete with the rest of the world".

“There is a lot of scope in Pakistan for animation," she says. "We've just never been given the opportunity to create it."

She shares Arafat's pessimism about the pace of change.

"Unfortunately, it will just be a few filmmakers who have that passion, who will continue to create films," she says.

But Sharmeen says she is eager to see how the world embraces The Glassworker.

"I know that there is so much in there that will touch people's hearts," she says.

Usman says The Glassworker has an anti-war message

Usman will finally get to find out how audiences react to the work he's spent 10 years pouring his energy into as The Glassworker goes on general release.

He says he hopes to “put Pakistan on the map” and show it can stand up to the giants across the border in Bollywood.

But he admits the process has been “gruelling”.

“It is extremely difficult, but we've done something nobody has ever done in the country before," he says.

"I think we've created something special that can stand toe-to-toe with the rest of the animation produced in the world.”

Listen to Ankur Desai's show on BBC Asian Network live from 15:00-18:00 Monday to Thursday - or listen back here.

[samheughanswife]

Sam is not the messiah, he is a man with clay feet and a never ending case of foot in mouth.

Please stop with the excuses in DM defending, excusing an intelligent 43 year old man who is his own worst enemy.

First up I haven’t mentioned Caitriona because she is living the 2023 version of Greta Garbo.

She is silent on international relations du jour, thankfully. Has she learnt from being burnt previously, I doubt it. She just has zero interest in maintaining a SM presence.

I’m sure she has a private IG account where she shares her feelings on the dire state the 🌍 is currently facing. She is a woman with opinions and a social conscience. I would even go out on a limb and suggest this has been a period in which she settled into uninterrupted day to day motherhood. Post partum following L’s birth and the never ending Belfast promo had her ragged and exhausted. All that travel and living in different places with a babe would have not been easy. An enforced hiatus was a silver lining.

Caitriona has always shown she not a slave to socials unlike Sam.

I don’t believe he is subservient to his PR team. Maybe in the beginning but not now. He has agency and he can absolutely say no to strategies. The print media he appears in is a result of the fact that Sam is still decidedly C-list. He hasn’t been able to make it in FTHTSI (Financial Times), he hasn’t been able to get an interview the in NYT Saturday magazine ( even though he is a holder of a number one book cachet).

Same can be said for Condé Nast Traveller. No interest in a Brit actor with an alcohol side business to share his favorite place in 🏴󠁧󠁢󠁳󠁣󠁴󠁿 and the rest of the 🌍. To share his travel essentials, whether travelling for pleasure or for business. Sam and his agency just can’t attract that market. The readers, subscribers of these publications are not aware of him from film and television roles and SS is a niche market. Because his brand is a mess.

Sam is unable to be nuanced in interviews anymore. He used to be more erudite, but not anymore.

It’s all over the place. One minute wanting to be seen as more than a shirtless thirst trap actor on IG. But then constantly reverting to form, and then chastising those who question the thirst traps, they are now referred to as holiday photos 🙄.

Then there’s the endless addendum to puerile promo of MIK and Clanlands with GMcT. It’s sooo stale and they, he knows it. That promo relies on a sexualised element for Sam. What’s under my kilt? Remember I was commando on top of a mountain?

Gen Z don’t know or care about a relatively unknown 43 year old on a series that is always keeping the audience waiting and waiting. There is so much streaming choice. New viewers and casuals just loose interest. His OL haitus filler MIK is niche and ridiculously puerile. Old fashioned slapstick, it’s just for rusted on fans.

With a week to go for TCND to hit screens it will be interesting to see the direction of his socials and the accompanying press. Will it be rinse and repeat.

Sam can do better than this. I just don’t think he wants to.

[neenaatyvm]

Lol I just saw some fans making plans to just stroll to the theatre for fun and make a day of it since it's good weather and brighter nights, is it true the guards enforce that only ticket holders can stand outside?

Because that's only fair to the audience, and I see more and more fans just going there for funzies like they do when there is a set filming and stuff.

Hey, so bare in mind I was there day 1 so not sure if they’ve changed up the procedure, but essentially they were only letting those with tickets to stand either side of the barrier of the stage door. Now how effectively they can check when that queue is literally 8/9 or more people deep and there’s only really 2/3 guards manning the actual crowds 🤷🏽‍♀️ but they would deffo be checking anyone at the front of the barriers for tickets. (That being said, there were random stragglers walking past that would slip into the queue behind the barrier, sometimes they were caught out but some of them got away with it because of how many people there were if they came once the crowd had already built up.)

The opposite side of the street was a free for all. I ended up standing there at the front because the crowd near the stage door was so big by the time I exited the theatre, there was pretty much more people on this side of the street so it was busy and of course the cast were doing the balcony shout outs so prime view of that.

For what I experienced I would say 90%+ were theatre goers so very few stans or randomers. I think security can definitely manage any strays who are there before curtain call because they wouldn’t/shouldn’t be allowed near the barriers, and the initial outpour from the theatre but like 5 mins in, yeah - it’ll be what it is.

The other thing to add and to be frank, stans or not, a lot of the people watching this play are primary there because they’re casual or otherwise fans of Tom. (There’s a level of commitment to being in 60k+ queue to get those tickets ngl.) When you walk out and see that crowd building, it becomes part of the experience to stay the extra 5/10 mins to try and catch a glimpse of the person you’ve essentially come to see which is why I don’t see the crowds really dissipating all that much throughout the run as the overwhelming majority are likely to be those people who’ve just spent the last 2.5 hr watching him on stage rofl.

Thankfully a lot of this crowd disappeared as soon as Tom was away in his swanky Merc, so anyone there to meet the rest of the cast could have a bit more of a chilled out experience.

[oldafcameras]

The Legend of Korra has TERRIBLE animated cameras. Screenshots taken from season 1 episode 9, Out Of The Past.

Here we clearly see someone with a 4x5 bellows camera. I'll give them credit for the flash, which is accurate if a tad early for when the setting is calling back to. Since it's fantasy, they can do what the want. What they CANNOT do, is clearly show a plate camera and treat it like it's digital. The way he's holding it he's looking at the blank plate holder. And he's exposed that same plate about five times in this short scene.

This one straight up implies this camera is an SLR. For those of you who just had a moment of 'Huh??', an SLR is the kind of camera where you can see if your image is in focus before you take the picture. DSLRs are a digital version of that, and most younger film cameras are SLRs, the analog version. A plate camera, like this one, relies on a rangefinder if it has something at all. Having used similar cameras, they typically require you to hold the camera at your waist or chest and look into a small mirror mounted on top of the lens.

This is a plate camera. (This is actually likely the style or model they were referencing) They are essentially the high resolution cameras of the film world, they take pictures on metal plates of varying sizes, but the standard is 4 inches by 5 inches. If you think of those old cameras with a cloth covering your head, that's the kind of camera we're talking about.

'But Jack', I hear you ask, 'those cameras had a viewfinder on the back that showed if the subject was in focus!'

I answer you that that was for a very specific reason: the lens on those cameras operated differently than the one this camera is harkening back to. I'll save the explanation but know that this is a different kind of camera.

In short: Legend of Korra, for as much as I love it, gets a D in Vintage Camera Portrayal.

[supernovadragoncat]

People actually put their fanfic behind paywalls? 🤯

How? And WHY?

Yeah, more or less.

Apparently, it's most common on Twitter fics where essentially a writer won't update until they reach a certain dollar amount in tips. And here I thought it was annoying and gauche when people held updates hostage until they got a certain number of comments 🥴

Links to kofi, cash app, patreon are an explicit violation of AO3's TOS and a great way to get one's fics removed (and rightfully so). I suspect people either do this on third-party websites or direct to third-party websites (e.g. linking to socials on AO3 which then link to payment apps) to get around AO3's TOS.

Either way, it's shitty.

Not every hobby needs to be monetized and fanfic is a hobby that cannot be monetized. As is, fanfic writers have a narrow space we exist in to legally write fanfic without getting sued into oblivion.

Anyone monetizing their work on AO3 jeopardizes the website and the works archived there. If AO3 is seen to be hosting works that infringe on IP and violate copyright laws, the whole thing is at risk of being a target of lawsuits, which could bankrupt AO3. At the end of the day, it's small potatoes compared to a publishing company, film studio, or other copyright holders who have big money to throw behind these types of lawsuits.

This is why I'm so hawkish about people trying to monetize fanfic. I fully admit I side-eye fic writers who have Kofis linked to tumblr and report people who link their Kofis on AO3, but charging readers to read your fanfic is a whole other level of sheisty.

I know plenty of readers would gladly pay their fave fanfic writers, but no honey 💅 pay fanfic writers in kudos and comments and keep your money. 'Cause that's not what this is about. It's always been about seeing our favorite characters fall in love and bang it out and no one needs to be charging anyone their hard earned money for that.

[denimbex1986]

'“Ripley” editor Joshua Raymond Lee explains about his collaboration with fellow editor David O. Rogers, “The first passes of many things were done by Dave and also Lillian Pachter, who’s our first assistant editor … When I started in post I sort of had this different dictate from [creator, writer and director Steven Zaillian] to take fresh cracks at assembling many of the episodes.” This “was a really strange and different exercise to do as an editor, but I think it produced some fruitful results.”...

Based on the sinister con artist created by author Patricia Highsmith, “Ripley” follows its title character (played by Andrew Scott) as he conspires his way into a new life in Italy. Zaillian wrote and directed the whole eight-episode series, so “the entire thing was like an eight-hour-long feature film,” according to Lee, “so it was essentially like we were working on one project together, even if some responsibilities fell to one or the other of us.” Rogers observes that Zaillian was “very in-tune to everything, every component of filmmaking. Anything you see, meaning the pencil holder on the desk and the things that are hanging on the wall and all of that, he would be very meticulous and come into the frame sometimes and move things around to get things just right for both wide and close shots.”

Among the most memorable scenes of the series (SPOILER ALERT) is the prolonged sequence where Tom Ripley kills the wealthy Dickie Greenleaf (Johnny Flynn) on a boat and tries to cover up the crime. Rogers remembers, “We sort of built it and then started to chip away at the block of marble to try to get what we needed out of it. They shot the conversation part of it with Tom and Dickie with different angles, some high angles and things like that, so we had a couple of different versions.” Lee adds that the goal was “to properly put ourselves in the mindset of Tom and the way in which the action is suddenly arrested from the way we normally move through time.” The murder happens “suddenly out of nowhere, and suddenly time halts to a stop and moves at almost a completely realistic pace.”

When it comes to editing in general, Rogers says his inspiration “starts with the script,” but he doesn’t have one “standard approach because every show has its own particular style, whether it’s dialogue driven or more visual like this.” For Lee as well, “first and foremost, it’s about the script, and what excited me about this one was Steve’s writing, both for its humor and just the way he writes dialogue, which is so relatable and funny and interesting and dark.” What also stood out was that “the scripts added up to about 500 pages,” but “there were a hundred of those pages that were just single-spaced scene description,” which made Lee realize that “it’s all going to come down to the cinema of it, to the techniques that he employs to capture it on camera, and then to what we would have to play with and discover in post, and that turned out to be very true.”'

[squideo]

The Coolest Animated Characters of All Time: Icons That Stole Our Hearts

Animation offers a vast variety of options for character design, each created to attract a particular demographic. Not every character becomes an icon, however, which is why Squideo is breaking down the animation character designs of ten of the coolest animated characters of all time.

01. Mickey Mouse

The icon of the Walt Disney Company, Mickey Mouse is arguably the most recognisable character in the world. Created by Walt Disney and Ub Iwerks in 1928, Mickey Mouse is one of the oldest entries on this list (but not the record holder) and helped make Disney the company it is today. As is often the case for successful creations, there is some dispute how Mickey was created; but we’re glad to have him.

Mickey Mouse set the style for all future Disney animation designs. The rounded character, use of bold colours and a distinctive colour palette for each character; it all started with Mickey. Disney has its own unique animation style, crafted over its 100 year lifespan. The animation style has changed over the years with the incorporation of new technology, especially 3D computer animation, but remains distinguishable from other animation companies.

02. Winnie-the-Pooh

First featured on screen in 1966, the character of Winnie-the-Pooh was created in 1925 by British author A. A. Milne and illustrated by E. H. Shepard. The rights are held by Disney, yet other adaptations have been made. Perhaps the antithesis to the Disney version is the Soviet Union’s version of the famous bear, released in 1969 and followed by two additional films, which removes Christopher Robin but adds a narrator.

With the exception of the 1925 and 1969 versions of Winnie-the-Pooh, the character design remained consistent in the Disney productions which helped this Winnie-the-Pooh become the most identifiable version of the character. In that classic Disney style, Winnie-the-Pooh is soft and cuddly, and easily spotted with his amber and red colour palette.

03. The Simpsons

Sticking with yellow-hued characters, it’s time to look at one of Earth’s most popular families. First appearing in 1987 as a short in The Tracey Ullman Show, The Simpsons went on to get their own franchise in 1989 that is running to this day. It’s the longest-running American sitcom and animated series with 34 seasons and 750 episodes (as of August 2023).

Beyond the prominence of the colour yellow, The Simpsons are recognisable for their geometric appearance. Bart, Lisa and Maggie’s spiky hair, Homer’s chevron hairline and Marge’s rectangular dress. The design is easy to reproduce and remains recognisable even if the style changes. The Simpsons have hosted many guest artists for the couch gag, from Guillermo del Torro to Sylvain Chomet, yet no one would mistake what they were watching for any other animated show.

04. Bibendum

Bibendum, known as the Michelin Tyre Man in the English-speaking world, is the oldest entry on the list. First created for this French company in 1894, this character has become an icon the world over and remains one of the oldest trademarks still in use. Its popularity has been referenced in books, film, television and songs. The character even starred in a 2009 animated short film, Logorama.

The character has changed over the years to reflect the times, but every version remains identifiable as the Michelin Tyre Man. Despite tyres turning black in the 1910s, the character has retained the whiteness of the earliest tyres in production. After 120 years, it would be hard to change the essential makeup of this character without destroying the Michelin brand.

05. Mulan

The eighth addition to the Disney Princess line-up, and the first who was not a real princess, Mulan hit the screens in 1998. This animated character reinvented the formula of a Disney Princess film, by making Mulan into a hero who saves herself, her family and her country. The romance is relegated to a subplot, and the film doesn’t end with a wedding.

Despite Mulan only having two feature films to her name (1998, 2004), the character has appeared in multiple Disney shows and videos games, most famously appearing in 2016 Wreck It Ralph with the other Disney Princesses. Her tenure as a Disney Princess hasn’t gone without controversy, however. A redesign in 2013 prompted a public backlash as the character’s skin was lightened, causing a swift reversal by Disney.

06. Scooby-Doo

These mystery solvers have been on television since 1969, branching out into films (animated and live-action), video games and comics. The core gang have stayed in place with the titular Scooby-Doo joined by his friends Shaggy, Velma, Daphne and Fred. Some additions have been made to the original Hanna Barbera line-up, such as the divisive Scrappy-Doo.

Like the other oldies on the list, the Scooby-Doo characters have seen significant redesign over the years. From making them children in A Pup Named Scooby-Doo (1988) to giving the human characters tiny eyes in Scooby-Doo! Mystery Incorporated (2010), but the biggest change came with Velma (2023) which sought to diversify the originally all-white cast.

07. Totoro

Despite being the subject of only one feature-length film, the character Totoro from My Neighbour Totoro (1988) has become a cultural icon in Japan. Brought back in ani-manga books, a novel and – most recently – a stage adaptation, Totoro has fame outside of Japan too. In fact, its popularity led to a cameo of Totoro in Toy Story 3 (2010).

Created by Studio Ghibli, Totoro has been adapted as the production company’s mascot much like Mickey Mouse has been at Disney. Using hand drawn animation, bright colours and individually coloured frames, the rich visual style is a sharp contrast to the Western examples featured in this list.

08. Tom and Jerry

Created by the renowned William Hanna and Joseph Barbera duo 17 years before they formed their own company, Tom (originally called Jasper) and Jerry were originally the product of MGM when these characters first debuted in 1940. The journey has continued in the hands of numerous producers and three studios, making fans with their slapstick comedy for over 80 years.

Tom’s angular ears and fur are set against Jerry’s rounded character, making them opposites in both personality and appearance. While the animation style has shifted slightly over various incarnations, the original 1940 characters are still identifiable in 2021’s Tom and Jerry in New York. The only real difference is the lightening of both characters’ fur and the addition of Tom’s sinisterly evil eyebrows.

09. Betty Boop

Made by Fleischer Studios in 1930, Betty Boop’s appearances in television and film hasn’t increased much since the decade of her creation. In spite of her limited filmography, Betty Boop has become one of the most iconic animated characters of all time – replicated in merchandise, comic book films and two films in the 1980s.

Betty Boop is a personification of the 1920s and flapper style. At first, the character was meant to be an anthropomorphic French poodle but Betty Boop was soon modelled after singer Helen Kane instead from who the classic catchphrase came: “Boop Oop a Doop.” Heavily censored by the Hays Code in 1934, Beety Boop’s appearance drastically changed – but it was that early incarnation that has lasted into modern times.

10. The Smurfs

Created by the Belgian comic artist Peyo in 1958 under the name Les Schtroumpfs, The Smurfs is one of the highest-grossing media franchises of all time. Popularised with English-speaking audiences when The Smurfs’ TV series launched in 1981, these iconic blue characters with their distinctive white hats (called ‘Phrygian caps’) quickly entered the mainstream.

These characters are so popular in Belgium that in 2005, UNICEF used The Smurfs to create an advert for their fundraising campaign for Burundi and the Democratic Republic of the Congo – both former Belgian colonies. They’ve since been reimagined in the 2010s using 3D computer animation, bringing The Smurfs to another generation of viewers.

Work With Us

Ready to create a cool animated character of your own? Watch the video below to get a better understanding of how Squideo can help promote your business, then get in touch with us to find out more!

[ultralowoxygen]

Beach at Khao Lak by ThomasG. Via Flickr: Leica M3, Summaron 35 2.8 with goggles, Kodak Gold 200

[kelleah-meah]

50 downtown girl aesthetic room decor ideas 🎸📚🎧

Lately, I’m finding myself a bit fascinated by this “Downtown Girl” aesthetic folks have been talking about for a minute. 

Sidenote: It’s kind of weird what people call an aesthetic these days, but hey, at the end of the day, I say that as long as it’s not hurting anyone ... whaddayagonnado?

Anyway, as I’ve mentioned before, growing up, I kind of epitomized the Dark Academia vibe on a budget, but as I grew older, my style shifted away from that and became a bit more bohemian. 

Well, it turns out, that’s essentially what the Downtown Girl aesthetic is. I mean, according to what I’ve seen on social media and YouTube, the DG look and decor that came naturally to me through years of personal self-expression and contemporary working poor-economics is the overall result of this particular aesthetic.

Who knew?

Even though I’ve never lived in downtown New York, watched the Gilmore Girls, or planned to become the front woman for a Riot Grrrl tribute band, this aesthetic is a fair assessment of my current style. So color me shocked to learn that it’s considered to be trendy or popular or even a worthy of being called a style. 

I’m not going to lie. There’s something very satisfying in that. 

Based on this YouTube video by just lanchen, I have about 16 of the 50 items in my home/life that fit the “Downtown Girl” aesthetic room decor style. Those items include:

Headphones (although I rarely wear the big ones outside my house)

Record player/turntable

Vinyl records (half of which are thrifted from Goodwill + some of which I used to put on the wall as decoration in my old apartment)

Poster (just one -- but it’s huge. It’s a poster of my favorite film Amelie.)

Books

Instrument (my violin sits in the corner next to my vinyl records)

Tapestries (I have 2 so far)

Rugs 

Painting tools & supplies

CD players & CDs

Candles

Digital alarm clock

Plants (only 2 so far because I do not have a green thumb)

Crystals

Incense & incense fountain (she said incense holder, but I prefer incense fountains instead)

Colorful accent pillows

I honestly don’t know if she truly named 50 ideas in the video, or if each specific one counted as something extra (for example, she recommended certain book titles). Anyway, here are a couple more she mentioned that I’ve been considering for my home for a while now that were also on her list:

Polariod camera

Faux brick wall decor

Easel (because I paint, but for now I just set my canvases against the floor and it’s a bit of a pain)

Either way, I still think this is fairly on the money for me as an accurate description of my style and home decor. Even if I’m not a big fan of graphic tees.

[music-industry-updates]

The Role of Content ID in Protecting Original Music with Deliver My Tune

In today’s digital age, YouTube has become one of the largest platforms for musicians and content creators to showcase their work. With over 2 billion monthly users, it offers an unparalleled opportunity to reach a global audience. However, alongside these opportunities comes the challenge of protecting your original content from unauthorized use. That’s where YouTube Content ID comes into play. For musicians, registering their music with Deliver My Tune for YouTube Content ID is a vital step in securing revenue from their creative work. This article explores the importance of YouTube Content ID and why registering your music with Deliver My Tune is essential for safeguarding your rights.

What is YouTube Content ID?

YouTube Content ID is an automated system that helps copyright holders identify and manage their content on the platform. Whenever someone uploads a video, YouTube scans it against a database of files that have been registered with Content ID. If there’s a match, the copyright holder has the option to take down the video, block it, or monetize it by running ads. This system is a powerful tool for musicians because it ensures that you get paid whenever your music is used on the platform, even if you didn’t upload the video yourself.

However, not all music is automatically included in the Content ID system. For your work to be protected, it needs to be registered through an authorized service like Deliver My Tune. This registration process allows your music to be identified and protected whenever it appears on YouTube.

Types of Music Eligible for Registration

Deliver My Tune makes it easy for musicians to register a wide variety of music for Content ID. Whether you’re a solo artist, part of a band, or an instrumentalist, your original compositions can be registered. Here’s a breakdown of the types of music that can be registered with Deliver My Tune for YouTube Content ID:

Original Songs: Any original song, regardless of genre, is eligible for registration. Whether you’re a pop artist, a classical composer, or a rock band, as long as the music is your original creation, it can be registered.

Instrumentals: Instrumental tracks, which are often used in YouTube videos, podcasts, and vlogs, can also be registered. Even if your music doesn’t have lyrics, it’s important to protect it from unauthorized use.

Beats and Loops: Many creators use beats and loops in their content, especially in the hip-hop and electronic music genres. By registering these with Deliver My Tune, you can ensure that you’re compensated whenever your beats are used.

Background Scores: If you create music for films, advertisements, or other forms of media, your background scores are also eligible for Content ID registration. This is particularly important for musicians working in the film and media industry, where their work is often reused or repurposed.

Why Register Your Music?

One of the key reasons to register your music with Deliver My Tune for YouTube Content ID is to unlock revenue streams. When someone uses your music in their YouTube video, they may not always seek permission, but Content ID ensures that you can still benefit from it. By registering your music, you can monetize it through ads placed on videos that feature your tracks. This means that even if your song goes viral without your direct involvement, you’ll still earn from the traffic and views it generates.

Additionally, Content ID helps you maintain control over how your music is used. If someone uploads a video featuring your music without permission, you have the power to decide what happens next. You can choose to monetize the video, block it in certain regions, or take it down entirely. This flexibility allows you to manage your content according to your goals and preferences.

Benefits of Using Deliver My Tune

While YouTube offers the Content ID system, musicians still need an intermediary to register their music. This is where Deliver My Tune comes in. As a music distribution service, Deliver My Tune simplifies the process of registering your music with YouTube’s Content ID system.

User-Friendly Interface: Deliver My Tune provides a straightforward process for registering your music. Whether you’re an experienced artist or new to the music industry, the platform offers an easy-to-navigate interface that walks you through the registration steps.

Wide Distribution Reach: In addition to YouTube, Deliver My Tune distributes your music to a wide range of streaming platforms. This maximizes your reach and allows you to monetize your work across various platforms, ensuring a steady stream of revenue.

Comprehensive Protection: Deliver My Tune not only helps you register your music for YouTube Content ID, but it also provides comprehensive protection across other digital platforms. This means your music is protected from unauthorized use, ensuring that you remain in control of how your work is shared and monetized.

Real-World Scenarios

Imagine this scenario: You’re an independent musician who uploads a new track to YouTube, and a popular content creator decides to use your song in one of their videos. Without Content ID, you might never know that your music was used, and you’d miss out on any potential revenue. However, with Deliver My Tune, your music is automatically registered with YouTube’s Content ID system. When the video featuring your song is uploaded, YouTube immediately identifies the match and either blocks the video or allows you to monetize it. This ensures that you earn from your work, even if you weren’t involved in the video creation process.

Conclusion

In a digital landscape where music is constantly being shared, remixed, and reused, it’s crucial for musicians to protect their original work. Registering your music with Deliver My Tune for YouTube Content ID ensures that you maintain control over how your music is used while unlocking valuable revenue streams. Whether you’re an independent artist or part of a band, registering your music is an essential step in protecting your rights and earning from your creative efforts. By leveraging the power of Deliver My Tune and YouTube Content ID, you can safeguard your music and focus on what you do best — creating.

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[noctil2]

Understanding sound recording rights management

Sound recording rights management is crucial for record labels. It ensures that artists, producers, and everyone involved in creating a song get paid fairly whenever their music is used. For record labels, managing these rights effectively is not only about complying with the law but also about maximizing revenue and protecting the creative work they invest in. 

This guide will walk you through the basics of sound recording rights management and offer practical tips for managing these rights effectively.

1. Understanding Sound Recording Rights

Sound recording rights, also known as master rights, refer to the ownership of a specific recorded version of a song. This means whoever owns the sound recording rights controls how the recording is used, whether in movies, TV shows, commercials, or streaming platforms.

2. The Difference Between Master Rights and Publishing Rights

It’s important to distinguish between sound recording rights and publishing rights. While sound recording rights cover the actual recording of the song, publishing rights deal with the song’s composition—the lyrics and melody. Record labels often own the master rights, while songwriters and music publishers typically hold the publishing rights.

3. Why Sound Recording Rights Matter for Record Labels

For record labels, sound recording rights are a primary source of income. Every time a song is streamed, downloaded, or used in a commercial, the owner of the sound recording rights is entitled to a royalty. Proper management of these rights ensures that labels receive all the revenue they’re owed.

4. Tracking Usage and Collecting Royalties

Effective sound recording rights management involves tracking where and how your recordings are being used. This can be on streaming services like Spotify, in movies, or even in public spaces like restaurants. Specialized software and royalty collection agencies can help ensure that every use of your recording is tracked and paid for.

5. Licensing Sound Recordings

Licensing is when you allow someone else to use your sound recording in exchange for a fee. For example, a movie producer might pay to use a song in a film. Proper licensing agreements are essential to ensure that the terms of use are clear and that the record label is compensated fairly.

6. Ensuring Legal Compliance

Sound recording rights are protected by law, but it’s up to the record label to ensure that all their recordings are properly registered and that they comply with copyright laws. This means keeping track of ownership details, renewal dates, and ensuring that royalties are paid correctly to artists and other rights holders.

7. Handling Disputes and Challenges

Disputes can arise over who owns the sound recording rights or how royalties should be split. It’s important for record labels to have clear contracts and agreements in place to prevent misunderstandings. When disputes do arise, having a legal team or consultant who specializes in music rights can help resolve issues quickly and fairly.

8. The Role of Technology in Rights Management

With the rise of digital music and streaming, managing sound recording rights has become more complex. Technology plays a crucial role in tracking, reporting, and collecting royalties. Investing in reliable rights management software can make this process much more efficient and accurate.

Sound recording rights management is essential for record labels looking to protect their investments and ensure fair compensation for all parties involved in the creation of music. By understanding the basics, from the difference between master and publishing rights to the importance of tracking usage and ensuring legal compliance, record labels can navigate the complexities of rights management more effectively. Proper management not only safeguards the label’s financial interests but also ensures that artists and creators are fairly rewarded for their work.

To Know More  https://blogs.noctil.com/sound-recording-rights-management/