#I didn’t have to edit this immediately after posting cause of image quality- what?

[elliart7]

I was finally able to take a break from homework to feed the brain worms, can I get a “wahoo”

[ediths]

Not Going Anywhere Without You

Pairing: Harry Styles x Reader

Word Count: 2.6k 

Summary: When Y/N finds out that she’s expecting, she’s scared out of her mind. She doesn’t know how she’s going to get through it all. She doesn’t know if Harry even wants to be a father. Fortunately, Harry’s more than ready to take a step back from the stage for a while to start the family that he’s longed for his entire life.

Warning(s): unplanned pregnancy, nerves, pet names, a brief argument (idek if you could call it an argument tbh), fluffiness, dad!harry

A/N: this is one of the pieces that have been on my mind since i saw the dadathon that @tbslenthusiast​ is hosting!! Everyone should go read the masterlist of submissions and join if you want to!! Also a warm thank you to @taintedwonder​ and @sunflowers-styles​ for beta reading/getting me through writing the whole thing!!! and @havethetimeofyourstyles​ for listening to me tell her about how i cried writing/editing this (ily jill) !!!!! 

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Reblogs help a lot and are greatly appreciated!!

*

There’s absolutely no way that this can be happening. 

She stares down at the two pink lines on the pregnancy test and has to hold back the sobs that are threatening to overtake her. How could this be happening? No. This simply just cannot be happening to her. 

Except it is. She’s pregnant. She’s carrying the child that she and Harry have created together.  The truly awful part though? She doesn’t even know how to feel about it. 

Of course, she’s excited. She’s happy. All she has ever wanted is a family with the man that she loves, but she's also nervous. She has no idea how he’s going to react to this. She doesn’t know how any of this is going to work. He’s in the middle of a world tour and she doesn’t even know if he’ll be done by the time she’s due. 

Hell, she doesn’t even know when she’s due. She doesn’t know how far along she is and the amount of unknown facts threaten to send her spiraling. 

What if he’s mad? What if he doesn’t want the baby? What if she has to do this alone? She doesn’t think she can be a single mother.

There are so many unknowns and there’s no way that she can do this on her own. For the time being, however, she knows she has to figure this out herself.  She’s in  their house in London while he’s in the States performing to thousands of screaming fans every night. There’s no way that she can drop this news on him in the middle of that chaos.

No, she reminds herself instead that he’ll be home in less than a month and she can tell him then. It’s better to do these things in person anyway.

Fortunately, that also means that she has a few weeks to calm the nerves that are coursing through her entire body. She also has that time to figure out how she’s going to break the news to him. She can’t just come out and say “Oh by the way, hey, I’m pregnant.” Can she?

*

“I’m pregnant.” The moment the words tumble out of her mouth she hears the excited squeal coming from her mother. 

She needed to tell someone about the news, and since Harry wasn’t an option yet, her mother had  automatically been her first choice.

“Baby, I’m so happy for you!” She shrieks through the phone and Y/N can see how excited she is even though the FaceTime quality isn’t great. The image of her mother all but jumping up and down from excitement brings a beaming smile to her face. “Does H know yet?” 

That question causes Y/N’s smile to falter and her mom immediately catches it. “Why doesn’t he know?”

“Well he’s not here and I didn’t want to tell him on the phone, and I don’t know, really. I just found out the other day and I guess I’m just a little scared.” She’s trying her best to not tear up, and the newfound hormones are not helping the cause, but the lump in her throat is letting her know that she’s not succeeding.

“Why are you scared?” Her mother questions softly, trying to get Y/N to open up about what’s bothering her without pushing too much.

“I’m not sure… just scared he isn’t going to be happy with me.” She’s surprised when her mother audibly scoffs at her words. 

“Y/N, sweetheart. If you really think that he’s not going to drop to his knees the moment that you tell him you’re carrying his child, you’re delusional.” She lets out a light chuckle before continuing. “He’s so head over heels in love with you that there’s absolutely no way that he could ever be upset over something like that.”

“Yeah but what if he’s not ready? He said he had wanted to wait a bit.” The tears that she’s trying so desperately to suppress are beginning to pool in her eyes and she wants to kick herself for letting this get to her again. 

“Honey, H is the only person I know that is completely, without a doubt, ready to have children.” The first tear rolls down Y/N’s cheek as she observes the way that her mother’s face softens at the mention of Harry being ready to start his family. “Y/N, the moment that you break the news to him, his entire life is going to get a million times better.”

She nods and knows in her heart that she has nothing to worry about. She continues to converse with her mom for a little while longer, moving on from the topic of the pregnancy and Harry. Her mother’s words had calmed her nerves considerably. 

After the phone call ends she decides to text Harry; it feels like they haven’t been talking as much recently, and she feels bad, knowing that her nerves have partially been the reason for that. 

Hey babe, how’s everything going? Where are you this evening? 

His reply comes in an instant, almost as if he had been waiting for her text.

St. Paul :) it’s been pretty great here! The show was great last night! Haven’t really done much lately though, it’s just been hotel room after hotel room and show after show. 

The thought of him sitting in his hotel rooms alone, more than likely nursing a drink to calm his post concert adrenaline, makes a frown appear on her face. She knows how he gets when he’s away on tour and has to watch everyone around him pair off and go out to enjoy the city that they’re stopped in. He hasn’t been up for going out as much recently and, despite her efforts, she doesn’t know why. He’s usually always up for going out to let the adrenaline run its course, but every time they’ve talked lately, he’s just been shut away up in his room. 

Why don’t you go out and enjoy the city with the band, sweetheart?

Feels wrong to go out without you, angel. Miss you being here with me.

Her heart clenches in her chest and she can’t help but feel guilty. He had asked (more like begged) her to come on the North American leg of the tour with him. She had refused, thinking that she needed to stay at home so she wouldn’t have to take so many days off of work. Looking back on it, she probably could have taken the time off  and not had to explain. It was just one of the things that seemed to happen when her boss had found out she was dating Harry Styles.

I’m sorry for not coming with you :( I miss you, though. So, so much.

The awful feeling in her gut doesn’t subside - in fact, it only grows stronger. She suddenly realizes that if she had said yes, she would be with him right now. Not only would she be getting him out of those god forsaken hotel rooms but she also wouldn’t be withholding the life changing information that she has.

It’s alright, love. I’ll see you in a few weeks and then we can be together for a while. No worrying about tour. 

The prospect of him being at home for a while, possibly even more than a year, causes excitement to course through her veins. Maybe if he’s home for long enough to where he can start raising their child with her, then he’ll be happier when she tells him the news.

I can’t wait until you’re back in my arms, bubs. I miss cuddling with you.

She can’t see him right now but she knows that - most likely - he’s got that soft smile on his face that he always says is reserved for her. He always does so when he lets himself take a moment and think about cuddling with her. 

You’ll get all the cuddles the moment that I’m home. Promise.

Their conversation doesn’t last much longer. With the time zones being so different and the two of them being in different countries, with their sadness eating away at them.

*

She’s in his arms the moment that he swings the front door open. The force of the surprise impact knocks him back for a moment, but he eventually regains his balance and wraps his arms around her. 

She sighs in content at the feeling of  warmth radiating from his body to hers. He’s always been warmer than her, but right now, after he’s been gone for months, he feels warmer than all the blankets she’s tried to keep herself cozy with. 

“Hey, baby.” He mumbles into her hair, not making any move to pull away or even shut the door.

“I missed you so much.” He can hear the crack in her voice and he immediately squeezes her tighter. 

“Missed you too, darling.” 

She’s the one to pull away first. She unwraps herself from his arms and moves to shut the door behind him. She avoids meeting his eyes knowing that he’s already sensed that something is going on. She never pulls away first, and she’s afraid that he’s going to notice and ask her about it. Hopefully, he’ll just brush it off as the fact that the door needed to be closed or that dinner still needed to be cooked.

Of course, he doesn’t just brush it off. “Is something bothering you?”

She turns away from him and begins to make her way towards the kitchen. “I’m fine, H.”

“Love, please don’t lie to me.” Her breath hitches and her steps falter. That’s the last thing she wants to do  but she knows if she looks at him and tells him what’s really going on inside her head, she’s going to completely crumble. 

“I’m not lying to you, honey. I’m fine.” He scoffs at her words. He knows they’re not true, but he chooses not to push her too far. If he continues to pester her about it, she’ll close herself off to him and then there will be absolutely no way that he’ll be able to figure out what’s bugging her. 

“Do you want me to cook dinner, petal?” He comes up behind where she had stopped and wraps his arms around her from behind. She immediately leans into him and he knows that all she needs right now is his love. 

“I can do it, honey. You’ve been busy lately.” She hesitantly turns in his arms and peers up at him biting her lip. 

Now seems like as good of a time as ever to tell him.

“H, can we maybe wait a minute on the food?” She tries her best to not let her voice waiver but she knows there’s a slight wobble that won’t go unnoticed by Harry. 

“Yeah, of course.” He keeps his arms wrapped around her and waits for her to make the first move.

She stands still for a few moments, barely moving an inch. She inhales but it’s shaky and she feels the tears bubbling up to the surface before she can stop them.  She tucks her head into his chest as the sobs that she’s been holding in for weeks escape. 

“Shh. It’s okay, petal. I’ve got you. Just let it out.” He smooths the small wisps of hair on her head and slowly rocks their bodies back and forth. The gestures calm her and soon enough the tears start to subside. 

“Do you wanna talk about it?” She sighs at his question and he’s scared that he’s crossed a line, that he’s asked too much of her too soon. He knows that he hasn’t, however, when she slowly nods her head and takes a step back. 

He releases his hold on her and she wipes the remaining wetness of her cheeks. She glances around the kitchen and Harry gently lifts her up onto the counter so that she won’t have to stay standing. 

“Um, so I have to tell you something.” She starts, and she busies herself with picking at her nails to avoid his gaze. “And I don’t want you to be mad, okay?” 

She still doesn’t look up at him, but she pauses, giving him the time to answer. After he hums his agreement, she takes a shaky breath and continues. “I didn’t plan for this to happen, I promise. I just… I don’t know… somehow it happened and I just… this is terrifying. And I’m probably making absolutely no sense right now, I’m so sorry.” She can feel the lump in her throat returning yet again and she buries her face in her hands to take  a minute to breathe.

Harry hasn’t moved from the spot that he was in. He feels like his feet are stuck to the floor. He can’t come up with a reasonable guess as to what she could possibly be talking about and it’s making him more nervous that being on stage does. 

“It’s okay, baby. Take your time.” He doesn’t want her to feel like she has to rush to get the words out. 

“Um, so, I know you’re on tour and you have a career that doesn’t slow down for anyone, which is why when I tell you this I want you to know that you don’t have to stick around for it. I can do it on my own, okay?” His stomach drops when she says that, but he doesn’t say anything yet. “I’m… I’m pregnant, H. Like I said, you don’t have to help if you don’t want to, you’re terribly busy, and---

“Y/N why would you even say that?” He tries to hold the harshness back, to not snap at her right now, but the fact that she thinks he wouldn’t want to be completely present in his child’s life makes him see red. 

“What do you mean?” She’s suddenly on alert, the tone of his voice taking her completely by surprise. 

“How could you even let the thought cross your mind that I wouldn’t want to be around? You know me, love.” He’s trying his hardest to not let his emotions take over because honestly, he’s not entirely sure if he’d start yelling or break down sobbing. 

“Harry, you’re a singer. Your entire career is touring the world. Singing is your dream, and there’s no way that I’m going to ask you to give that up.” She didn’t think that he would be offended by her giving him an out, but by the cracking in his voice, it’s clear she’s never said something more hurtful to him.

“Yeah, music is my job, and I love that. But my dream, Y/N, the thing that I want more than anything in this entire world, is you.” His voice catches in his throat and she finally looks up at him. He looks broken, like the things she said, the things she thought would help, really just ripped his heart into shreds.

“H, I really can’t ask you to give that up in any way.” She wants to give in, to say that everything will be fine, that he can take time off of touring if he wants. The rational part of her, however, the part that remembers asking him to give this up to any extent could make him resent her, fights against it.

“Baby, listen to me, please.” He pleads. “You’re not asking me to do anything. Regardless of whether or not you want me in our child’s life… which I pray to the lord that you do, I’m taking time off after the tour. I want to spend time at home, with you, with both of you.” He gently cradles her face in his palms and strokes her cheek with his thumb. 

“Are you sure?” She doesn’t want to keep fighting him on it. All she wants is to raise the family that she’s wanted for her entire life with the most extraordinary love. 

“Absolutely.” He promises.

He bends slightly so that his face is directly in front of her stomach. “Daddy's going to be here for you and Mommy every step of the way, bub.”

*

Thank you so much for reading lovelies!!!!! Again, reblog the pieces that you like and don’t be afraid to leave feedback!!

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[sebongdotcom]

Seventeen Good to Me - Chorus Dance Analysis

Hi this is part three of my posts analyzing the choreographies of the You Make My Dawn era! Yes its been six months since the last post, what about it! To be fully honest I’ve been putting this post off cause there’s just...so much to talk about with this one it’s daunting. Good to me is truly one of my favorite svt choreos.

First post (x) Second post (x)

There’s so much to talk about in this dance that we could be here all day, so as with the other posts I’m just going to talk about the choruses, and I’m going to focus on two aspects of them

Levels and Variation. I talk about variation, or how much the choreography during the repetitive parts of the song (pre chorus and chorus, and possibly verses) varies throughout the whole dance, in almost all my dance posts because its a huge part of what makes a kpop dance interesting or not. And I want to talk about levels, or how far from or close to the ground different members are at different points in the dance, this time because especially in a group as big as svt, it practically allows them to create formations in three dimensions, allowing for even more possibility of variation throughout the dance.

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This first prechorus-chorus-postchorus is the base from which the following choruses will vary. If you look, you can see they are already making some cool choices with levels here. In the prechorus, when they all fall outwards, the people in the back are standing all the way up while the people in front go down to the ground. If you imagine this formation as a circle around the vocalist, adding these levels is like tilting the circle on a diagonal, which gives it depth and texture, along with allowing you to fully see all of the people. I also just want to note that I really like the movement in the chorus and postchorus, especially how well it matches with the music.  I’ve been lucky enough to see this song live, and I think its just amazing how foreceful the music in the chorus feels, the heavy bass and powerful vocals just bowl you over, so therefore the movement does too: it’s hard-hitting, fast, uses all the different parts of their bodies and ranges of movement, and just feels like they’re charging down the stage at you. Then the music settles into this more laidback repetitive section: good to me, good to me, ayayaya, and the movement follows suit. They hold their wrists together and just sort of lazily sway back and forth, but they don’t let it get boring because they keep changing the formation and, again, the levels. At the very end of this section, all of the boys kneel to ground except chan, allowing him to sing the last line of the post-chorus. This change of levels almost signals that we’re moving from a group-oriented dance section (the chorus) back to a section where the focus will be more on individual vocalists (the verse).

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AH YEAH BUDDY WE GET TO TALK ABOUT VARIATION NOW!!!

This is one of my favorite instances of variation in an svt dance!! It’s simple but so effective. In the first prechorus the boys are in a circle around the vocalist and they push their chests to the outside, away from him, and then in the second prechorus they stand in the same circle and do the same movement, but this time in towards the middle of the circle!! It’s such a nice way of using the same movement quality and formation but changing it just enough that it catches your eye and keeps the dance interesting. And then it’s immediately followed by a brilliant little moment of levels, where by quickly going from crouching to standing to crouching again, the group makes dk magically turn into mingyu. Levels ba-by! This is a nice segue into the second chorus, which I love love love love love because it simultaneously makes great use of variation AND levels. What is the variation you ask? Well its simple: the choreo is just completely different from the first chorus! Kpop dances in which two of the choruses (or gasp! all three) have different choreography make me so happy for two reasons: one, it shows there was passion and care put into this dance because the choreographer didn’t just make one chorus and then hit copy paste, and two, because it allows you to experience the music of the chorus in a different way! If the audio in the choruses remains the same but the visual stimuli you get while hearing it changes, it creates a new experience for the viewer and I just think that’s so cool. BUT they weren’t just satisfied by being creative with the variation, they also had to put some cool levels into this chorus! In a stroke of brilliance they use levels as the way they transition from one vocalist to the next. Dk, jun, and josh sing the three lines in this chorus, and they are standing one in front of the other in that order, so that when dk finishes his line, he and the boys next to him just get down and keep doing the choreo ON THEIR FRICKIN KNEES so that you can see jun as he’s singing. How damn creative is that?? And then when jun finishes his line, he in turn bends down so you can see josh, so by the end of the chorus you have this incredible terraced garden of sebongs (lol) and it just makes such a cool image. I really wish I was done talking about this section cause this post is turning into a monster, but unfortunately they keep making cool choices in the postchorus. They really could’ve kept the wrist-touching good to me good to me (ayaya) part the same, but here they use the same cool device. About half the boys do the movements as the others walk around behind them (which is nice in itself, it switches up the formation from how it was in the chorus), and then you guessed it they get down on their knees so you can see the boys behind them for the next good to me good to me. This dance is practically a masterclass in how to use levels in your choreography jfc.

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Shout out to them hitting the woah before it was cool in the seconds before this video starts. anyway.

We did it guys we made it to the last chorus and postchorus! In this one they repeat the choreo from the first chorus, and let me tell you why that’s a good choice this time around. Variation is great if you don’t want your dance to be just repetitive and boring, but sometimes if you have too much of it you go to the other extreme and your dance has no structure. You want to have some kind of repeated motif, section, or step in the dance to create a through line for the audience to recognize and connect with. The best dances strike a perfect balance of repetition and variation, so its nice to see these familiar steps again in the last chorus after so much crazy variation. Also the movement is so dang good i just don’t mind seeing it again. And then we get to the last postchorus, and I just love that the movements have stayed the same in this section, but the way its formatted and leveled has been different all three times! So exciting and interesting to watch. They make nice use of their levels again with half the boys on their knees in front and half standing up in the back, yet again giving us a formation with depth and texture. And then to finish the dance we get this amazing moment that tickles me pink every time, where all the boys are on their knees except Vernon and he just SLAMS his hands down on the beat, making it look like he’s the one that made everyone else bend over at the same time. Listen....I kept this analysis structural and theoretical and restrained myself from diving into how I think this whole dance is about power play and kinky stuff but broooo its too good in that moment not to mention. There is all this changing of levels in this dance, all this switching between who’s higher up and who is below them, but in this moment at the end only one person stands tall and it’s clear he’s in charge. What a powerful ending.

Shhh i’m ignoring boo and dk in that moment they gotta stand so they can do pretty adlibs

Thank you for reading! Sorry it’s so long!! Thank you as always to @rockmymansae​ for editing the video clips <3

[letamreviews]

Top of 2019

With 56 films watched and 27 favorited in 2019, I composed a list of my top. By pure happenstance, the list is almost an exact third (18) of the total films watched. Be aware that I don’t have as much to say about some of these because I took no notes after.

Because I’d be biased towards them, I don’t count the National Theatre Live plays.

Since the list is likely to be altered between now and the end of February (to accommodate for films missed), check the Lettboxd list later on to see an up to date listing, but be aware that it intentionally lacks the details provided here.

EDIT (01/04/20):

Woke up this morning religiously re-reading this and caught some grammar errors. It’s almost like staying consistently well-rested is actually beneficial. While I’m at it, Blind Rating (BR) is how worthwhile the film is watching “blind” (or knowing nothing). The scale is 1 (worth it) to 5 (you must). ‘Eh is essentially a 0.5.

1. Midsommar (USA)

Saw the original and Director's Cut in theatres and discussed them with a group immediately after both times. I’m somewhere between really liking it and loving it. Still unsure. Hell of an experience with a lot to notice, debate over, and pick up on during the second viewing. Don’t even get me started on the Christian/Dani matter. Dat tension, tho. Blind Rating: 4/5

2. Us (USA)

Saw in theatres and discussed with a group immediately after. I’m digging the allegories and the way (I think) it reflects on society. Dem reveals, tho. Blind Rating: 4/5

3. Toni Morrison: The Pieces I Am (USA)

Saw in theatres and discussed with a group immediately after. Two things probably play a huge hand in this not being atleast 3 spots lower: my demographic and the fact that her older self constantly reminded me of my grandma and a certain middle school teacher. Regardless, it’s an entertaining, interesting, and lively documentary with its many personalities on-screen all giving their take on matters along with Ms. Morrison herself. Glad they managed to finish and release this 1.25 months before her death. Blind Rating: 0/5

4. When They See Us (USA)

Saw on Netflix over the course of a month. Y’all, this one hurt too much to watch again any time soon. Admittedly, part of the reason why it hit me so hard is because I could easily have been one of them. Dat ending, tho. Don’t forget to watch the Oprah followup When They See Us Now after. You’ll ball (again). Blind Rating: 3/5

5. Parasite (South Korea)

Saw an advance screening in theatres and watched a live post-film Q&A. I really like it. This hit me in such a way that it’s one of three films I’m writing an essay on. Planing on watching it a second time soon so I can finish with a sense of accuracy. This isn’t one that I would recommend looking at images for. There are some that will spoil the experience of the second half. Seriously, block the “Parasite” tag from your feed if you can. Blind Rating: 3/5

6. Luce (USA)

Saw in theatres and discussed with a group immediately after. This was is so~ good as a thriller and especially in regards to being Black in America. Wanted to watch it a second time but never managed to squeeze it in before it left theatres. Dem performances, tho. Dat tension, yo. Dat score, bro. Blind Rating: 1/5

7. Them That Follow (USA)

Saw in theatres and discussed with someone immediately after. I love it. Blind Rating: 1/5

A drama influenced thriller about a religious and somewhat self-isolating community that's effectively blanketing a realistic romance. (snip) —Letterboxd review

8. The Souvenir (United Kingdom)

Saw in theatres (partially because so many movie peeps were shitting on it). I love it, but I didn't fucking love it. Was tempted to see it again, but didn’t get the chance. Dat ending, tho. While it was a movie peep telling me the whole plot that caused me to gain so much interest in it [Cabin in the Woods (2011) all over again, amiright?], I must say that the less you know the better. It’ll make for... a more immersive experience. Blind Rating: 3/5

9. After the Wedding (USA)

Saw in theatres and discussed with a group immediately after. I thought I really liked it, but I love it. This was a trip down unexpected lane, le'me tell ya. The trailer is a spoilerful lie, but the Landmark's description is very accurate. People's experiences will have a heavy hand in how they react to it and feel about certain characters. The way they made this feel like a constant thriller was excellently done. Dat cinematography, tho. Go in knowing nothing more than what the previous link provides. Blind Rating: 1/5

10. Joker (USA)

Saw in theatres and discussed with a group immediately after. I really like it. Blind Rating: 1/5

(slight spoilers)

This was difficult to watch at times, but hella captivating throughout. Arthur's reasoning is believable, his sanity is questionable, and his life is indeed one hell of a joke. Like watching an extreme example of what happens when people on the lower end lose access to social programs. This can very easily be taken as a commentary on mental illness kept unchecked. More than that, it's a story about a guy who accepts his "crazy" and transcends poverty, circumstance, and societal bullshit... at everyone else's expense. (snip) —Letterboxd review

11. Miles Davis: Birth of the Cool (USA)

Saw in theatres and discussed with a group immediately after. I really like it. Captivating documentary in a very similar style to Toni Morrison: The Pieces I Am, but with Mr. Davis never joining the “talking heads” (as people like to call it) and instead being heard as a constant narrator of his own biography. Regardless of how I feel about him on a personal level, this shit was a great watch and the ending hit hard. Still need to get his autobiography, though. There’s a nostalgic factor for me here since I was partially reminded of my grandpa while watching it. Blind Rating: 'eh

12. Queen & Slim (USA)

Saw in theatres and discussed with someone immediately after. Fuck yeah, I enjoyed this one. Dat soundtrack and cinematography, bruh? 👌🏿 The throwback soundtrack, main characters’ racial group, and fact that they went to New Orleans definitely play a hand in why this one’s not atleast 1 spot lower. Blind Rating: 1/5

13. Dwelling in the Fuchon Mountains (China)

Saw in theatres during festival and attended discussion days later. I really like it. Was long, but in a good way. Similar to Ash is Purest White (2018) in that I kept thinking "please end here," but would be glad it didn't later. It's beautifully slothy and has absurdly long tracking shots. The cinematography during walking conversations is notable. Dat trick, tho. Blind Rating: 'eh

14. A Girl Missing (Japan)

Saw in theatres during festival and discussed with a group immediately after. Bruh~, this is a hell of a personal trial. Didn’t expect it to go the places it did. Blind Rating: 1/5

15. Dutch Angle: Chas Gerretsen & Apocalypse Now (Netherlands)

Saw on MUBI on phone. I love it. This goes over his childhood (for 8 minutes), career paths, photography of 9/11/1973's Chilean coup d'etat, the 6 months he spent on-set photographing Apocalypse Now (1979), and him as a person. What I didn’t expect was how much he would get into the details of things happening during that film’s development. Along with those details are interesting photos presented excellently in a way that’s reminiscent of manga at times. I like the way the photos take center point and are treated like the foreground. It’s like the director and editor forced themselves to remain aware that the documentary was showcasing 15% of the total slides housed in the Nederlands Fotomuseum’s archives in Rotterdam and that most of his Apocalypse Now photos were never seen. Dat score, tho [Ex Machina (2014) vibes]. Blind Rating: 0/5

BTW, it had its official (Dutch national) release by EYE Filmmuseum on 12/19/19 in the Netherlands, so maybe it’ll come to the USA soon. 🤷🏿‍♂️ Forgot to mention it’s been added as a special feature to the 40th anniversary 4K blu-ray disc of Apocalypse Now: Final Cut (2019).

16. Receiver (Ireland)

Saw on MUBI on phone. I really like it. A very interesting short film in three odd segments. First was disturbing; second was about activism, protests, and politics; third was about the person I assume the film was made for. All compose what I took as a film about the importance of having reliable sound and hearing. Needs to be watched alone with good sound quality (for immersion). Blind Rating: 'eh

17. Bacurau (Brazil)

Saw in theatres during festival. I really like it. This was some Most Dangerous Game shit with a hell of an ending. The whole game is an allegory of civilized people's obsession with hunting wild animals for "sport". I really like the portrayal of history here and enjoyed the racial matters it lays bare. I can only imagine someone watching this without knowing a thing. Kinda wish I didn’t even read the description beforehand. Digging the soundtrack. Blind Rating: 1/5

18. Little Women (USA)

Saw on 35mm and discussed with others on separate occasions. I really like it. This was just warming and sad. I felt for the main characters and actually felt satisfied with the way it ended. Considering the type of film, there are handful of typical things for me to complain about. That being said, the movie earned its stars back. I mean, did you not see their attic performances? Shit was dope. Blind Rating: ‘eh

[x5red]

The lost Supergirl

To its detractors the 1984 Helen Slater Supergirl is an underwhelming, disjointed, and self-contradictory attempt to profit from the Superman franchise beyond the Man of Steel. To its supporters the 1984 Supergirl is a much misunderstood blending of super-heroics and fairy-tales, creating a magical story of adventure and courage. But no matter what your take on this movie, no one can deny that it failed to meet box office expectations and did not garner anything like the same reputation as Chris Reeve’s first two iconic Superman outings.

But with the passing of time comicbook fans seem to have slowly mellowed towards Slater’s Supergirl. Sure, it may never be considered a classic, but many fans now acknowledge that Helen Slater’s time in the red cape has a lot of charming qualities, qualities that are sadly lacking in many of DC’s modern offerings.

So, what caused this shift in attitudes?

Well, thanks to the internet, today’s fans have a greater awareness of the intentions of director Jeannot Szwarc, who (we now recognise) was pitching at a younger audience than the Superman movies -- hence the looser fairy-tale quality of the plot. But, more importantly, there’s also a growing awareness that many of the movie’s weaknesses were made far more glaring by the distributor’s brutal editing for US markets.

As more and more of the cutting room floor footage has been seen, so criticism has softened. Although still far from perfect, 2000′s extended 138 minute cut is generally recognised as a more balanced and coherent experience than 1984′s US theatrical version of just 105 minutes. But fans have speculated that yet more footage is still to be found. Rumours circulate on the far flung reaches of the internet concerning a possible 150 minute edit, smoothing over even more of the disjointed elements of the story.

In this article I want to first attempt a fact-packed recap of the editing history of the Supergirl movie, noting when and why its numerous cuts were created; then I want to briefly speculate on what might be in the still-missing 12 minutes (if indeed they exist), by pulling together the various rumours and looking at their evidence.

So, let’s begin...

From silver screen to small screen

Supergirl got its debut in London on Thursday 19th July 1984, as part of a Royal Charity Premiere screening attended by Princess Michael of Kent (whose husband is the current Queen’s first cousin, as I’m sure everyone knows(!)) This UK version was distributed by Columbia-EMI-Warner and ran at 124 minutes. Initial critical reaction was mixed, leaning more towards underwhelmed.

As US fans waited for the Maid of Might to fly onto their cinema screens, the movie began to open around the world. Ireland and Japan got Supergirl just days after the UK, then August saw Supergirl open in the Philippines, Australia, and Spain. In October it was the turn of France and Canada. Meanwhile Kara Zor-El fans in her (adopted) home country had no choice but to wait... and wait... and wait... The delay in the US release was caused by Warner Bros. dropping out of negotiations to promote and distribute the film in US theatres midway through production. As the movie was in post production, and overseas distribution deals were being struck, the Salkind family (the producers) scrambled to find an alternative distributor for their biggest market.

Finally, on Wednesday 21st November 1984, the Maid of Might launched onto US screens thanks to TriStar Pictures, but the switch in distributor had not been without major consequences. American Supergirl fans were treated to an experience that had been cut down to just 105 minutes, removing key exposition scenes from a movie that was already criticised for struggling with plot coherence. Supergirl grossed $5.7m on its opening weekend, and went on bring in $13.6m in the US market. On an estimated production budget of $35m, it was not considered a success.

At the same time as the US theatrical release, a 125 minute LaserDisc version appeared in Japan, marking the first time fans could watch the Girl of Steel in the comfort of their own Fortress of Solitude. The advertised 125 minute running time likely represents a rounding error rather than 1 minute of new material. Although not sold into US markets, some copies apparently did cross the Pacific. The LaserDisc version was likely a pan-and-scan copy (no documentation suggests widescreen), with Supergirl’s wide cinematic 2.35:1 image cropped drastically to fit television’s nearly square 4:3 ratio.

Pan-and-scan would also have been done to the initial VHS release into US markets by U.S.A. Home Video in 1985, which used the 105 minute cut that had appeared in US cinemas the year before. In 1987 a second pan-and-scan edit was created by TriStar for HBO‘s cable tv screenings, which was then used by the ABC Network when it broadcast a brutal 92 minute cut in February 1987. (It was common practice for ad-supported tv to heavily edit movies, making space for commercials without stretching the running time too far.) This super-slimline cut was later thrown together with other Superman movies into a tv syndication package by Viacom. The Internet Movie Database suggests that there was also a VHS cut that ran to just 89 minutes -- this may have been either the Avid Home Video release (1991) catalogued on the same site, or it may refer to an unknown overseas VHS release.

Lurking in the depths of the vaults

By the late 1990s the full 124 minute cut of Supergirl had still never been legitimately made available in the US. The rights to the Supergirl movie had subsequently been snapped up as part of a bundle of films by Canal + Distribution in France, and they allowed Anchor Bay Entertainment to release the two hour so-called International Cut on VHS. Many Supergirl fans now thought that they, at last(!), had copies of the most complete version of the film. But rumours quickly started to circulate that this was far from the case.

Not long after the International Cut’s release, speculation began that Canal + had found something interesting lurking amidst the dusty film cans they’d acquired as part of their rights acquisitions. A previously unknown 138 minute cut of Supergirl featuring a mono soundtrack had been unearthed, which quickly acquired the moniker of the Director’s Cut.

(Note: one citation-free internet comment suggests that the Director’s Cut was actually discovered at Pinewood Studios, in a box marked “do not use”. Although the early Superman / Supergirl movies were filmed at London’s Pinewood soundstages, it seems odd that a finished edit of the film, complete with soundtrack, would be discovered there.)

In mid-2000 Anchor Bay Entertainment released a two disc DVD set featuring both the 124 minute International Cut, and the new 138 minute Director’s Cut, both in widescreen format (2.35:1 letter-boxed to widescreen tv’s 16:9 ratio.)

So, thought fans, surely this is the definitive Helen Slater Supergirl... right..!?

Well, apparently, no..!

The rumours didn’t end with the Director’s Cut. Some evidence suggested that there were still scenes shot at Pinewood that didn’t make it into the 138 minute edit. Speculation was that somewhere in a rusting film can there might lie yet another 12 minutes of unseen footage, bringing the total running time of the film to a whopping 150 minutes -- that’s almost 50% more Supergirl than was seen by the original US theatrical audiences in November 1984.

So, what’s missing..?

First, let us rule out what we can say with certainty is not in any potential missing footage.

The original script for Supergirl, penned by David Odell, made heavy use of Christopher Reeve’s Superman. According to director, Jeannot Szwarc, the main plot device always revolved around the recovery of the Omegahedron, but in early drafts Superman was to encounter Supergirl in space, and the pair were to share a heartwarming scene in which he teaches his cousin how to fly, involving dancing together in mid-air. At a later point in the script Supergirl was to rescue Superman from a prison, where he languished as an old man having lost his immorality.

Regrettably, the producer’s hopes of securing Chris Reeve fell apart not long before shooting began. Without Reeve, Odell’s script (which, Szwarc claims, had already suffered numerous rewrites at the behest of the Salkinds and/or original distributors Warner Bros.) underwent yet another a major overhaul. As such, we can say with absolute certainty that none of the possible missing footage includes Christopher Reeve’s Superman.

So what might it contain?

A draft of the movie’s script, dated Monday 17th January 1983, is available online, and it seems to mention scenes that never appeared in any publicly available cut of the film, including the Director’s Cut. The draft’s date is just a few weeks away from the alleged filming dates: Monday 18th April 1983 to Thursday 11th August 1983. The script does follow the story line of the finished movie, although it is apparent that some action segments have been reworked and some of the dialogue is only vaguely similar to the filmed version.

A second source of information comes from an apparently test audience viewing in the US, with online accounts of this screening at sites like IMDB seeming to bear out the rumours that some of the elements in the draft script may have been filmed and included in this screening.

Speculation suggests that a number of clips featuring Selena are still lost. These include more material with Selena and the Omegahedron, and a clip during Selena’s takeover of Midvale in which the angry townspeople are cowered (except Lucy) by Selena when she uses an ice spell to kill a woman.

There’s also speculation that two short interactions with Linda at school are absent. The first involves Nigel quizzing Linda about her plans for the weekend (this happens immediately before the scene, 50 minutes in, with Linda sitting outside the school as other girls leave with their parents, when Lucy invites Linda to join her later in Midvale.) The second is a chat between Linda and Lucy about clothes and fitting in on Earth.

One interaction that always seemed a bit odd in the movie takes place immediately after the shower sequence (when Kara uses her heat vision to punish the two school bullies.) Entering their shared dorm room, Linda asks Lucy to comment on her new hairdo -- Lucy replies that it looks the same as before. In the script however (and in accounts of the advance screening) there is a segment with Supergirl using heat vision and a bathroom mirror to cut her blonde hair, but she forgets that she has reverted to Linda’s brunette wig when Lucy offers her critique. The second half of this interaction appears in the movie (albeit with different dialogue to the script), so fans have speculated that the laser haircut footage may exist too.

The January 1983 script also does a better job of tidying up the story’s loose ends. For example, rather than have Linda Lee just vanish without explanation, school principal (Fred?) Danvers uncovers Linda’s secret identity after she fights the energy monster, explaining why he won’t be frantically searching for her once Supergirl returns to Argo City. No accounts, rumoured or otherwise, suggest that these segments were filmed, however.

Conclusion

Even at 150 miniutes, Supergirl would still be a flawed movie. But then perhaps, as Jeannot Szwarc has noted, its intentions were never properly understood or promoted. The film isn’t trying to be the Christopher Reeve Superman, but rather a children’s fairy-tale in which the hero uses Kryptonian superpowers instead of magic. One internet commentator noted that Slater’s Supergirl is best enjoyed as a series of unconnected vignettes -- forget that the overall plot doesn’t make sense and just enjoy each scene on its own. I think there might be some truth in that analysis.

Despite its flaws, the 1984 Supergirl movie has amassed a loyal fanbase. The special effects are superb (even Richard Donner apparently admitted that the technique Szwarc used to make his Girl of Steel fly was superior to the zooming-lenses trick pioneered on Superman), the story is unapologetically lighthearted, and Helen Slater’s endearing portrayal as the Maid of Might is still considered by many to be the definitive live-action Supergirl.

Restoring the extra footage won’t overturn the movie’s shortcomings, but it will further soothe some of its inconsistencies, while sprinkling just a little more magic dust onto what its loyal fans already consider to be a charming and bewitching cinematic experience.

The movie’s heroine succeeds in her quest to find the Omegahedron and restore Argo City to its former glory -- we can but hope that one day her fans will find any missing footage, and restore her movie to its fullest length.

Timeline:

124 min (2h 04m) international theatrical release, July 1984.

105 min (1h 45m) US theatrical release, November 1984.

125 min (2h 05m) Japanese LaserDisc, late 1984.

105 min (1h 45m) initial US VHS release, 1985.

92 min (1h 32m) HBO / ABC television cut, 1987.

89 min (1h 29m) VHS release, unknown date (1991 perhaps?)

124 min (1h 04m) Anchor Bay VHS release, 1998.

138 min (2 hrs 18 mins) Director’s Cut DVD release, Summer 2000.

150 min (2 hrs 30 mins) speculated original cut, as yet undiscovered.

Sources:

imdb.com : Supergirl main page.

imdb.com : Supergirl alternative footage.

movie-censorship.com : Supergirl International vs Director’s Cut.

supermancinema.co.uk :  List of VHS and tv cuts.

maidofmight.net : Director Jeannot Szwarc interview.

Thanks to Corrine, aka supergirldiaries, for the initial inspiration.

[feebtastic]

On Rose: Finn, the Stormtroopers & Reylo

Let’s me start by saying how much I love Rose Tico and the qualities she represents. Kelly Marie Tran did such a phenomenal job in the film, making me fall in love with this character at first sight. Down to earth, fierce and compassionate, Rose is above all devoted to the cause to fight against the FO, not to become a hero but to do the right thing. Rose’s dedication to the Resistance and her fighting spirit are her greatest strengths.  

I was therefore especially happy to get more of her thoughts and feelings in Jason Fry’s novelization. There’s one particular passage that I really love and wish to explore here:

“Rose didn’t know what to think about the fact that a man trained to be a First Order stormtrooper could be innocent enough to assume a feral, unapologetic thief actually owned a fancy yacht. She supposed it made her feel simultaneously better and worse about the galaxy. On the one hand, maybe there were painfully naïve young men behind many more of those expressionless, skull-like helmets—lost boys who’d never been allowed to have so much as their own name. On the other hand, battalions made up of those lost boys had destroyed Rose’s homeworld and so many others. How much more ruin and misery would they inflict on the galaxy? How many more people would they rob of loved ones? Rose had never heard of another First Order stormtrooper shaking off his brainwashing and refusing to carry out the murderous orders he’d been given. Maybe Finn was the only one.”

Chapter 22, Jason Fry. “The Last Jedi: Expanded Edition.

The line “She supposed it made her feel simultaneously better and worse about the galaxy” initially puzzled me a bit. Rose sure has lots of reasons to feel worse about the galaxy but what makes her feel better? And it’s not only about Finn. Let’s break down this excerpt and consider what it means for Finnrose and even Reylo in Ep. IX.

I. On Rose and the Stormtroopers

Firstly, I love that her time spent with Finn has allowed Rose to consider something she might never have thought of before, that Stormtroopers could be ‘innocent’, ‘naive,’ and most of all, even ‘lost.’ Rose has witnessed the atrocities that the FO and their Stormtroopers had inflicted on her home planet. She must have heard of many other planets’ destruction since joining the Resistance. And before meeting Finn, these ST were probably just faceless monsters to her. These soldiers wear “expressionless, skull-like helmets”, embodying the death and devastation left in their wake. While recalling the exploitation she’d witness on Otomok, her home planet, Rose was “pale with anger”. But just as Rey has realized that beneath Kylo’s terrifying mask is a broken young man, a lost and terrified boy, Rose also realizes that there might be more ‘Finns’ in the FO. There might exist more “naive young men” who have not been allowed any kind of identity or knowledge beside what makes them “well-engineered cogs in [the FO’s] war machine, designed to further its murderous work.” (Chapter 24)

Secondly, the multiple use of ‘maybe’ suggests how tentative Rose’s thought is. She feels pity and sympathy for these troopers, these “lost boys (and girls) who’d never been allowed so much as their own name.” Would they not be considered victims of the FO as well? Kidnapped and brainwashed, would these Stormtroopers know any better than what has been drilled into them?

Perhaps the answer is no, Rose thinks, they wouldn’t know any better. Battalions of these troopers are inflicting “ruin and misery on the galaxy” after all. There’s also a sense of resignation in Rose’s last thought: how “she’s never heard of” another deserted trooper and so “maybe Finn was the only one.”

To me, Rose feels better about the galaxy because there might be Stormtroopers who are not inherently evil and murderous monsters, but lost boys whose minds have been twisted to do the FO’s bidding. She feels worse because these lost boys ARE following orders to kill, destroy & oppress.

More than that, I think Rose feels better because there’s a glimmer of hope in the form of Finn, who has somehow done the impossible and was able to escape the FO’s grueling conditioning. Finn represents the hope that goodness and humanity can survive against all odds, even against a system that was built to snuff out these qualities from its soldiers. But Rose also feels worse because there might ONLY EVER be Finn, a single Stormtrooper who could rebel against the system. Finn being an outlier, an exception is in that way both better and worse.

II. On Finnrose

The given excerpt is such an interesting addition because it demonstrates Rose’s character development in TLJ beyond her feelings for Finn, which we see more clearly in the film. Rose’s interactions with him have allowed her to rethink the human identities involved in the war, esp. those on the opposing side. Among all the characters who have interacted with Finn, Rose was the only one who wonders about the larger implication of Finn’s desertion. She questions, even only briefly, whether there are or could be more Finns out there. Maybe Finn was the only one who could break free from the FO on his own, but with the right catalysts, could more follow his steps?

The passage also shows how Rose is Finn’s most suitable counterpart in the Sequel trilogy. On the one hand, Rose is one of the more mature characters in the ST. Paired with her, Finn, who has been isolated from the outside world from birth, is able to learn and grow. In TLJ, Rose has shown Finn what she and the Resistance are fighting for: for freedom, against the injustice done to her home planet, for the oppressed and exploited across the galaxy. Finn thus gains reasons to stop running and join the fight. On the other hand, the learning doesn’t only go one way. Rose has also learned many things about the FO from Finn and not just from infiltrating the Supremacy, as was clear from the excerpt.  As a result, in IX, I expect Finn’s arc to be him finding a role in the revitalized Resistance. And Rose, with her own newly gained knowledge about the FO, could again work in tandem with Finn (under/alongside Poe) to help shape the Resistance’s strategies.

While Finn has mostly contributed his knowledge of key FO weapons and technologies to the Resistance in TFA and TLJ, I wonder if he would be able to supply even more powerful insights about the human elements within the FO going forward.

In the TLJ junior novelization, prior to his execution, Finn thought this:

If Finn was going to die now, at least he could rest well knowing he had tried to help his friends make a difference in the galaxy. He had only one regret. He wished he could have convinced other troopers to do the same.

Perhaps in IX, we’ll see Finn and Rose discuss the Stormtrooper program, Finn’s experience in it and how he wishes he had tried to convince other troopers to turn while on the Supremacy. It seems quite plausible then that Finn and Rose could together plan and realize a Stormtrooper rebellion from these musings. Finn’s intention has been shown above. And Rose’s thoughts in the excerpt that starts this post suggest that if Finn voices his intent in Ep. IX, Rose would be able to see where he’s coming from and understand the potential of that idea. While nothing much about a potential rebellion has been hinted at    within the first 2 films (beyond these tidbits in the novelizations), I believe that if he wants to, JJ can still pursue this storyline in next film.

III. On Rose and Reylo

Last but not least, I find that Finnrose and Reylo have more parallels than I’ve previously thought.

In TLJ, Rose is not only coming to terms with her own grief but also with the real person and motivation behind Finn’s hero image post Starkiller Base. Her initial hero worship of Finn was from a somewhat simplistic point of view, (just as Rey’s view of Kylo as a ‘murderous snake’ was.) Reality, Rose finds, is much more complicated. While his desire to take the beacon and flee (to save Rey) is not entirely selfish, Finn also hasn’t had a reason to join the Resistance cause. Though Finn had returned once to the FO to save his friend, all he wants to do at the start of TLJ is to continue his run since TFA, mostly out of fear. This fear is the result of his years in the FO, of having been disciplined and punished to elicit obedience, and of knowing the FO’s terrifying military capabilities. Knowing what he knows, the most realistic action is to run. Throughout the film (and the book), Rose gradually realizes that she needs to “give him a break”, that he might need time to really shake off the pernicious effects of his oppressive Master, to find the courage and desire to be in the fight, and to find his belonging.

“Maybe it hadn’t just been his infatuation with Rey that had driven him to flee, she thought—maybe he’d also been trying to escape unfamiliar surroundings in which he was alone and didn’t fit in.” (Chapter 24)

Isn’t this what Rey also realized about Ben after the throne room scene to an extent? That the choice to turn and what to do after that turn is a complicated and difficult one?

“Luke’s error had been to assume that Ben Solo’s future was predetermined—that his choice had been made. Her error had been to assume that Kylo Ren’s choice was simple—that turning on Snoke was the same as rejecting the pull of the darkness.” (Chap. 29) (or the same as joining the Resistance)

While both Finn and Kylo had done the right things, the selfless things at some point (Finn helping the Resistance on SB and even with the Canto Bight mission, Kylo killing Snoke), they were not ready to immediately join a new cause or to change their long-held paths. But as I’ve described above, both Rey and Rose see the glimmer of hope and the goodness within both men. Similar to how Finn still retains a good heart despite all his Stormtrooper training, it is incredible that Kylo still feels compassion for Rey (and Finn at the beginning of TFA), remorse after Han’s death, and love for his mother. Even after a lifetime of manipulation and abuse by Snoke. Although Finn and Kylo are surely at different stages of their journey, I believe the parallels are there. While Finn was able to escape the FO in TFA, the shadow of what he endured as a Stormtrooper remains with him long after. It was only with time, others’ help and inspiration that Finn realizes the cause he truly believes in and find the strength & courage to fight for it.

And so will Ben Solo.

Many have said that Rose will be one of the first people to understand Rey and Kylo’s connection and Rey’s belief in Kylo’s goodness, and I wholeheartedly agree. Rose’d definitely know what it means to focus on saving those one loves, rather than just destroying the things one hates. Not only that, given the above excerpts, it is also clear that after TLJ, Rose has gained a more complex understanding of her enemies. There’ll surely be ruthless and remorseless individuals in the FO, like Hux or Phasma. But there might exist lost boys (and girls), who are killing, hurting because of years of manipulation & conditioning. Finn’s escape represents the hope that perhaps all is not lost. Finally, I think Rose will also understand that not everyone can make the right and selfless choice all at once, or all the time, even if that choice comes more naturally to others. Even if there’s goodness in someone, it might take time for them to choose to follow the hard path or the right cause.

All in all, Finn and Rose’s individual development and dynamics in TLJ are some of my favorite things about the film. Their relationship, though not as angst-filled and brimming with sexual/romantic tension like Rey and Kylo, still presents some of the most interesting ideas and concepts in the Sequel Trilogy. If Reylo has the epic trappings and mystery of the Force, Finnrose deals with the war in Star Wars on a more on-the-ground level, where troops and technicians dwell. However, both represent themes about hope, faith in love and in the goodness of others.

Just some of my thoughts. What do you think? How are you imagining Finn and Rose’s arcs in IX? What’s your wishlist for these two?

[autoirishlitdiscourses]

Discourse of Sunday, 13 December 2020

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Is it helpful to build up to him. But you're quite prepared, it's up to your larger-scale, nor am I suggesting that there are variations between individual Irishmen and-voice arrangement of Patrick Kavanagh's On Raglan Road. I think that you've got a sensitive, thoughtful job of balancing your time.

Ultimately, what this relationship between elements are. Let me know if you have any questions. He agrees that this is not just because you're moving in directions that dug down into the material to think about how you're using them in section. Another reason is that you are writing or after? I won't forcibly cut you off unless you file an incomplete would also like to dispute a grade on their behalf in my comments can be a productive exercise I myself would like to email me by email except to respond to your section self-identify as Irish is inappropriate or wrong, but probably not directly connected to the question at the high end of the rather abstract quality?

You added an extra word to line 7. I think that you score less than absolutely perfectly optimal. Here are my comments on it not in many ways even though she almost certainly learn more about which I'm ready to talk about those parts that build to your larger-scale concerns, which was distributed during our last two section meetings are a couple of extra minutes to get her where she wanted to follow it.

Your notes are posted here; but I don't think it's too late to start writing. I suspect that the questions you've written a smart choice. Doing this effectively, because asking people where they see these particular texts, especially because so many in line 14. For the sake of having them fresh in your recitation plans by ten p. I'd recommend asking him if he's not there, is generally pretty minor errors, your attention more closely would help you to open up discussions on their behalf in my box in the recitation half of your paper would have paid off for anything at all times. Having someone else steals your thunder thematically, you should stop using Windows presentation.

Is there something about the varying purposes they serve, or one that most immediately presents itself to wind up giving answers to these questions for a specific claim in a strong delivery. Hi, Megan! Let me know how stressed you've been rather quiet this quarter, though, you've got some good ideas here, but really, your delivery was basically solid, though your experiential metaphor may be elementary and/or complex discussions about course material,/please let me know if you have not been lost, exactly? Whatever you mean, exactly, and that has been seen since the '50s, but you picked to the phrase in the first place. Section. Think about what motivates us to experience non-passing range for you. It may be that you score at least a paragraph or two to get it in that episode, Cyclops, which is more productive question is a component of your discussion plans by 10 p. I really hope that your argument with a GPA of 3. Whatever you mean by talking about the way that is productive overall. Something else entirely? 17 vocab quiz: Matthew Arnold's/On the Concept of History, which is one of the book it appears in in my office hours at all, you've really done some very perceptive readings of a letter grade boost unless I explicitly say so, right? You must email me at least one of them are rather complex.

None of this, but really, your primary focus should be read allegorically as being entitled to. I'm happy to provide the largest contributions to the department party today and working, rather than merely a helpless victim of circumstance and/or abuse is a duplicate message. Good luck on the section to get to everything anyway. I'll post them unless you have more or less objective characteristic of personality and identity that are unrelated to romantic love, romance, which involves speculations about the object of analysis is and get that to give you a photocopy of the Irish nationalism, the more likely he is not by any means the only student who wants to, but others may surface, so I can't be sure without seeing it in my margin notes because your first or second paragraph would pay off on the syllabus assigns for the final and am happy to proctor a make-up to your paper as you're capable of punching through to even more deeply into your own thoughts even more specific about what it means to be in my other section is cuing off of earlier discussion of the points you get some good things to do more than the syllabus pretty well, and have therefore almost certainly talk about existentialism in broad terms?

Yeats, The Stare's Nest; and you did a good reason for not doing so by staying in the attendance/participation calculation. Having to seek emergency medical treatment twice is a pretty safe guess, but also to try to force them along a proposal from, in SH 1415. You also reacted gracefully to questions and comments that you have any questions. Doing this effectively if the group. All in all of your analysis what is your last chance to add compliance with that time. I will cut you off a lot of payoff for those who have not engaged in memorization and recitation in the urban environments of the way that shows you paid close attention to small-scale argument, but the power came back on it, in relation to their hearts, you gave quite a good selection, and word not only keeps us on task. Needing to study for a long time, I think that that's quite likely enjoy Hannah Arendt's book On the other paper yet. From the Republic of Conscience, p. I hope you had chosen, it's a mark of maturity, and have therefore almost certainly already know her, and making sure that you may encounter is that if you get the changed document to me in advance will help you to reschedule—as it might be interesting ways to read from Butcher Boy; you should be different, and so forth. —I suspect that you took. You should prepare for your thoughts more clearly pay off as much as you know that I've gestured toward, though I certainly understand from personal experience it can be found below. Also, glancing at me periodically, I will give him a no grade assigned if eGrades lets me do so for purposes of your choice of a status is this racial, cultural, historical, something of a conversation with him? I myself often don't revise my thesis statement takes the safe position instead of trying to make about developmental causality and to be able to answer messages.

So, I think that choosing a good thumbnail background to the way to satisfy by taking the course as a psychiatrist but his personal experience into analysis find it helpful to think critically about your medical condition mandates additional section absences, so I can post a slightly modified version of your grade further, if your thoughts is then used to control women and/or interpretation/. Either choice is absolutely OK to look for cues that tell me when large numbers of fingers to let the group, did a solid piece of work that combines both, although that understanding may not have a nuanced and engaged manner; and c get at least some of your way to push it further: Hannah Arendt's book On the other Godot groups for several reasons, including participation and attendance that is related to Irish literature. In the meantime or have substantial problems with papers in this regard over the last two weeks. Although your research. If that's not necessarily the order I will be productive. Your initial explication was thoughtful and focused, providing reminders about upcoming events, links to songs and other works, I think that making a more successful is a symbol for another class. What I would say that I say, Google Scholar when you do well in several places in the class and led them through some very impressive move. If you have attended for attendance if they need to be more careful proofreading would help to be done; I think that your recitation plans and specific text of the following things: a woman.

You cannot rewrite your thesis statement, but I also wanted to remind people. This would allow you to make real contributions to the group in a fully capable member of the right page of Ulysses that's sitting in my regular office hour that day, and this is what you see this as soon as you know that I appreciate that this is, I think might have helped some, here. Anyway, my policy documented here. Well, my suggestion is that participating more extensively in section this quarter, and a student this quarter. In my own writing, but may wind up with an earlier discussion of a selection from Ulysses in front of the second, larger claim would help you to recite.

[gris-0]

MED1444- CW2 Walking Animations

The illusion of movement is essential in animation as form of media; without the movement, the ‘animation’ would just be no different from, say, a singular drawing or a still image of a highly rendered 3d model. Though stills and non-moving models like as mentioned can be considered art forms, animation gains part of its status as an art form through the use of movement. If art is a form of expression of emotions or portraying ideas then most of what makes animation an art form is through the use of movement, for that is one of the main ways that animation provides a sense of expression and emotion. An entire character can have their whole personality revealed to the world through their basic movements, it can show their intents or their emotions or a vast array of other cornerstones to what makes a character. Of all the ways a character can move with their actions, the simplest and most used form of movement by a character is the basic act of locomotion. Even this simple act of moving can give a sense of personality and identity.

Basic walk cycles are greatly important in regards to movement. Though a character may appear without legs or may appear without arms or may differ in any way to a standard human-like body shape, the standard way a human walks is still one of the most commonly drawn upon resources animators use as a point of reference for bipedal characters. From the way a human moves there are several key points of focus that are essential to grasp before adjustments can be made to tailor the movement to a particular character better. The main points of a human walk in simple terms are contact > low > passing > high > contact. ‘Contact’ are the points of the walk where both feet have touched the ground, though the foot that was previously raised above ground is only contacting using the heel. ‘Low’ is the lowest point the whole body is in relation to the space around it, where the foot that newly made contact with the ground is now entirely making contact with the ground, the leg that foot belongs to is bending a bit, and the other foot is starting to raise off the ground. ‘Passing’ is the mid-point for walking where the now raised, bent leg is about equal level with the other leg. ‘High’ is the highest point the entire body is in relation to space, where the lifted leg is at its highest and the foot contacting the ground has the heel raised slightly in preparation for the next ‘contact’. During the leg movements, it is also important to make note of how the arms move, where the way the arms move is inverse to the motion to the legs, so for example if the left leg is the one currently moving forward it would be the left arm that is moving backwards. Despite this the arm movement and pacing isn’t too drastically different from the leg movement and pacing, where the contact movements are in fact the highest points of the arm movements but the passing movement is still around the mid-point where the arms are about level with each other like the legs are.

(Pictured above: a visual reference personally used during the production of the 2D walk cycle [Image source])

Though these key points of human movements are essential, once established they can be adjusted as necessary to change the way a character looks as they move. For example, if additional frames for movement are added post-contact but then quickly build up speed until next contact, it may give the character the appearance of being graceful or very careful with their movements. Alternatively, if more frames are added alongside that of the character getting lower to the ground during their ‘low’ point before they build up speed, it may instead cause the viewer to believe that the character is quite heavy and needs time to build speed with their movements.

2D (Harmony) Animation:

The first of the walk cycles created and completed was 2D hand drawn. This was created first as I felt it was a good introduction into how to create a proper walk cycle and to get a feel for the way the human body moves. Creating it was relatively straight forward. To begin with, before the walk cycle was even in a rough draft stage, a character had to be created to animate. The specifications for the character had to be that they had two arms, two legs, feet and a head. As the main focus of the project was the walk cycle itself, the character didn’t have to have too much thought into it, so I created a simple character for the animation that lacked any distinct features to note. Due to this design decision as well as the very non-realistic proportions or drawing style, a massive amount of time was saved when it came to animating it. This design was drawn in Photoshop and then imported to Harmony to use as a reference. The design drawing includes red segments for some areas to highlight the rough size of the joints, where the joints are and how the character should overall be drawn when sketching them.

Firstly for the animation I had to plan the basic features of a walk, so the points of contact, low, passing and high. These were used somewhat as keyframes; they helped with the initial plans and figuring out how to pace the walk correctly but were adjusted or redrawn as necessary as needed in order to ensure the animation retained a flow. Besides that the animation was done frame-by-frame, again with adjustments and frames added here and there to ensure that there was a flow. Moreover, the actual drawing process of the character was done piece-by-piece as opposed to drawing the entire character all at once, so the body, head and legs were drawn first, then the arms and hands, and then finally the feet. By separating the body parts it made editing the body to make the walk feel more natural a much easier process. A minor change took place at this point whereby I didn’t draw a neck as I did in the design plans, making the head float slightly above the body. This change was decided upon to both make the design mildly more interesting and to make the animating process slightly faster.

After the basic animation was complete additional changes were made to it. Notably, extra frames were added to the entire animation overall improve the pacing. This is especially true after the feet make contact with the ground as at that point in the animation the momentum in the leg is lost and has to be built up again so the additional frames creates the illusion of the leg moving slower. Moreover the additional frames were used to add some exaggeration, with squash and stretch and a more pronounced follow-through in parts of the character. As the character design was very unrealistic to begin with, it made squash and stretch all the easier to accomplish and more importantly fit the whole look of the animation a lot better. The final thing added to the animation was shading to the character. In the final uploaded walk cycle compilation there was also another version of the walk added where the character lacked feet, which was added mostly due to how the walk still works even without any distinguishable feet and shows how a walking animation can work well for a character even if they lack that body part. 

Generally the 2D walk cycle was quite successful as the finished product had a mostly smooth pacing and, like many animations, any minor errors in the character being drawn that might have been produced aren’t immediately noticeable. The direction intended to go for the walk was one of being mostly basic, almost as basic as the character design itself. Interestingly enough however this may not have been entirely the end result achieved from the walk. The walk could be observed as carrying some sense of purpose in the character and the way that character has a bouncy quality to the walk that makes it appear to be feeling a positive emotion almost. The pacing of the walk also is what gives the character these qualities, and the fully upright gait. Interestingly enough it should still be noted that the character is still quite generic in appearance as is the walk despite all this, so the question could be asked if this is just a neutral walk and is just perceived as having some form of purpose through bias created through the actual animation style, and if so how much bias was created in this manner and how much of the perceived emotion is due to the actual gait the character has. It would be an interesting point to experiment with in future.

3D (Maya) Animation:

The main change between animating a walk cycle in 2D and one in 3D is the introduction of a 3D space as opposed to merely a 2D one. This poses some challenges and as well as some benefits: on one hand one must now display more attention to detail and animate more of the character due to the 3D format now presented, but it can be argued that it is much easier to use real life movement as a direct reference and one must not have to worry about how well one can draw or translate a 3D reference point to a 2D plane. Through the use of 3D one can merely import or create a 3D model and then only have to worry about the movement and posing aspect and not how accurate it looks to the design, because the design was only needed as reference for the model creation itself. Furthermore, like with many animation programs including Harmony, Maya has the option of calculating and auto-filling inbetween frames with movement based on keyframes. This is a process called inbetweening, or ‘tweening’, and through its use it can drastically cut the production time of an animation. While this was not used for the 2D walk cycle, it was heavily used for the 3D one, almost being used exclusively in fact.

The model used in Maya was one imported as opposed to one I personally created from scratch, so the sole focus was on the movement. Because it was not my design however it posed a limitation on what one could expect the personality to be as well as the movement style. In this instance the model was of a zombie so one could expect a sluggish, hunched over stance while moving, or at least that was what myself imagined and tried to capture. While one may think the fact the model was imported to be a massive drawback to what I could animate with it, how it was animated, ect. it might be considered a good form of practice especially if one imagines that much of the time animators are given designs to work with rather than design them themselves. When it came to animating the model, as stated previously, it was mostly animated using tweening. An extremely important thing to note is that subtlety is key when using tweening and ensuring you calculate where and how much something is tweened. This is mostly due to the fact that because the in betweens are auto-generated you are at the mercy of how the program calculates the in betweens and it usually comes down to numbers and inputs in many cases. It’s important to get the numbers right and what frames you choose to use as keyrames otherwise movement can look stiff, robotic or unrealistic. In the case of Maya the animation itself was simple and easy enough. The keyframes used were mainly the moment a foot begins to leave the ground, the moment a foot touches the ground and the passing movement where the body (in relation to the ground) is at its highest. From there, the main issues faced were mostly figuring out how many frames were needed in-between keyframes to make the movement not feel too rushed, and maintaining an awareness that creating keyframes is based on particular joints selected rather than the positioning of the entire model meaning that several keyframes had to be created at around the same time in the animation for different joints. Besides that, after the animation was mostly complete, minor adjustments were made such as adding extra keyframes around the same points as previous keyframes where i manually moved parts of the body to ensure the pacing was correct enough to give a sense of the body slowing in and out of movements. The extra keyframes had to be created otherwise any changes would be overwritten by tweening. As with the 2D animation, the animation process was mostly segmented by body part again, where the legs and feet were first to be animated and then the rest of the body.

The finished result of the 3D animation came out quite well. Though the robotic look of the tweening was initially a concern in the early process of the animation, after adding the extra keyframes with my own adjustments it made the walk much more natural looking. As with working in a 3D space as opposed to 2D, all aspects of how the body moves from all different camera angles had to be given, which meant that I also had to pay more attention to detail when it came to looking at real life human movements for reference. The reference used wasn’t any source from the internet and instead was just looking at how the other people with me at the time walk and keeping in mind the key points of a walk cycle. One change for example was that I needed to place slight more focus on where weight was distributed on the body as the character walks, as such from a front point of view the body shifts slightly in the direction of whatever leg is remaining on the ground, so less weight is placed on the leg in the air. Although this detail typically may not be needed in a 2D animation it must be added to a 3D as a camera can be placed anywhere around a character model and highlight any details such as that that were missed out. Back to the point, despite tweening the movement appeared relatively organic, and as for the tweening itself it did greatly help with both the speed of producing the animation and being able to make the animation look smooth. However the movement of the arms I felt ended up being slightly stiff, which is due to wanting the arms to remain pointing as much to the floor to possible to add to the “slow and hunched over” look of the character but failing to look at reference to that, nor give any real sense of gravity or weight to the arms or anything of the sort. In this regard it was a bit of a novice mistake but at the same time one, I feel, would take a few hours of investment at least to finally be able to visualise and translate the movement to animation form correctly, but one which might very well stick with me. It might be worth looking at more reference material for how gravity works with dangling and suspended objects and how they move when moving in future. 

Final thing to note with the 3D animation is that, after rendering, it was discovered that due to some settings applied to the character model I was not aware of the rendered model, does in fact, lack a torso. While this is unfortunate the legs, arms and head were still maintained which were the key points of movement in the model itself, so the walk cycle wasn’t too gravely affected. This goes back to the point again of importing a model and someone else’s design to animate with as opposed to making one, that by importing one you are also at the mercy of how one rigs a character model or what settings are placed upon it. Despite this using other’s character models is still an important part of being an animator so even with minor errors such as these using a character model that isn’t my own is still a valid option even if I have the option not to.

Stopmotion Animation:

Stop motion is quite similar to 3D in regards to having to animate on a 3D plane and (again) having to animate aspects of the body which might not even ever be seen in a direct way by the camera or brought to focus. However with stopmotion it could be argued that this aspect is even more crucial as at times not placing focus on the way an entire model is animated can either cause errors to arise that are extremely time consuming to fix or even cause the model your working with to be awkward to animate with. These aspects are all just par with the course with creating anything with stopmotion though, or anything with practical effects. In a way stopmotion can almost be considered a paradox with animating- animating itself has almost always had a focus on how it could be used to suspend disbelief (the only notable period that comes to mind where this was an exception was when it was first conceived and used for study purposes) and yet stopmotion itself has the quality of being limited to what can be done in real life terms. Models created for stopmotion, sets and props all have to abide by gravity for example or the laws of physics. Limitation isn’t necessarily a bad thing however: it breeds creativity. Any, or almost any, limitations imposed by stopmotion can be overcome or has been in the past, and nowadays any limitations that can’t be directly overcome practically can be overcome through external means such as video editing software. In some way someone might consider that stopmotion has in fact very few limitations at all, the only limitations are your knowledge on how to create practical effects, your knowledge with animation itself, creativity and patience.

(Pictured: An image of the model used for the walk cycle)

In the case of the walk cycle animation I produced, a model that I created from a previous stop motion project was used. The model already filled the criteria needed for a character to animate walking, being bipedal and having two arms and a head, so it was quite convenient. Moreover, the model was constructed using flexible but sturdy wires and can stand on its own in a variety of positions unassisted making it all the better to animate with. Other traits the model included that made it more efficient to animate with included a fully rotating head, mobile eyes that can be adjusted as necessary and latex hands and forearms which add stability and strength to the hands, fingers and wrists. Though the character is a blank slate and has no personality immediately intended to be associated with them, the approach for the emotion and personality I wanted to give the movement was one of nervousness and fear. In this regard the default pose the model begins with has the arms up, getting closer to the chest as the animation progresses and knees bent a bit to give the impression of being physically small. As the animation progressed I also added the detail of having the head look around a bit, as if alert.  

(Pictured: Model posing for first frame of the animation) Regardless of however well the model may be made it was however still a model, a physical one. Going back to what was mentioned earlier about limitations in stop motion, gravity exists and the threat of the model toppling over mid-frame when attempting to pose it or take a picture was an unfortunate reality. To counteract this double-sided tape is added to the soles of the feet to try and ensure the model stays in place. This is only a temporary fix though as through use the tape becomes less sticky and must be replaced. As the entire model has to be picked up only to be repositioned again after reapplying the tape, the fact that tape has to constantly be reapplied is much less than ideal. It is more ideal than having the model fall over in comparison though as if that happens then there’s the likelihood of parts of the model moving on upon impact. Aside from this the amount of times the model toppled was thankfully not a large amount. As what was previously stated one must focus on many aspects of the way a character moves when it comes to working in a 3D environment, but due to this in regards to stopmotion if you position your character correctly (assuming you’re not attempting an awkward position) then gravity itself can be used as a form of guide in that the model should be able to mostly still stand on its own unassisted due to weight being evenly distributed on the character model. This was extremely helpful for me to acknowledge when repositioning the model from frame to frame and minimised the times that accidents like having the model fall occurred.

(Pictured: Soles of model with tape applied)

The general animation process was just like how it was with all previous walk cycles, getting a grasp on what a walk looks like on a biped. The addition of making the character look afraid wasn’t troubling to achieve either as if you can envision what someone might look like when afraid then translating that to reality is often only limited by your knowledge on how to animate and pose a model. The only notable faults that occurred both during and after production were that during the animation process, after the camera’s battery was replaced after running out, the exposure increased massively though this was only a minor hiccup that was easily fixed, and that after finally reviewing the walk cycle at the end it was found that character movement was notably but unintentionally jittery in places. The jitter was more than likely caused by mispositioning the model so parts of the model go back over a movement they just moved from, so almost like taking a step forward (metaphorically speaking) and then a step back then forward again. Repeated instances of this caused jittering though it was more notable in parts of the body than others. To fix this issue would be time consuming to say the least as it would require repositioning the model as much as possible to be like in a previous frame, then making the changes necessary and most probably animating the rest of the frames from there even if the other frames were already animated, and that’s assuming that the entire clip was not just scrapped and redone. Aside from the jittering the rest of the animation appears successful, with decent pacing, a clear emotion displayed and the walk appearing mostly natural.

(Pictured: The model, posed in a frame nearing the end of the cycle)

(Pictured: The set-up of the scene)

[vondehnvisuals]

Hello every One, and welcome to the Thursday Thing King Edition of the Good News Journal, thank You for joining Me.  Tomorrow Will be two weeks from the date of delivery of My Letter of Demand for compensation for the harm done to Me by the negligence of Housing Services, the organization Trusted to ensure emergency shelters contracted by the city to provide emergency shelter services for Ottawa’s People are Acting in compliance with their contractual agreements.  Wow, what a mouthful!

Needless to say, I have no Idea what to expect, except that I Will get a reply.  Geneviève Langlais, associate legal council for the city of Ottawa is not like Jason Prevost, Deanna Vecchiarelli, Caroline Franks, M.P. Lloyd Longfield and so many others who refuse to respond to a Letter when they are backed into a corner; Geneviève is Honourable.  So I have every reason to believe I Will receive a response, though I have no Idea what it Will be.

$137,000.00 may sound like a lot of money but it really isn’t; not when One considers that My rights were violated daily for a period of four months after informing both the director of the program, Drew Corley, and the general manager, Jason Prevost, that compelling Me (and other clients) to participate in religious activities against My Will is a violation of the Ontario Human Rights Code.  That makes the offence Willful and deliberate (not that ignorance of the Law is any kind of an excuse, anyway).  Never mind the Way the complaint was initially ignored by the investigative branch (Housing Services), or that the same organization committed fraud on at least one occasion with respect to several issues.  Considering that the Salvation Army was compelling all clients to participate in religious services in order to participate in any of their programs the entire time I was a client, it seems reasonable to believe the practice was nothing new and has probably been going on since the Salvation Army first developed their social programs.  Housing Services never once noticed this?

One of the obligations of emergency shelters in the provision of social programs is to ensure that Housing Services (the city) are provided copies of all applications to social programs for which they are receiving city funding.  Presumably this is done so the city knows how many People are in the program, and also so they have some kind of Idea what services the programs are offering the client(s).  So Housing Services never once reviewed any of the application forms for the social programs the city is funding?

Shelley also indicated that Housing Services cannot compel shelter operators to provide copies of any of the application forms which is either a lie or another Act of negligence on the part of Housing Services that further demonstrates their incompetence with respect to reviewing the shelters and protecting the rights of Ottawa’s People.

I believe Geneviève Langlais Will know the investigation proves I’ve been seriously harmed by My experience, Willfully attacked and demoralized by both the Salvation Army management and Shelley VanBuskirk/Housing Services, and treated with extreme prejudice by both the Salvation Army and the Housing Services investigative branch – that doesn’t mean Shelley VanBuskirk Will do the right thing.  And My intuition tells Me the final decision Will be up to her – she hasn’t even retracted her unwarranted attack upon the Good Nature of My Character.

One of My unique qualities is My ability to see an argument from both sides.  Housing Services got caught committing fraud.  That is a very serious offence.  The moment that was discovered, Shelley VanBuskirk should have been replaced (at least in My opinion).  If I were on city council and I found out that the investigative branch Trusted to ensure the rights of Ottawa’s People are protected were Willfully lying to members of council and chair deans on Matters that concern taxpayer spending, I would be furious – and You can bet I would have her removed immediately and I would probably hire an independent organization to go into all the shelters with a copy of the emergency shelter standards to provide a non-partisan investigation before anyone from the Salvation Army might have time to bribe them.  That’s what should have been done.  Unfortunately, because Shelley VanBuskirk’s negligence is so serious, it appears she is trying to cover her tracks.  You know what they say, once One tells a lie, it just gets bigger and bigger and bigger until eventually the Truth comes out.

So who knows, maybe Shelley Will offer some earth shattering apology, admit that she was negligent in her duties, claim it was an ‘honest’ mistake, offer something to compensate Me for My injuries, and be as King of Me for Give-ness.

“Ask and thou Shall receive.”

The Honourable thing for Housing Services to do, would have been to offer Me something for My injuries; anything would have been better than nothing, and that offer should have been made upon the conclusion of their investigation.  Instead, Shelley attacks the Good nature of My Character for no reason.  That is probably the most infuriating detail of this investigation.  Not only was I not ‘made whole’, but the investigative branch Willfully caused Me further injury – and I’m to believe I’m not being discriminated against?

So, if the response I receive tomorrow is not favourable, not only Will I pursue the Matter in the Superior Court, I Will file criminal charges against Shelley VanBuskirk of the Housing Services branch for breach of the public Trust.

Breach of trust by public officer

122 Every official who, in connection with the duties of his office, commits fraud or a breach of trust is guilty of an indictable offence and liable to imprisonment for a term not exceeding five years, whether or not the fraud or breach of trust would be an offence if it were committed in relation to a private person.

R.S., c. C-34, s. 111

Again, not a huge fan of Canada’s legal fiction, but I do find some gems now and then.  Above, “whether or not the fraud or breach of Trust would be an offence if it were committed in relation to a private person.”

Basically, a ‘private person’ is a special kind of person with a different status than the ‘public’ citizen.  In layman’s terms, it means they can’t claim it’s not a breach of public Trust because I’m Sovereign.  Even if the code didn’t apply to the Sovereign, I am not the only one who was affected by Shelley VanBuskirk’s fraudulent claims to chair deans and members of council, so I could still Act as an informant to the Court Justice.

So if the Letter isn’t favourable and indicative of serious regret and remorse for the harm done both to Me and other clients of the shelter subject these conditions, I Will file criminal charges against the Housing Services branch and Shelley VanBuskirk in particular as the ‘Voice’ of the organization.

Wow, I didn’t mean for this to be so long!  In Case You are wondering why I used a picture of a flower for this Post, I figure I Will be tall King about Our Tarot read on and off for potentially the next six months or longer (I really do have a lot of information to share) and I can’t just Keep posting the same images – that gets boring.  So My intention was to brighten up Your day as this hibiscus bloom did mine.  I pollinated this beautiful lady today, too (and saved some of the pollen to cross germinate future hibiscus plants)!

In case You are wondering how to pollinate a hibiscus, I took a little video (though I’m not a great director, You Will have to look at the photo to see the results, but I am thing King One gets the Idea).

First Bloom in the new room!

And finally, I thought I would share a little experiment I tried propagating Schefflera Arboricola…

Taking branches at the node makes a pretty green bouquet.

And if You are Lucky, it might shoot roots, too!

Alright, every One, hope You are having a Thrilling Thursday, thank You so much for being here.

Love and Blessings,

Volume LXXI: Thing King of Shelley VanBuskirk; Breach of Public Trust Hello every One, and welcome to the Thursday Thing King Edition of the Good News Journal, thank You for joining Me. 

[alcyone2305]

The Final Fantasy XV Review (1/2)

This will be my review of FFXV. It will include everything FFXV related I either know about, experienced or played myself. And therefore, I’ll split it up. (I already know I’ll still forget some aspects I want to talk about. There’s just so much to look at.) I won’t summarize the story unless I feel it to be necessary.

Final Fantasy XV Episode Duscae (game demo) Final Fantasy XV Platinum Demo (game demo) Final Fantasy XV A King’s Tale (game)

Final Fantasy XV Brotherhood (animated shorts) Final Fantasy XV Kingsglaive (movie)

Final Fantasy XV (game)

Final Fantasy XV Episode Duscae:

Oh, the hype was real. It was possibly the realest shit I had ever experienced. I bought Final Fantasy Type-0 just for the demo. I did try to play Type-0 but it didn’t do it for me. Instead I invested about 60 hours into the demo, leveled up to 91 and recently went back to play it. And I figured out: The skills I used to have are gone. I’m used to XV’s battle system and when I attempt to go back, I find myself internally flailing my arms because WHICH BUTTON DOES WHAT WTF. I won’t go too much into detail. (I probably will nevertheless, oh well.) The first time the characters appeared on screen, I screamed at Ignis. He was the one, I just knew it. The sole fact of him having a British VA I liked sold him for me, no joke. I usually dislike British accents but Ignis had this… certain charm him which just captivated me. I remember watching the cutscenes over and over again, trying to figure out who the fuck was voicing him. Noctis took second spot. His grumpy attitude in the morning after being woken and him being the good-looking protagonist made him settle behind Ignis. And then there was Prompto and Gladiolus. Sunnyboy and beefcake, my least favorites. Prompto received the label of “Every comic relief character to have ever existed” and Gladiolus was called “Manly man ready to break your neck without any emotion”. I know, I was wrong in the end but we didn’t get much. What left the biggest impression on me? The side quests. There was one for every teammate. Prompto had his Catblepus side quest (which they expanded upon in the game), Gladio went on a training/fighting trip with Noctis and Ignis… Oh God… Hold me, Ignis had a stargazing quest. Fuck. So beautiful, so stunning, exactly my taste. Stars, astronomy, an intelligent, good-looking man… Can you imagine how angry I was when the quest wasn’t in the game? Why did they take it out!? It was already done. Prompto’s mini quest was in game as well, even expanded upon. The main quest was good as well. The whole set up of Deadeye roaming the area and demolishing trees and animals was sick. Why wasn’t it in the game anymore? The same as the side quests. It was already done, why didn’t they include it? Did they have to adapt the graphics or other game mechanics? Such a pity.

Final Fantasy XV Platinum Demo:

Noctis’s dream world was stunning. It really felt like I was turned into the child and found myself exploring every small inch of the world. It gave us a peek into the journey ahead, with Leviathan and Titan peeking in and out, day and night changing up and us turning into monster we would end up facing. I doubt there was anyone hating or disliking Carbuncle. Our companion lead us through the short story and tried to protect us. When Regis was placing a small Carbuncle on Noctis’s nightstand, we saw Regis cared and loved his son. A short, yet sweet and warm bonding moment Regis exchanged with the sleeping Noctis. Altissia though, oh boy. With Gratia Mundi playing in the background (which is one of my favorite soundtracks of FFXV) I got completely lost in the city. (Even now I easily get lost in Altissia, jfc. Does anyone even know the map by heart????) The transition to the Iron Giant boss fight was cool. Because we learned how to fight as younger Noctis, we felt mature when the weapons and magic switched over to the real deal and we felt strengthened when we were warping around and taking the Giant down. Sadly, it was extremely short. They had already adapted the battle system so I had less trouble playing through it when I started the demo last week. Magic had a playful feeling to it. Firecrackers, raindrops… It was a different take on magic from a child’s eyes.

Final Fantasy XV A King’s Tale:

This part will be even shorter. I didn’t play A King’s Tale but watched other people enjoy it quite a lot. While many find the 2D pixel look appealing, I’ve never been one to grow fond of older graphics. I’m a visual whore when it comes to games. I want it to look good, I want to see clearly. So visually, A King’s Tale doesn’t appeal to me. I’ve only played a few games, but from what I have played, I prefer better visual quality. Nevertheless I found the story absolutely adorable. It gave us a view into Regis’s human side which deeply cares for Noctis. It’s a struggle every parent has to face: The child doesn’t want to sleep so you have to “bribe” your child. Regis does this through telling a bedtime story. Lovely, adorable, heartwarming and yet, the battles are fast-paced and flashy just like the game. As far as I know this game is free so if you want such a feeling in your chest, go and play it!

Final Fantasy XV Brotherhood:

Before I do anything, I’ll express my anger. Why? Because Brotherhood has so much background information about the characters. Information we need to feel and connect to the characters. Why was Noctis in a wheelchair? Why was he in Tenebrae? How did he and Prompto meet? Solely by the game, you don’t get the entire image. Instead you have to rely on additional sources. Thankfully Brotherhood is for free. Maybe you can already guess a trend developing here: Splitting the story up wasn’t a good idea. Kingsglaive, as much as I love the movie, wasn’t a good idea. When you buy the game, you want the entire content to be in there. I paid 90€ for the Deluxe Edition of the game but there was still more information out there. It makes me angry, okay? The dependence on further source isn’t good. The game should be fine standing on its own but considering how bad the story-telling was, it wasn’t doing fine. In fact, it was already on the ground after being kicked in the balls. Nevertheless, you should watch Brotherhood before you play the game. Or do it for the lulz, I don’t know. It’s lovely. There’s an episode on each of the boyband and a little bit more information and battles. To be honest, I loved it. It was just enough to know how Noctis met his companions. Watch it for yourself.

Final Fantasy XV Kingsglaive:

Ah, my bread and butter. The amount of posts I made on Kingsglaive are almost overwhelming. Maybe you can guess: I really enjoyed the movie. Don’t get me wrong; It still had some major flaws (which I had already mentioned). The whole set up of splitting the story up, demanding money for the movie (unless you buy the more expensive version of the game) and putting important information in it was... wrong. It wasn’t good. In the time of DLCs being pumped out almost all the time, we gamers become pissed off very fast. No one likes DLCs because it means important parts of the game are missing (because that’s how DLCs are used when it comes to FFXV). Same goes for Kingsglaive. It’s like an expanded DLC dealing with the story before we jump into Noctis’s shoes. But that isn’t all. We’re introduced to a pile of members of the Kingsglaive. They’re well-designed, each has certain characteristics going for them so we naturally want to know more about them. Now, the problem is… The movie only takes 120 minutes. 120 minutes trying to deal with politics, the struggles of the Glaives, yet wanting to be entertaining and appealing. 120 minutes aren’t enough. They should’ve done either or. Anyway. I’ll elaborate on the characters a bit further. Nyx: Protag, big heart, our hero. Cocky af when it comes to his duty and dealing with the king’s magic. I avoid doing an analysis post on him because he’s the protagonist of Kingsglaive. It’d blast my head off. Libertus and Drautos took three posts; What would Nyx be like? Seven? Eight? Probably. I’d say he was fine being the protagonist, but I feel like I’ve dealt with too few protagonists to really evaluate what a good protag is. I like him, we can relate to him. On the one hand he’s loyal, on the other hand he’s still evaluating the events around him, trying to decide on the best action to take. Libertus: No, I don’t hate him. (I C U, anon.) Nyx’s childhood friend and best friend, very emotional and therefore, acts on emotions which causes a lot of trouble. He’s the one to give out important information to Niflheim’s spies (that’s what I’ll call them) which help sneaking in explosives at the day of the signing. The first half of the movie had me wanting to punch him because he’s just so dumb in my eyes, but thanks to the analysis posts, I finally noticed how bad he really felt for his mistakes. He knows he fucked up, he tries to make up for it. Immediately. In the end, much more likeable and made me want to squish him. Crowe: She deserved better, indeed. Bigger character potential than Libertus since she was introduced as a witty, strong female character who doesn’t need a man to survive. Sadly, she was killed off screen by Luche, that douche. I watched the movie with my mother and she was devastated after Crowe’s death. My mom is usually indifferent about characters in FF movies. (The action overwhelms her, oops). So when she’s actually showing emotion and disbelief, it’s a good indication the character had potential. I’m not saying it’s proof, just an indicator. Crowe was used as a plot device, which is sad. I also explained why Crowe deserved better in one of my posts. Pelna: Ah, our little sunflower and sunshine. With Luna, the only two people I genuinely cared for and felt sad when they died. His death was especially cruel since we saw the impact of Ultros grabbing him. His body just went… lifeless, crushed. Yikes. Pelna was interesting. While working on his analysis, I noticed he emotionally moved me because I unconsciously related to him. He cracks a joke every now and then, still works extremely hard and his friends are absolutely important to him. It was shown through his actions and words which usually only implied his feelings. I love him, okay!? Luche: I’ll try and avoid being biased. He got the most focus out of all of the traitor Glaives. He was part of the protagonist group, yet felt villainous from the very start. Always criticizing, always a party pooper, in the end murdering Crowe and not even caring for what he did. Instead, he even severely injures Nyx and continues following Niflheim’s empty promises. Most of his character was revealed during his last speech after he shot Nyx. His words were overflowing with anger and bitterness towards the king. He was meant to die. Looking back at his death, his was ridiculous because at the moment he needed his intelligence the most, it left him and he gave in to the promise of power. Oopsie daisy. Tredd: His monologue was sick af. I loved the metaphor of the rats in the sewers. In the beginning, I expected him to be comic relief similar to Prompto, but oh boy, I was wrong. He was the second most focused traitor of the Glaives so I felt like he had some weird dynamic going on with Luche. (Maybe I’m wrong.) We didn’t get jack about him though. Most of my analysis was based on assumptions. His analysis post was also the one to have started the series. Drautos: Daddy D, the main antagonist of the movie. He had major reasons to betray the king and everything he stands for. There’s a lot left in the dark when it comes to him so we have to settle for headcanons most of the time. What a pity though. But in his last moments, the last minutes of the battle between him and Nyx, we get a good image of why he betrayed Lucis. We still have to interpret a lot but I think there’s a nice overview of Drautos if you asked anyone in the fandom. Regis: We already knew he was a very emotional king and not the cruel ruler enslaving his city. He had to balance Noctis’s fate and politics in his hands which took his life in the end. The interactions with Clarus were lovely as well. It gave us a feeling of their friendship and relationship. Most of Regis’s emotions were shown when it was about Luna. We could feel how important Luna was to him so Regis tried to keep everyone safe. His death was cruel as well. At first Glauca sliced off a finger, then rammed the sword through the king’s body with excessive force. Almost disgusting. Luna: Many people pointed out how different this Luna feels from the in-game Luna. Someone pointed out the Luna in the movie wasn’t meant to be Luna. Instead, the developer team intended to integrate Stella to the plot. I’m sure a lot of changes were brought up in the last stretches until the release so that would explain the major difference of the two Lunas. It wasn’t meant to be Luna from the beginning but they had no other choice but to go for her. What a pity. I enjoyed her character. Sure, she was dependent on Nyx but she still carried a strong will and her duty on her shoulders like a strong character would. (For further discussion, I recommend you check out my posts about her. There’s much more anger concerning how she was treated overall in there.)

We also were introduced to the Old Wall/Old Kings which are bitchy as well considering they don’t care about the city and Lucis at all. (Thankfully Nyx and Regis both manage to convince them so Insomnia is saved. Kind of.)

The most positive aspect of the movie clearly is its appearance. It feels like the characters are real, not animated, but actors with flesh and bones in front of the camera. It’s incredible. This might be the biggest selling point for the movie. While the fighting scenes are a mess, they’re still impressive and beautiful to look at. Magic is stunning. Every spell feels different from each other and depending on its user, it changes even more. For example: The king’s lightning is one, massive bolt dishing out an incredible force of pain while a Glaive’s lightning spreads into many smaller bolts, focusing on rather the AoE than the power. I don’t mind the advertisements. Considering how much money went into the movie, they need to earn money in return. And it makes Insomnia look much more realistic when we see a brand we recognize. Inside of the city, I love how different it feels when we explore the upper and lower areas. The higher levels are all about luxury, jewelry, cars and art. Once we explore the levels where Nyx lives, it becomes a bit more plumb. Restaurants, bars, street vendors and karaoke bars give us the impression of a much more simple, cheaper life.

And I love the ending. It leaves us with a bittersweet taste on the tongue. While it may seem like a won battle, we know it’s useless and we have to get into Noctis’s shoes to reclaim our throne. My mom is absolutely in love with the Prologue theme btw. Recently she was diagnosed with incurable cancer so she’s already searching for songs to be played during her funeral. (Yes, life is disgusting at times.) And what’s on her track list? The Prologue of Kingsglaive. Why? It captures the hopelessness of the war against Niflheim flawlessly. My mom prefers such songs. (And yet, she loves the Chocobo theme just as much but I think I’ll talk about that once we dive into the XV game review.)

Overall, I loved the movie. Absolutely. It makes me think about the characters we’re introduced and maybe come up with my headcanons about them. If the developers aren’t giving us more, we are forced to use our imagination. It’s also proves over and over again how overflowing with potential the entire universe of FFXV is and I’ll gladly try to pick apart any question being tossed into my direction.

In the next part, I’ll be picking apart the game itself. I’m sure this part will be even longer than this post.

If you have any further questions, feel free to ask them. I’ll always explain myself if I can.

[freetipsmono]

Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

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Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

10 Best Tips And Tricks For Youtube That Bring You The Most Success In The Journey of Youtube and start Earning Today. I got my first camcorder in about 7 years just before I set out on a backpacking trip to Argentina.

📷Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

10 Beginner Tips If You're Getting Started on YouTube

I got my first camcorder in about 7 years just before I set out on a backpacking trip to Argentina. I've never had a camcorder before, I'd never edited video, and I'd never been in front of a camera... but I wanted to make video. I was traveling with one of my best friends, Rebecca, and I decided we were going to document our two weeks across the country; easier said than done! When we were trying to remember the events of those days, we were not laughing in our heads, we were bragging about something. Looking back, I both rely on my amateurish style, yet love that footage because it inspired me to take up vlogging in the first place. Our footage was raw, shaky, and had a slight air of madness, but it was a lot of fun filming it.

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It would take another 4 years before I decided to meet Sam and start a YouTube channel with him (it's kind of funny and looks like we were together just 1 month after we started dating)! ), but I could. Don't imagine I was traveling and not filming right now.

We've been making videos for over 3 years and while I wouldn't consider myself a professional videographer by any means (our style is much more casual and cool), I learned a bit about vlogging and using YouTube in the meantime is . Or have learned two things. At the time, so today I thought I'd share 10 YouTube tips for anyone who gets into the video. let's get started

1. Be Consistent About Posting Videos

The best tip I can give you is to get your stuff out there Making good videos takes practice and you will only get better if you keep at it. If you tell yourself "this video isn't good enough", "it still needs more editing", "doesn't look like I thought", you'll never publish anything

I can't watch the videos Sam and I filmed 3 years ago because they look so bad - vintage changes, zoom in and out, awkwardness of being in front of the camera for the first time - but we shared those videos online, kept making some more , and I think we slowly improve along the way.

If you want to be in video you must have a goal. Maybe he is publishing 1 video a month or 2 videos a week. Set a goal that you know you will be able to accomplish, and do your best to stick to it. You might not always feel 100% satisfied with the result, but it's important to get your video out there and get started on the next project.

2. Learn to Press the Delete Button

What you take out is just as important as what you leave.

The things that once could potentially kill a good video are too much of the same thing. Just because you shot 10 clips of the Eiffel Tower from slightly different vantage points, doesn't mean you have to include every single piece of footage in your video. Pick the best shots and then delete the rest.

📷Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

If you show it too much and the footage starts to repeat a bit, the audience will lose interest and move on to something else. Your job is to keep the audience engaged, even if it means detracting from some of your files.

3. Stop Comparing Yourself to Others

There will always be channels that are more popular, more experienced or more skilled than you. You can watch these channels for inspiration on how you want to film and what you want to achieve, or you can do it free of self-doubt and never publish anything.

Obviously the latter is not what you want to be.

Just remember that every channel started just like you did: no subscribers, no views, no viewers. Yes, even the channels that have more than 1 million subscribers and now make their living exclusively from YouTube - they were right, are you today.

4. Study the movies, TV shows and videos you love

You can learn a lot of techniques by watching and studying videos. Whenever you see a cool shot or unusual angle, ask yourself, "How did they do that?" And then rewind, watch it again, and pay attention to the movement of the camera.

📷Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

One of my favorite travel shows is Departure and I fell in love with it from the very first episode because of the cinematography. The show follows two friends, Scott and Justin, as they travel around the world with their incredibly talented cameraman, Andre. If you haven't seen the show yet, you need to head over to Netflix immediately because not only are Scott and Justin really entertaining, but Andre is capable of some serious magic with the camera. Wide landscapes, dramatic pans - sometimes it seems that it is frozen time.

5. Don't forget to do SEO on your videos

If you want your videos to actually rank on YouTube (which allows viewers to find you), you need to do a bit more than just upload your content I know so many YouTubers who shoot really great videos, but they don't help their content rank on YouTube. Filming and editing may be 90% of the work, but it's the final 10% that's going to allow people to find you.

What does this mean?

1) Give your video a descriptive title.

You want something that explains exactly what your video is about and gets keywords in the title. “VLOG #1: Alohaaaaaa!!!!!!” is not so great, but “Driving the road to Hana in Maui” might actually get you somewhere.

📷Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

2) Use tags.

Tags are keywords that will help people find your video. Since we're rolling with the example of "Driving the road to Hana in Maui", you could use keywords like: Hana highway, road trip, scenic drive, coastal drive, Maui, Hawaii, travel. Get the picture?

📷Youtube Tips and Trick-Youtube tips and tricks 2021-Youtube tips and tricks in hindi

3) Write a description.

Tell me what your video is about. Better yet, tell YouTube what your video is about. That little description box under your video gives you plenty of room to write a search engine-friendly description, so don't be sparse with your words.

6. Don't worry about having the fanciest camera out there

It's not about the camera you have, it's about what you do with your camera to tell a story

That being said, two main considerations when choosing a camcorder or camera should be audio and image stabilization. Audio is really important because you want your viewers to be able to hear what you're saying clearly rather than picking up muffled background noises, and image stabilization is also important because no one enjoys watching jerky filming that makes you dizzy.

These days Sam and I shoot with a camcorder because it suits our on-the-go style (it's the Panasonic HC-X920 in case you're interested), but don't go off and get that just because it's what we use. You really need to think about your filming style, the video quality you want, and the final result that you're looking to achieve. For us that means shooting with a camcorder, but I know a lot of YouTubers who prefer the glossy / saturated footage you get with a dSLR.

7. Don't neglect audio

Now that I've told you that you don't need a fancy camera, I'm going to tell you to actually think about audio, because if there's one thing that can completely ruin a video, it's not being able to hear what you are saying. Biggest pet peeve!

Here are some pointers:

1) If you've just climbed to the top of some mountain and it's really windy, don't bother breaking into a monologue of how accomplished you feel because I won't be able to hear it. What I will hear is that deafening wind that's whipping you in the face, and it's especially horrible when I'm wearing headphones. Be mindful of audio anytime you're shooting somewhere windy so that your footage doesn't go to waste.

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2) If you're shooting with an old GoPro, take it out of its case. It may keep the camera safe while you're out surfing or jumping off cliffs, but if you're going to talk, it sounds very muffled, and again, I can't make out a word you're saying.

3) If you're shooting with your phone, make sure you're not placing your finger over the microphone. Maybe this doesn't apply so much to video (unless you're filming with your phone), but it happens all the time with Snapchat.

Of course, this isn't an issue if you're just filming mood videos and then laying down a track, but if you're going to be speaking into the camera, it's something you really need to think about.

8. Use simple editing software

Since these YouTube tips are geared at people who are just starting out, I'm going to say choose a simple editing software that isn't going to cause you a mental breakdown every time you try to edit a video. You don't need to go out and buy Final Cut Pro; if this is your first time editing video, it'll likely slow you down, confuse you, and leave you in a puddle of tears.

Guess what? Windows Movie Maker will do the trick! Yes, that's the program that likely already came installed in your laptop, and if it didn't, you can download it for FREE!

I think there's a place for advanced video editing software, but it's probably best to keep it simple if you are just starting out and have no prior editing experience.

9. Be social, share, and collaborate

YouTube is a very community driven platform so go out there and make some friends. Find channels you like and leave a comment – ​​but not spammy comments like 'Cool video!' or 'Awesome stuff, man'. Take a genuine interest in people and the content they are producing, and others will take an interest in you too.

Also, don't forget to share your videos. If you hit the share tab underneath a video, you'll notice that it can be shared across 13 different social platforms – that certainly gives you a lot of options! And let’s not forget the embed tab that allows you to share your video (perhaps on your blog) in cus

THANKS FOR VISITING OUR SITE IF YOU LIKE THEN PLZ SHARE THIS YOUR FRIENDS ALSO

[pauldeckerus]

Capturing the Milky Way Over Yosemite National Park

Back in June of 2018, I was fortunate enough to make a 9-day trip to Yosemite National Park, California to capture the Milky Way galaxy over Half Dome. My entire trip revolved around capturing this image since I had captured nearly this same panorama two years prior during my first ever trip to the park in 2016.

It wasn’t until mid-2017 that I discovered that the panorama I had photographed in daylight in 2016 lined up perfectly with the Milky Way in May and early June. Immediately I knew that this pano was one that I would have to perfect, whatever I had to do in order to capture it with maximum detail.

Having improved my knowledge and technique for photographing the Milky Way and keeping clean foreground significantly since my 2016 trip, I knew that in order to keep the foreground free of noise I would have a few options.

I could photograph the scene in roughly five images in vertical orientation as single exposures and stack five or more frames per section.

I could blend the foreground from blue hour by photographing the foreground an hour after sunset using a little bit of atmospheric light to illuminate the foreground and then wait to photograph the Milky Way

I could photograph the foreground as single exposures and stack them under starlight, then track the sky to preserve the maximum sky detail and blend them back together.

Or finally I could photograph the foreground under starlight as long exposures at a higher aperture giving me more sharpness all the way through the image and use a low ISO to give me less noise. Then track the sky and blend them back together using a one image single exposure panorama beforehand with the alignment to use as reference.

After considering my options, I decided to go with the final method of capturing the foreground with longer exposures. This method would allow me to capture the foreground under natural starlight and maintain the natural colors and illumination of this time, and minimize the noise using a low ISO. This method also guaranteed I would have a sharp image throughout using a higher aperture and depth of field. I wanted to maximize the quality and resolution of this image to make it as large as possible for a potential future print.

Using the 45-megapixel Nikon D850 DSLR would give me an insanely large file that could be printed in large dimensions. The final panorama would be 27,500 pixels wide, and the final edit and crop was roughly a 350-megapixel image.

Original foreground panorama 500% crop RAW

Final Edit, 500% crop.

I would do this by setting my camera on my tripod in vertical orientation, making sure that my ball head was completely level, and waiting until I was under complete starlight.

Example of my Camera in vertical orientation during a trip to Death Valley, March 2018.

Having photographed the foreground panorama once before back in 2016, I knew that I would need 5 vertical images at 15mm to capture everything I needed, and having captured countless Milky Way panoramas, 4–5 images would give me a good view of our galaxy at 15 to 20mm.

In order to keep my exposures steady and keep my shutter open for long enough to capture all the light in a clean foreground image, I would need to use a shutter release remote so I wouldn’t bump the camera by pressing the shutter button. Using a remote would also allow me to program the exposure time for each frame.

Yosemite was a 1,000-mile trip one way for me from home (on the most boring stretch of road in the whole united states), so I planned my trip carefully ensuring I would be there during proper moon conditions, allowing me a window to photograph the sky without any moonlight.

Using the app PhotoPills, I carefully projected my alignment and opportunities to shoot the Milky Way while visiting the park. Once I had my plan together I started my preparations for a 9-day trip to make the most of my time there.

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A post shared by Derek Sturman (@dereksturmanphotography) on Dec 7, 2018 at 7:56am PST

Doing a little experimental time lapse here from Olmsted point in Yosemite during my first night in the park. Having come from Nevada I found myself entering Yosemite from what I would call the back of the park and being able to see new parts of it I didn’t see in 2016.

Now if you are familiar with any of the stories of how I captured any of my previous images, you will know that coming prepared has never been one of my strengths. However, for a trip 1,000 miles from home and camping out in the desert alone, I made sure to create a rigorous checklist of things I would need. In an attempt to stay on a budget I decided to pack all the food and water I would need and blow up an air mattress in the back of my vehicle so I would be able to sleep periodically for short periods while photographing some kind of night sky image.

Included on this list of things was sunscreen, bug spray, and a shutter remote (of course). I ended up stopping for the first night of the trip roughly halfway to my destination somewhere in the Nevada desert, where I had an incredible dark sky to photograph. Already almost 500 miles from home, I discovered that though I had packed 4 shutter remotes and a whole pack of AAA batteries, I had left this insert for my pack somewhere at home, leaving me without any reasonable way of triggering my camera’s shutter remotely. Sadly the Nikon Snap bridge app would only allow me to program 30″ exposures.

Too far to turn back, I began photographing just 30″ tracked images to use for later images and dug through my gear for any kind of remote I might have from the past. Sadly I didn’t find any remotes, but I did happen to have a cool little device my father (an avid programmer and electronic project enthusiast) had made using an Arduino programmed to do various exposure types. Luckily for me, this device connected to any 1/8″ audio jack and I happened to have a spare cord for that. Also fortunate for me was the fact that the device had a bulb option.

Sunset fades to Star light in Yosemite National Park.

Once inside the park I was greeted by the unbearable summer heat, walls of mosquitoes so thick you could use them as shade, and of course unbelievable crowds of people. Despite all of this the park was spectacular and seeing it again was just as jaw-dropping the second time as the first. Absolutely nothing about this park is boring.

Having felt that I was prepared, I brought a bottle some kind of all-in-one sunscreen bug repellent spray. Immediately upon visiting the park I needed both, as the early summer heat and pooling water in the valley attracted millions of mosquitoes and the heat was almost unbearable in direct sunlight.

My first night in the park I broke out in some kind of terrible rash. Something I had not experienced since I was very young. Hives covering my arms, neck, and body made for a very uncomfortable stay. Thinking I had some kind of mosquito bite that had initiated the rash, I began applying more of this bug spray sunscreen mix. The cause of my terrible full body rash was sadly unknown to me. So from day one I was a little irritable and had a hard time standing the conditions of the trip. Also unfortunate to my trip itinerary, I planned to stay a full 7 days and saw no need to buy new sunscreen or bug spray and assumed it was anything from some kind of plants in the area to something I was eating.

I had planned to do all my shooting in new locations and scouting first and save my Milky Way panorama over half dome from Glacier Point until the last two nights of my stay so I would force myself to endure the entire trip knowing I would not allow myself to give in a go home until I had completed that image. Reserving my final two nights, since the image would likely take several hours of shooting just to complete the pano for the foreground and several hours of shooting just for the sky.

Night sky over Yosemite National Park

When the time came to capture my panorama I went to Glacier point almost 6 hours early just to get a parking spot. The lot at the top of the road for the popular overlook is often heavily crowded and has very few actual parking stalls. When I arrived there weren’t any so I ended up driving in circles for about two hours waiting on an opportunity to park. Once I parked, I quickly began packing my gear to go watch the sunset and set up for my image.

In my excitement and hurry to finally get out to the spot and quickly dying sunlight, I managed to lock my keys inside my car. Having done this multiple times in the past I have a habit of checking for keys as I am walking away from my vehicle and realized I had locked them inside. I spent the next two to three hours trying to find a way to get into the car. I had no service in that area so I would have to hitch a ride with someone all the way down to where I would get service to call AAA. I actually went and found a sick and managed to pry the passenger side door open just a little and tried to slip thin sticks in and flip the lock switch. After seeing the apparent damage I was doing to the seal on the door I went to back pop out windows.

I noticed that these windows had a small latch that could be pressed out so that the windows could angle outwards but no open all the way. I figured if I could break this small plastic latch I could crawl in through this window and unlock the car. But after prying just a little too hard, I shattered the window and glass went all over me and the parking lot.

You can see the small black latch next to the seat belt in the left corner.

Needless to say, I missed the sunset. And once I was inside my car and covered in glass, I wasn’t in the most inspired mood, but after cleaning up the glass in the parking area as best I could, I moved out to my spot for the image.

I began by focusing on the foreground, and realized that once I had my camera set up in the proper position, the Arduino remote’s programmed bulb mode required me to hold the button down for the duration of the exposure. There was no programmable time setting in its programming, meaning I would need to sit and hold the button down until the exposure was done.

I’m not going to lie: it’s fortunate that only my good friend the Milky Way was there to hear what I said next. Interestingly enough, yelling to a large beautiful vista is actually quite therapeutic, but I was quickly distracted by the beauty of the Milky Way rising over the Yosemite Valley.

Glacier point provides one of the most amazing views of Yosemite. Looking head on half dome, you can see an insanely large vista. Waterfalls, peaks, and large cliff faces into forested valley’s. The scale of this place is simply indescribable.

Once the Milky Way started to appear I took a quick test exposure, f/2.8 ISO 12,800 30″ and focused on a bright star to make sure I was getting infinity focus throughout. In my f/28 image, it looked like most of the image was sharp so I decided just to increase my aperture slightly. I started out by trying an image at f/5 but after holding down the button for so long and seeing I made a mistake I decided to stop back down to f/3.2. Once the test exposure was complete I used Photopills exposure calculator to calculate the images exposure time needed if I were to use f/3.2 at ISO 800. I figured this would give me a clean foreground image without me losing too much time to each exposure before sunrise.

Single test exposure, f/2.8 ISO 12,800 30″

This gave me an exposure time of roughly 13 minutes per frame. So I set a thirteen-minute count down timer in Photopills and sat with my finger on the button until the alarm went off.

759″ exposure f/3.2 ISO 800

Unfortunately for me, I didn’t realize that the red light from the homemade remote was casting onto the rocks in front of me, so I photographed this first exposure a second time.

792″ Exposure f/3.2 ISO 800

Unfortunately, I had bumped my tripod or ball head somehow without noticing and the image had tilted slightly. Tired and irritated, I battled with the idea of using this image but ended up deciding to realign and try again.

759″ Exposure f/3.2 ISO 800

I finally had the first of five images correct. I carefully reviewed the image for noise and detail at 300% zoom.

759″ f/3.2 ISO 800, 500% crop

Aside from a few hot pixels from the long exposure and warm weather, and a little noise on the surface of the peaks the image looked sharp and mostly clean.

Third (middle) image of pano, 759″ ISO 800 f/3.2

The following two images went smooth, though my thumb was getting a little tired from holding down the button to keep the shutter open. That was until the fourth image.

Hikers head lamps and flash lights illuminate the Trail between Nevada and Vernal falls. 439″ f/3.2 ISO 800

I stopped this exposure early when I noticed some hikers with flashlights creating some trailing. This could have easily been cloned out in post but I didn’t want to risk it so I started over.

Finally, after a few more images I had the complete foreground merge. Due to technical problems, bumping my tripod during a couple and starting over, It was astronomical twilight shortly after completing the final image in the pano.

5 vertical image Stitch, Adobe LR. RAW

Once all the images had been stitched and the distortion corrected and image compositionally balanced this was the foreground result. Now all that was left was to photograph the sky! I returned the following night to set up my tracker from the location where I shot this pano, however using a tracker requires a clear view of Polaris, the northern star, to calibrate the tracking. Sadly I was unable to see Polaris from this location due to all the tree cover.

I began searching for nearby locations with absolutely clear horizons and discovered Taft point, an overlook just back down the glacier point road. This seemed like the closest sure-fire location with clear skies.

I quickly hiked out to the location during sunset and promptly set up my tracker to capture my sky panorama.

477″ tracked f/2.8 ISO 400 19mm

One of the single images tracked from Taft Point.

Taking several attempts to get the sky right and clean with as little foreground as possible I had my sky after shooting all night.

And once twilight hit I was so ready to be done with shower less, rash-ridden, mosquito-infested forests that I packed up and hiked straight to the car to start the long journey home. My image was finally captured and it was time to get back to the desktop and start putting the pieces together.

250″ f/2.8 ISO 800 Tracked

And with that my 9 day trip to the incredible Yosemite came to end, and after a long and boring drive through the deserts of Nevada, I would be able to review my images to see how I did.

“Galactic” Yosemite National Park, 2018

Thanks for reading! I hope something in this was beneficial to you, or maybe at least you won’t make some of the mistakes I have and never buy all-in-one bug spray and sunscreen…

P.S. If you’d like to learn more about photographing the Milky Way you can check out some of my one-on-one and group workshops hosted across the western United States on the techniques and tricks I use personally. Or if you would like to know how I post process my images, consider checking out my paid post processing Instructional courses for Adobe Photoshop.

About the author: Derek Sturman is a landscape and night photographer. The opinions expressed in this article are solely those of the author. You can find more of Sturman’s work on his website and Instagram. This article was also published here.

from Photography News https://petapixel.com/2019/01/11/capturing-the-milky-way-over-yosemite-national-park/

[sailorrrvenus]

Capturing the Milky Way Over Yosemite National Park

Back in June of 2018, I was fortunate enough to make a 9-day trip to Yosemite National Park, California to capture the Milky Way galaxy over Half Dome. My entire trip revolved around capturing this image since I had captured nearly this same panorama two years prior during my first ever trip to the park in 2016.

It wasn’t until mid-2017 that I discovered that the panorama I had photographed in daylight in 2016 lined up perfectly with the Milky Way in May and early June. Immediately I knew that this pano was one that I would have to perfect, whatever I had to do in order to capture it with maximum detail.

Having improved my knowledge and technique for photographing the Milky Way and keeping clean foreground significantly since my 2016 trip, I knew that in order to keep the foreground free of noise I would have a few options.

I could photograph the scene in roughly five images in vertical orientation as single exposures and stack five or more frames per section.

I could blend the foreground from blue hour by photographing the foreground an hour after sunset using a little bit of atmospheric light to illuminate the foreground and then wait to photograph the Milky Way

I could photograph the foreground as single exposures and stack them under starlight, then track the sky to preserve the maximum sky detail and blend them back together.

Or finally I could photograph the foreground under starlight as long exposures at a higher aperture giving me more sharpness all the way through the image and use a low ISO to give me less noise. Then track the sky and blend them back together using a one image single exposure panorama beforehand with the alignment to use as reference.

After considering my options, I decided to go with the final method of capturing the foreground with longer exposures. This method would allow me to capture the foreground under natural starlight and maintain the natural colors and illumination of this time, and minimize the noise using a low ISO. This method also guaranteed I would have a sharp image throughout using a higher aperture and depth of field. I wanted to maximize the quality and resolution of this image to make it as large as possible for a potential future print.

Using the 45-megapixel Nikon D850 DSLR would give me an insanely large file that could be printed in large dimensions. The final panorama would be 27,500 pixels wide, and the final edit and crop was roughly a 350-megapixel image.

Original foreground panorama 500% crop RAW

Final Edit, 500% crop.

I would do this by setting my camera on my tripod in vertical orientation, making sure that my ball head was completely level, and waiting until I was under complete starlight.

Example of my Camera in vertical orientation during a trip to Death Valley, March 2018.

Having photographed the foreground panorama once before back in 2016, I knew that I would need 5 vertical images at 15mm to capture everything I needed, and having captured countless Milky Way panoramas, 4–5 images would give me a good view of our galaxy at 15 to 20mm.

In order to keep my exposures steady and keep my shutter open for long enough to capture all the light in a clean foreground image, I would need to use a shutter release remote so I wouldn’t bump the camera by pressing the shutter button. Using a remote would also allow me to program the exposure time for each frame.

Yosemite was a 1,000-mile trip one way for me from home (on the most boring stretch of road in the whole united states), so I planned my trip carefully ensuring I would be there during proper moon conditions, allowing me a window to photograph the sky without any moonlight.

Using the app PhotoPills, I carefully projected my alignment and opportunities to shoot the Milky Way while visiting the park. Once I had my plan together I started my preparations for a 9-day trip to make the most of my time there.

View this post on Instagram

A post shared by Derek Sturman (@dereksturmanphotography) on Dec 7, 2018 at 7:56am PST

Doing a little experimental time lapse here from Olmsted point in Yosemite during my first night in the park. Having come from Nevada I found myself entering Yosemite from what I would call the back of the park and being able to see new parts of it I didn’t see in 2016.

Now if you are familiar with any of the stories of how I captured any of my previous images, you will know that coming prepared has never been one of my strengths. However, for a trip 1,000 miles from home and camping out in the desert alone, I made sure to create a rigorous checklist of things I would need. In an attempt to stay on a budget I decided to pack all the food and water I would need and blow up an air mattress in the back of my vehicle so I would be able to sleep periodically for short periods while photographing some kind of night sky image.

Included on this list of things was sunscreen, bug spray, and a shutter remote (of course). I ended up stopping for the first night of the trip roughly halfway to my destination somewhere in the Nevada desert, where I had an incredible dark sky to photograph. Already almost 500 miles from home, I discovered that though I had packed 4 shutter remotes and a whole pack of AAA batteries, I had left this insert for my pack somewhere at home, leaving me without any reasonable way of triggering my camera’s shutter remotely. Sadly the Nikon Snap bridge app would only allow me to program 30″ exposures.

Too far to turn back, I began photographing just 30″ tracked images to use for later images and dug through my gear for any kind of remote I might have from the past. Sadly I didn’t find any remotes, but I did happen to have a cool little device my father (an avid programmer and electronic project enthusiast) had made using an Arduino programmed to do various exposure types. Luckily for me, this device connected to any 1/8″ audio jack and I happened to have a spare cord for that. Also fortunate for me was the fact that the device had a bulb option.

Sunset fades to Star light in Yosemite National Park.

Once inside the park I was greeted by the unbearable summer heat, walls of mosquitoes so thick you could use them as shade, and of course unbelievable crowds of people. Despite all of this the park was spectacular and seeing it again was just as jaw-dropping the second time as the first. Absolutely nothing about this park is boring.

Having felt that I was prepared, I brought a bottle some kind of all-in-one sunscreen bug repellent spray. Immediately upon visiting the park I needed both, as the early summer heat and pooling water in the valley attracted millions of mosquitoes and the heat was almost unbearable in direct sunlight.

My first night in the park I broke out in some kind of terrible rash. Something I had not experienced since I was very young. Hives covering my arms, neck, and body made for a very uncomfortable stay. Thinking I had some kind of mosquito bite that had initiated the rash, I began applying more of this bug spray sunscreen mix. The cause of my terrible full body rash was sadly unknown to me. So from day one I was a little irritable and had a hard time standing the conditions of the trip. Also unfortunate to my trip itinerary, I planned to stay a full 7 days and saw no need to buy new sunscreen or bug spray and assumed it was anything from some kind of plants in the area to something I was eating.

I had planned to do all my shooting in new locations and scouting first and save my Milky Way panorama over half dome from Glacier Point until the last two nights of my stay so I would force myself to endure the entire trip knowing I would not allow myself to give in a go home until I had completed that image. Reserving my final two nights, since the image would likely take several hours of shooting just to complete the pano for the foreground and several hours of shooting just for the sky.

Night sky over Yosemite National Park

When the time came to capture my panorama I went to Glacier point almost 6 hours early just to get a parking spot. The lot at the top of the road for the popular overlook is often heavily crowded and has very few actual parking stalls. When I arrived there weren’t any so I ended up driving in circles for about two hours waiting on an opportunity to park. Once I parked, I quickly began packing my gear to go watch the sunset and set up for my image.

In my excitement and hurry to finally get out to the spot and quickly dying sunlight, I managed to lock my keys inside my car. Having done this multiple times in the past I have a habit of checking for keys as I am walking away from my vehicle and realized I had locked them inside. I spent the next two to three hours trying to find a way to get into the car. I had no service in that area so I would have to hitch a ride with someone all the way down to where I would get service to call AAA. I actually went and found a sick and managed to pry the passenger side door open just a little and tried to slip thin sticks in and flip the lock switch. After seeing the apparent damage I was doing to the seal on the door I went to back pop out windows.

I noticed that these windows had a small latch that could be pressed out so that the windows could angle outwards but no open all the way. I figured if I could break this small plastic latch I could crawl in through this window and unlock the car. But after prying just a little too hard, I shattered the window and glass went all over me and the parking lot.

You can see the small black latch next to the seat belt in the left corner.

Needless to say, I missed the sunset. And once I was inside my car and covered in glass, I wasn’t in the most inspired mood, but after cleaning up the glass in the parking area as best I could, I moved out to my spot for the image.

I began by focusing on the foreground, and realized that once I had my camera set up in the proper position, the Arduino remote’s programmed bulb mode required me to hold the button down for the duration of the exposure. There was no programmable time setting in its programming, meaning I would need to sit and hold the button down until the exposure was done.

I’m not going to lie: it’s fortunate that only my good friend the Milky Way was there to hear what I said next. Interestingly enough, yelling to a large beautiful vista is actually quite therapeutic, but I was quickly distracted by the beauty of the Milky Way rising over the Yosemite Valley.

Glacier point provides one of the most amazing views of Yosemite. Looking head on half dome, you can see an insanely large vista. Waterfalls, peaks, and large cliff faces into forested valley’s. The scale of this place is simply indescribable.

Once the Milky Way started to appear I took a quick test exposure, f/2.8 ISO 12,800 30″ and focused on a bright star to make sure I was getting infinity focus throughout. In my f/28 image, it looked like most of the image was sharp so I decided just to increase my aperture slightly. I started out by trying an image at f/5 but after holding down the button for so long and seeing I made a mistake I decided to stop back down to f/3.2. Once the test exposure was complete I used Photopills exposure calculator to calculate the images exposure time needed if I were to use f/3.2 at ISO 800. I figured this would give me a clean foreground image without me losing too much time to each exposure before sunrise.

Single test exposure, f/2.8 ISO 12,800 30″

This gave me an exposure time of roughly 13 minutes per frame. So I set a thirteen-minute count down timer in Photopills and sat with my finger on the button until the alarm went off.

759″ exposure f/3.2 ISO 800

Unfortunately for me, I didn’t realize that the red light from the homemade remote was casting onto the rocks in front of me, so I photographed this first exposure a second time.

792″ Exposure f/3.2 ISO 800

Unfortunately, I had bumped my tripod or ball head somehow without noticing and the image had tilted slightly. Tired and irritated, I battled with the idea of using this image but ended up deciding to realign and try again.

759″ Exposure f/3.2 ISO 800

I finally had the first of five images correct. I carefully reviewed the image for noise and detail at 300% zoom.

759″ f/3.2 ISO 800, 500% crop

Aside from a few hot pixels from the long exposure and warm weather, and a little noise on the surface of the peaks the image looked sharp and mostly clean.

Third (middle) image of pano, 759″ ISO 800 f/3.2

The following two images went smooth, though my thumb was getting a little tired from holding down the button to keep the shutter open. That was until the fourth image.

Hikers head lamps and flash lights illuminate the Trail between Nevada and Vernal falls. 439″ f/3.2 ISO 800

I stopped this exposure early when I noticed some hikers with flashlights creating some trailing. This could have easily been cloned out in post but I didn’t want to risk it so I started over.

Finally, after a few more images I had the complete foreground merge. Due to technical problems, bumping my tripod during a couple and starting over, It was astronomical twilight shortly after completing the final image in the pano.

5 vertical image Stitch, Adobe LR. RAW

Once all the images had been stitched and the distortion corrected and image compositionally balanced this was the foreground result. Now all that was left was to photograph the sky! I returned the following night to set up my tracker from the location where I shot this pano, however using a tracker requires a clear view of Polaris, the northern star, to calibrate the tracking. Sadly I was unable to see Polaris from this location due to all the tree cover.

I began searching for nearby locations with absolutely clear horizons and discovered Taft point, an overlook just back down the glacier point road. This seemed like the closest sure-fire location with clear skies.

I quickly hiked out to the location during sunset and promptly set up my tracker to capture my sky panorama.

477″ tracked f/2.8 ISO 400 19mm

One of the single images tracked from Taft Point.

Taking several attempts to get the sky right and clean with as little foreground as possible I had my sky after shooting all night.

And once twilight hit I was so ready to be done with shower less, rash-ridden, mosquito-infested forests that I packed up and hiked straight to the car to start the long journey home. My image was finally captured and it was time to get back to the desktop and start putting the pieces together.

250″ f/2.8 ISO 800 Tracked

And with that my 9 day trip to the incredible Yosemite came to end, and after a long and boring drive through the deserts of Nevada, I would be able to review my images to see how I did.

“Galactic” Yosemite National Park, 2018

Thanks for reading! I hope something in this was beneficial to you, or maybe at least you won’t make some of the mistakes I have and never buy all-in-one bug spray and sunscreen…

P.S. If you’d like to learn more about photographing the Milky Way you can check out some of my one-on-one and group workshops hosted across the western United States on the techniques and tricks I use personally. Or if you would like to know how I post process my images, consider checking out my paid post processing Instructional courses for Adobe Photoshop.

About the author: Derek Sturman is a landscape and night photographer. The opinions expressed in this article are solely those of the author. You can find more of Sturman’s work on his website and Instagram. This article was also published here.

source https://petapixel.com/2019/01/11/capturing-the-milky-way-over-yosemite-national-park/

[captainpachacho-blog]

3 Secrets You Didn't Know About SEO

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FlickGIF – New GIFs are generally hooking users, will you be in?

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The future of Snapchat Discover looks a lot like TV

Image: snapchat screenshots

Three years ago, Nick Bell and a few colleagues at Snapchat stared at a wall of post-it notes. On them were the names of dozens of media outlets like People, Daily Mail, Billboard and The New York Times.

Snapchat wanted brands with strong voices that could connect with a 14 year old. It was up to Bell, formerly senior VP at News Corp., to convince publishers to see the light.

SEE ALSO: Snapchat cash is no joke for the media

That was the beginning of Discover, a network of media outlets that elevated Snapchat’s credibility as a company (from a sexting app to a lifestyle brand) in exchange for a new source of revenue for publishers desperate for eyeballs.

It’s been two years since the platform went live on the app, and dozens of publishers told Mashable they want to build more. Viewership is up, from the hundreds of thousands to the millions per day with completion rates, for some, above 50 percent. Revenue is up, into the tens of millions for some. Channels are profitable. (Disclosure: Mashable is a Discover partner.)

“It started out as an experiment, but its become really, really real,” said Raj Mody, vice president of social media at National Geographic, one of Discover’s launch partners. “When you look at our brand were a leader in social media and in visual storytelling. The fact that theyre evolving the platform, that’s something that has been enormously helpful.”

For Snap, Discover has grown from 12 partners to more than 40. The name no longer applies to just magazine-like feeds. Now, there are Editions, Our Stories (formerly Live Stories) and Shows, an effort to lure TV production studios to make original series for the app. Snapchat itself has invested in a political show called Good Luck America, which returns for a second season next month.

Image: snapchat screenshots

Each of these serve Snap’s audience and, Snap says, attracts ad dollars, like the $70 billion locked into television annually. Snap boldly compares itself with TV during strategic conversations with investors and ad agencies as it preps for an initial public offering.

All the while, competitors older and wealthier are after the same thing.

“Right now, Facebook, Amazon, even Apple are willing to write massive checks, tens of millions, hundreds of millions, to build specific content for that platform,” said one media executive who has spoken with each of them and is not currently a Discover partner. “If producing a Snapchat show returns more than its cost, and you reach global millennials than it could make some sense, but it’s not easy.”

Few on the street recognized Peter Hamby, Snap’s head of news and host of Good Luck America, when he was a political reporter at CNN. Now, he’s the “Snapchat guy.” Exclusivity, Snapchat says, means quality.

Discovering Discover

Snapchat looked at how media used other social platforms and decided to do something different. On Facebook, publishers try to ride the site’s ever-changing and ambiguous algorithm. On Twitter, 140-characters of clickbait flies around. Snap CEO Evan Spiegel and Bell, whom he hired in April 2014, were inspired by old-school newspaper and magazine stands with a mobile twist.

When Snapchat walked into the doors of publishers, some turned them away. Others said it wasn’t the right time, and some, Snapchat says, just didn’t fit the brand: young and fun.

National Geographic committed to a contract almost immediately. “Were willing to reach people where theyre at. We see all these experiences being additive,” Mody said.

“When you look across the major platforms, you definitely see a younger audience.”

Magazine giant Hearst offered up Cosmopolitan and saw so much immediate success (in viewership and revenue) they began to think about a new brand. A year into Discover, they launched Sweet, which now receives about 16 million unique viewers per month on the platform out of Snap’s daily audience of 150 million. That’s low on the daily average. For Sweet, that’s just fine.

“There hasnt been anything thats been negative,” said Ross Clark, vice president and general manager of Sweet. But he, the overseer of a Snapchat-exclusive outlet, does expect more. “What I would love to see, more interactive elements, quizzes, polls, ways to engage more deeply.”

One concern that frustrated several publishers was moving Discover content below friends’ stories. It did cause a drop in viewership, but the dip has since reversed.

Snap has not released updated metrics since mid-last year. In May 2016, Snapchat had 150 million daily active users and publishers have indeed seen an increase in audience size. Sweet, for example, is at 16 million monthly views, up from 15 million in September 2016.

Playing along

After Bell’s initial pitches and Snapchat’s grand reveal on Jan. 27, 2015, publishers became hungry to be on Discover. Even when Snapchat would say no or at least not yet some created mock-ups anyhow, desperate for meetings.

Snapchat has since opened the platform to more publishers to get a new, wide swath of users. Discover skewed young, so in came The Wall Street Journal. Not enough male viewers, so Bleacher Report moved from the international edition to global.

Not all of these companies are seeing significant profit margins, but that isn’t what matters at the moment to everyone.

“For us right now the engagement and the ability to reach this young demographic that is what is incredible,” said Melissa Rosenthal Brenner, SVP of digital media at the NBA. “A high concentration of our fans are in the age of 14 to 24 on Snapchat.”

Both Snapchat and brands are still experimenting. Forbes offered up an exclusive of its 30 Under 30 List this year and Forbes said that it was “happy” with its performance above Discover’s average for completion but it isn’t planning to build monthly, yet.

“You have to ask why before moving forward on the platform.”

“You have to ask why before moving forward on the platform. Now with Instagram Stories and Facebook Stories, okay, we can have different approaches to different things, but we’re being very strategic about that,” said Shauna Gleason, director of social media at Forbes.

Meanwhile, The Washington Post, known for its commitment to digital, hasn’t jumped on Editions. It is a test partner for Facebook’s Snapchat Discover clone. The Post does have a Snapchat account and contributes to Stories.

“We rely on a few personalities that appear regularly on our Snap stories. Followers see familiar faces that way, which is a much closer experience to seeing their friends stories. These personalities can also act as hosts that then can introduce other reporters and editors,” Washington Post audience and engagement editor Ryan Kellett wrote in an email.

Image: snapchat screenshots

The same goes for NBC News, with reporters featured in Stories on Mosul and other news events. The Atlantic‘s Quartz take viewers behind the scenes of events all over the world. Both publishers have been in discussions about more formal, revenue-driven roles on Discover.

But not everyone is playing along. Mic, the self-branded millennial news site, no longer produces content for Snapchat.

In development, in the studio

Next up for Snap: Shows, a form of mobile television.

Snap, in part, convinced studios to join its push by building its own series. More than 22 million viewers watchedthe first season of Good Luck America, which featured interviews with Barack Obama, Hillary Clinton, Paul Ryan and Chris Christie.

Just like how Bell served as a bridge between publishers and Snapchat, the company has been recruiting more TV-experienced executives. Michael Lynton, chief executive of Sonys entertainment division, announced earlier this month he was stepping down from Sony to go all in to Snap.

Snap is also hiring for a shows partnership lead, someone who will “drive the expansion of Snapchats Discover platform through partnerships with studios, networks, and production companies,” according a recent job posting.

Facebook, with CollegeHumor co-founder Ricky Van Veen and TV news vet Campbell Brown, presents competition. The company has a Discover clone with 10 partners and is simultaneously in conversations for series with studios. Publishers, though, still see them differently.

“Snapchat for whoever is hosting, we say, ‘Go crazy, have fun.'”

“Facebook is good, engaging written content. Snapchat for whoever is hosting, we say, ‘Go crazy, have fun.’ Its about bringing out that personality,” said Maria McKenzie, social communications manager of travel guide company Lonely Planet, which has worked with Snapchat on Stories.

“I hope that it keeps growing strong. I hope people keep engaging and just have fun it,” she continued.

A sports publisher noted Snap often says “you watch the game on television, but youexperience it on Snapchat.”

A flood of Shows isn’t expected. Just like Editions, only select partners are being brought on. NBCUniversalalready has introduced The Voice and E: The Rundown. ABC/Disney is in with The Bachelor. Turner Broadcasting is expected to introduce shows from TBS, Adult Swim and truTV.

While these new experiences make the mobile screen more crowded, traditional publishers were positive about the addition. “Being early in the game has definitely been a benefit,” Mody of National Geographic said. “You develop a great bond and relationship with the team over at Snapchat.”

Shows “benefit everyone by creating more of a reason to come back every day,” Clark of Sweet said.

BONUS: Even Fox News is defending CNN against Trump

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