#name art video alight motion

[kinemaster-editing]

Name art video editing alight motion telugu

#nameartvideo #viralnameart #nameartreels

[tokito-dulya20]

Intro i guess ✧♡(◕‿◕✿)

hi tHiS iS YOUR dAiLy DoSe Of ToKiTo

about myself ╰(✿´⌣`✿)╯♡

my names ilona or izuku... (i know its from MHA but i like having izuku as a preferred name but plz dont judge me for having an anime name as a preferred name)

ALSO IM UKRAINIAN!!! (my parents are Ukrainian which makes me Ukrainian) (•̀ω•́)🇺🇦

i'm bisexual and genderfluid but im sort of basically half deaf

i use he/him/she/her pronouns

im 15 and a freshman in highschool (my birthday is November 26, 2008)

im an artist and a fanfic writer (and an editor sort of since i've used capcut but im learning how to use alight motion)

my art inspiration was actually from another artist from twitter

the reason i'm trying to write a fanfic on here is because these 3 inspired me: @plvuii , @snowmist-hashira and @theyslaydemons

i will write specifically Muichiro Tokito and Yuichiro Tokito

my time zone is EST

my art inspiration is from a twitter user (edamamenn333- but i don't think their twitter works)

{my OC's} o(〃＾▽＾〃)o

about my kny oc ---> here

[ kny oc voice claim---> here]

about my kny oc's tsuguko -----> here

about my other kny oc (giyuu's twin) -----> here

about my kny oc's little siblings ---> here

about my kny oc's ancestors ----> here

about two kny oc sisters -----> here

about my kny oc's older siblings ----> here

about suicidal! ilona AU ---> here

about yokai! ilona AU ----> here

about my bnha oc ----> here

[bnha oc voice claim ----> here]

about my other ocs ----> here

about my video game character -----> here

{my social media} ╾━╤デ╦︻(•̀ω•́)✧

tiktok: here

pinterest: here

discord: tokito_dulya20 #9732

instagram: here

gamejolt: here

telegram: here

{rp blogs} ꜀( ˊ̠˂˃ˋ̠ )꜆

@ask-ilona-dulina

@ask-pixychu-midoriya

@ask-hiroyuki-kajiwara

@tokito-dulya-rps

{my spotify playlist for my oc} (•ૢ⚈͒⌄⚈͒•ૢ)

{requests} ♥(ˆ⌣ˆԅ)

it will be open for anyone who wants to give some ideas for a fanfic,comment,talk,anything. I WRITE SFW AND NSFW (AGED UP)!!! {RARELY!!}

(I also draw so drawing requests are ok too)

DRAWING REQUESTS: CLOSED

FANFIC REQUESTS: OPENED

(I RARELY POST SOMETIMES BC OF THE MAIN THINGS: SCHOOL, IM SLACKING OFF, OR WHEN I FEEL LIKE IT)

{characters i will try to write for} (>^o^)>💍<(^o^<)

Muichiro Tokito

Yuichiro Tokito

ANY OTHER CHARACTERS!!!

{masterlist} ¯\_( ͡° ͜ʖ ͡°)_/¯

Muichiro Tokito

Yuichiro Tokito

ANY OTHER CHARACTERS AND OCS!!

{stories i wrote so far} (ﾉ◕ヮ◕)ﾉ*:･ﾟ✧ ✧ﾟ･: *ヽ(◕ヮ◕ヽ)

CAUGHT- Tokito twins x reader

ONE OR BOTH?- Tokito twins x reader

ONE HELL OF A RIDE- Tokito twins x reader

LOVE AT FIRST SIGHT- Muichiro x Kuri (oc x canon)

OPENING UP- Ilona and reader (oc and reader)

THAT'S WHAT SIBLINGS ARE FOR- Midoriya siblings (oc and canon)

A FRIEND IN NEED- Pixychu Midoriya (oc angst)

NOSEBLEEDS AND PANIC ATTACKS- Kaichika and Ilona (oc and oc)

BLEEDING EARS- Hiyori and Ilona (oc and oc)

A WARM HEART- Hiroyuki x Milo (oc x oc)

credits to @cafekitsune for the dividers

[newbamdyaltreal]

To this amazing person named @artismeyou-45

If you don't have video star or alight motion, you can get it, if you have already, try them and the chibi tutorial is there also, enjoy putting art there and test it

[pottsgreene23]

While we all dream of success, only those who reach for the stars will ever get there. Marketing is one way for us to build our business into something respectable. Using video marketing is a great new way to promote your firm, so read on to find out how to do it right.

Watching successful viral videos is the best way to get an idea of what makes a video popular. Stay up to date with new trends, check social networks and various sites your target audience loves and put together a list of characteristics you recognize in the viral videos you see. You want to make sure that you put out videos regularly. Once people have seen your video and are familiar with it they will more than likely stop watching it. Posting new material will keep your viewers coming back to see what kinds of new things you are promoting. Interviews make great videos. Have a friend or a colleague interview you if you want to give some details about your business and products or interview some customers if you want to share some original reviews of your products. If possible, find an expert in your field who is willing to be interviewed on your products. Find a quality video editing software and learn how to use it. Your videos will be a lot better if you can cut the parts your viewers do not need to see and can smoothly transition from one segment to the next. Keep your videos short, well-structured and do your best to keep your audience interested. Find the right person for the video. Perhaps you are not as comfortable in front of the camera as you need to be. Speak to your employees, or perhaps your friends, to find someone who can be an effective cheerleader for your company. This will enhance the promotion of the product and get more people to view. Do your best to create a video that conveys a professional image. This means you should avoid using the effects available on programs such as Windows Movie Maker and other basic software. Keep your editing simple by simply cutting or dissolving to a black screen instead of using standardized editing effects. If you're selling a product, create a video which tells your customers how to use the product. You can start with opening the box, run through how to put it together, and then show them how they can use it. This will make them appreciate how much you respect your customers. Consider running a contest where your customers submit videos they've created for your company, and then run those videos periodically in place of your own. Customers love to see their name in lights, and these great pieces of art will help promote your company and may even become viral over time. Provide quality content. If you are going to make a video to advertise your online business, you should ensure that it is entertaining. Popular video hosting sites such as YouTube can expose you to many potential customers, but there is no way to attract them with boring videos. People want interesting videos with valuable information, not boring commercials. There is no better way to guarantee traffic than having interesting and entertaining videos. If you embed the video on a webpage, ensure that you also feature a submission form that will allow interested parties to subscribe to your newsletter or mailing list. This is a great way to keep them interested in what you're selling. Take alight motion pro with you if you are visiting a public event such as a convention or trade show. You may get a chance to conduct some expert interviews or just shoot footage of the event itself. If you are speaking in public, ask someone to record it. Don't fret about perfection. You needn't have the latest video equipment in order to have a successful video marketing strategy. The video camera for your computer is often more than adequate. Most phones nowadays come standard with a camera, just make sure to take a steady video. Act in a professional way, offer solid information and viewers will be satisfied. The right way to video market your company has been laid out before you, so you should now be prepared to get down to business. Using the ideas which now swirl in your head, draft a campaign that you believe will work and follow through with it until you reach your goals. Good luck!

[clusteu]

hello ! my name is zev. i am a minor. my pronouns are he/they/it/xe along with any neopronouns. i am also a poc (indonesian) !

the program i use is Ibis Paint X. (for editing videos, i use Alight Motion)

p.s.a ; i am okay with people using my artwork for anything as long as you give proper credit. what i'm not okay is selling them. do not sell my art. /nm

other socials:

click on this for my twitter!

click on this for my instagram!

click on this for my tiktok!

click on this for my youtube!

click on this for my carrd!

(also, i'm mostly active on twitter, so there might be artwork that is uploaded on twitter, but not in tumblr ! i apologize in advance.)

[kevv]

a goodbye letter- abandoning current social media

i'm not the best at writing out my thoughts. forgive me if this feels scrambled and scraped together. my best friend, Fox, once said in abridged words; "it takes two to play out an abandonment fantasy, one to have it, and the other to follow suit".

i've known several handfuls of people who fear abandonment, or more specifically, being the one abandoned; scared that one day everyone in their life will take leave. and sometimes, like a self-fulfilling prophecy, they do. they leave in mass exodus, set into motion by one person who wants to set-forth their own abandonment fantasy– abandoning everyone else.

for me, my own fear of abandonment is not anyone abandoning me, i'm unbothered by people entering my life and leaving of their own accord; i'm scared i'll be the one to abandon everyone in my life. because i have. several times. i still do, even. i'll meet people in my lifetime that i loved harder than the universe itself, a deep love so terrifying i feel that it'll demolish cities and townships, friends and lovers and found-family. my skin will buzz and blaze alight with such an intense fear, a fear that i will ruin them and everything they are so i must run. it's unfounded, but it drives me away, and i fight tooth and nail to get to that escape route for those who won't let me leave quietly, until it ends in disaster. it's my own abandonment fantasy. i recall once, an ex-lover wanted me to stay. tried to lock the door and toss away the key, and said it hurt that i wanted an out. so i caused problems until i could break out through the window. not being allowed an option to leave made me feel like a feral, caged animal; because in the end, that's all i am. i hadn't done it on purpose. the need to escape everything had been there months prior. the events leading up to it had been fuzzy at best, sickly at worst, and i had been spoonfed misinformation. not on purpose, not in malicious intent, but still it struck genuine fear in my heart. like a feral animal, i want the option to roam. to come and go as i please. i can't be kept, i just want the trust that i'll find my way back eventually. if i feel contained, i scratch and bite until i'm released. but if you hold out your hand and wait patiently, i'll come to you. but don't ask me to stay. please don't ask me to stay. there's a lot that lead up to this current migration. the inability to be allowed to stand on my own two-feet and exist as just purely Kevin, not adjacent to someone, was a big one. still to this day i am asked about a youtuber i am no longer affiliated with by my own choice. i don't like attention, it's something i've said to her, said to many, and why i chose to never appear in her videos. which seems contradictory for an artist who posts on social media and previously did all of her older channel art. but maybe now i'm realizing that truthfully, i wanted recognition for me, not for others or for who i made myself sick in order to create content for. it's inescapable. i harbor no hard feelings anymore, i understand i was in the peak of my codependency and was willing to ruin myself for the benefit of another. to run myself broke and dry because at 19 years old i was still a child who didn't know how to handle the extent of his emotions. i want to apologize to penny. neither of us are really blameless, but we were inexperienced and young– still young. it's easy to not know what we're doing, to unintentionally take advantage of someone who was willing to burn themselves to give you warmth, or to latch onto an unfounded rumor and bare my teeth. i hope you're doing well, and i'm sorry. i'd like to give you a proper apology one day, when i'm more ready. that day is not today. sometimes i feel like there are four people living inside my brain, all with dissenting opinions and voices that i can't tell who i am anymore. i feel like i'm constantly contradicting myself because i don't know what my own thoughts are. i don't know who i am anymore. i don't know who i am anymore because i'm several different people all trying to be "kevin", all with different beliefs that go against a previous one. i prematurely deleted my twitter account for this reason, i couldn't stand a second more of being in a toxicity cycle i had previously taken part in, because sometimes that's all social media is. it's very... Online. i want to be one, unified person. whose thoughts and feelings are unadulterated by others surrounding him. additionally, there's the elephant in the room. some have already guessed it, suspected it, saw something like it coming from miles away. but for others who have known me for the past decade, it might be a surprise. someone once told me that words have power, and while at the time i disagreed, i'm starting to understand what she meant now. i've been afraid to speak it into existence, because it means it's real, and coming to terms with this unavoidable truth is a terrifying experience, one i need to face and stop running away from. 

i'm detransitioning. giving life to this phrase doesn't make me feel any better. words have power, and that power is to make me crumble and break. since as early as 4 years old, i felt as if i was born a boy who was just being raised as a girl. at 12 was when i learned about and started identifying as transgender. at 18 i legally changed my name. for a decade, i lived as a transgender man. i've mentioned this before, but i'm intersex. i have an androgen insensitivity syndrome. what this means is that androgens, male sex hormones, have no effect on me. they instantly are reconverted back into estrogen by my body. this has been a reoccurring nightmare of mine since i was 14, and having it become my reality is.. heartbreaking, to say the least, crushing a lifetime of dreams and wishes. i've tried testosterone, self-medicated in my teen years, and "officially" more recently. it has no effect on me. a friend of mine says i shouldn't give up hope until i properly see an endocrinologist about HRT, but the reality is– i know my body, and i know my condition. i don't grow body hair, and my body cannot masculinize. these are unavoidable truths. i don't need to spend hundreds of dollars to be told what i already know. HRT will not affect me; i will never be able to transition. any attempt will become a scientific study in which i'm a guinea pig. i don't want that. i will never pass for male. my voice is high, my body is undoubtably female, my face is feminine, and i'm 4'11". it's disheartening and i've shed many tears over it. for what feels like my whole life, i've longed for SRS/GRS, top surgery, a deeper voice, and a couple inches of height. i ache for body hair, masculine fat redistribution, and male pattern baldness. all the good and the bad associated with testosterone is what i so desperately yearn for with such a soul-crushing depravity. i am genuinely heartbroken. maybe it's my punishment for all the bad things i've believed in or done. it's what i'd deserve, i guess. this punishment. it is for those reasons that i feel like i can no longer find comfort in identifying as ftm, to struggle seeing myself as a man. it's crazy, i've referred to myself as male since early childhood, and now that i'm coming to terms with my intersex condition am i feeling wrong in every conceivably way of identity. truthfully, i don't even identify as anything anymore. i'm not nonbinary, cis, or i guess trans. i feel as if i just exist. i just am. you can still call me kevin. it's my name, my legal name– which i love to point out. i'm not changing it. it's the first time i made a decision purely for myself, and went through with it. i love my name. i don't think i will love anything about myself quite like my name. i chose it when i was 12, it was my first choice. i never wanted another name. i still don't. but i like nicknames, particularly kitty and K-K. you can call me those too. these have always been options available. i reiterate– i really like being called nicknames. (: you can still use male pronouns for me. i never minded being "misgendered" because, well, i never passed, and i made peace with that years and years ago. while being called she/her or otherwise will probably always leave a stale taste in my mouth, i've learned to accept the reality of what i am a long time ago. biologically female. you can still use male identifiers for me, like husband or boyfriend or whatever other male terms there are...... actually you'll have to pry those out of my cold dead hands. i will not accept being called a "girlfriend" i will literally go feral and foam at the mouth and bite your ankles until you take it back. there's comfort in these things that i'm not ready to let go of, and frankly, i don't think i'll ever feel ready to. moving forward, i don't really know what i'm going to do. right now i'm taking a break from the internet, so i can soul-search and truly find myself, in all senses of the word and every iteration that it can be built upon. i'll make a new twitter account when i'm ready to, probably. there's a lot more i want to say, to add onto this in addendum, and pour so much of myself into this until it spills out the sides and trickles down into tiny cracks. but truthfully, i don't know how to say it. i don't know its relevancy to this eulogy of an account, and quite honestly, there are still some things i can't find myself able to say. to speak into existence. to give power to those words. admitting aloud to a 6-year long love that burnt like candles catching a home on fire was intense enough (hi Charlotte it's you, it's you and it's always been you and everyone knows this). so maybe i'd rather keep some things to myself, perhaps. preferably. so i guess that's it. i've bared my heart and soul and skin and bones to whoever will read this piece of myself. it's the end to katidoj, one that's been a longtime coming. i've never been very good at staying in one place for very long. please take care, i love you. and i'll miss you. a piece of my heart left with you, here buried deep in this account. (pressing the submit button has never been so hard in my life.)

[jui-imouto-chan]

Arranged Marriage AU —>Chapter 2

[Chapter 1]

After the lovely art (from @lovelymelons) and reactions (@badwitcnl’s is especially great) towards my take on this AU, I’m feeling particularly enthusiastic about writing another chapter! (๑╹ω╹๑ )

•

Connor stands up from his chair, pulling his hand out of the other’s hold quickly to hold it against his chest, almost smacking at the small white rose boutonnière on the collar of his black suit jacket. He’s hit with a wave of dizziness at the sudden movement, and loses his balance.

His husband, a term that is still leaving him reeling, rises swiftly to steady him, a hand at his hip and on his shoulder, pulling him against his chest to keep Connor supported.

“Are you alright?”

Connor really wants to answer, ‘No, I’m not alright, you’re immensely attractive and mocking me and I hate you already,’ but he refrains. Instead, after peering past his partner, he leans his head against the taller man’s shoulder, one hand splayed on the man’s firm, white-clad chest and the other curved around his back, keeping him close.

“Honey,” he purrs, sickly sweet, then lowers his volume so that only the other can hear him, continuing once the steel-eyed man tilted his head down to lend an ear, “there’s a reporter approaching us. We’re going to go dance after speaking with her.”

His groom, who he finds he doesn’t know the name of, raises a brow in amusement. Connor spots the reporter nearing and deems it best to play up their ‘romance’. He presses his lips to the skin just above the man’s high collar, on the underside of his jaw, forcing a loving smile. His partner keeps his eyes trained on him, the both of them pretending that they’re too absorbed in one another to hear the loud clicking of heels behind them.

“So sorry to interrupt,” the woman says, eyes twinkling, “I just wanted to come and tell you this is a lovely wedding, and that you both look gorgeous. You’re quite the eyecatching pair.”

Connor pulls himself away, the flush across his cheeks not entirely fake as he stares at her with embarrassment spread across his features. He ‘sheepishly’ grabs his husband’s hand, interlocking their fingers. “That’s very kind of you to say, Miss...?”

“Maxine Traci, from Eden Magazine.”

Connor shakes her hand. “It’s a pleasure to meet you, Miss Traci.”

“The pleasure is all mine.” She grins, but her posture shifts to become more professional. “By the way, Eden Magazine would actually like to make two you an offer.” The two of them look at each other then return their gazes to her, so she preceeds, “We’d like to write about your love story in our next issue, as well as have you two model for our cover page.”

Connor is ready to decline politely, but his groom is already speaking when he opens his mouth. “We accept the offer. You can contact our secretary about scheduling on a later date.”

She brightens up, looking delighted. “Thank you very much, Mr. Stern. We’ll be in touch.” Maxine calls as she takes her leave, short brown hair bouncing with each step.

Connor turns his head to pin his husband with a sharp glare. “I didn’t agree to this.”

The man smirks down at him, tightening his hold on his hip, “But I did.”

Connor scowls at him.

“Don’t look at me like that.” The man’s face swoops down so he can rest his forehead against Connor’s. “Your face is too beautiful to be marred by such an angry expression.” Unfortunately, he pulls away.

(Unfortunately?? No, he wants to be very far away from this man. The distance is not unfortunate. Nuh-uh, no way.)

Connor wants to retort, cheeks stained red, but his response dies in his throat as he instead plasters a happy, affectionate look on his face, the steel-eyed man leading him to the dance floor. Couples part to make room for them.

A song Connor vaguely remembers requesting to his father begins playing as they reach the center, spotlights focusing all of the attention on their forms.

Connor looks up to meet his spouse’s eyes, locking his arms around his neck while another large hand drops to his hips, long fingers urging him closer.

They begin their dance easily enough, slowly stepping about, Connor following his groom’s lead, but they add complexity to their motion with every millisecond that passes, as though they’re attempting to outdo one another.

It’s a spectacular sight, the two of them spinning and twirling and gliding across the floor with grace and intensity. Every move is met with a perfect responsive action, every spin is executed perfectly.

Connor remembers the dance in the video of this song as their motions slow, and it’s as though they choreographed it, his husband’s eyes alight in recognition as they press their backs together and slide to the floor,

“Place your hand on my beating heart.”

And then Connor is pushing the man to the floor and dancing on his own above him.

His heart is racing, he feels light even when he straddles the man’s torso and slowly stands, hands trailing down his legs.

He’s having so much fun, losing himself in the moment as he and what was no one more than a stranger but an hour ago dance with an unexpected intimacy.

“Baby, we found love right where we are.” The song repeats, almost at its end.

Connor sees a smile on his spouse’s face, and that’s when he trips over himself, colliding with the man’s chest. The two of them fall to the floor harmlessly.

Connor apologizes, pulling himself up with hands on either side of his husband’s head, staring down into surprised but warm grey eyes, noticing the slight tinge of blue only once he’s this close.

The two of them are panting, and Connor’s heart stutters in his chest as the smile resurfaces on the other’s face, a small huff of a laugh pushing past the man’s lips. Connor really likes the sound, really likes this closeness, really likes the pounding ba-bump, ba-bump in his ears. If he leans down, he could feel the other’s own drumming beat against his chest, and it’s a question of whether it’s only from physically exerting themselves to song or from something more.

The cheers and hollers and wolf whistles all around them bring him back into reality, make him scramble up and offer a hand to his husband. There’s a shout of, “Save it for tonight!!” from someone in crowd, and good-natured laughter errupts.

Connor thinks he’s going to explode from the fiery blush coating his skin. He notices a small bit of pink on his husband’s ears and is glad to know that if he’s going to be embarrassed, then he’s not going to suffer alone.

He sees the crowd shift, and then the son of Connor’s main bodyguard squeezes through the group of people to reach Connor, handing the brunet a bouquet of blue, black and white roses. I’m starting to see a theme here, Connor thinks dryly.

“It’s time for the tosses!” Little Cole informs him (and the crowd). “But your Dad said that you need to change clothes for it.”

Connor whines childishly. His father is known to mess with him at any chance he can get, so whatever he’s going to be wearing, it’ll be embarrassing.

Cole wraps his hand around Connor’s, barely able to hold it with his small, nine-year old fingers. He’s lead out into a hallway, and then brought into a room, where Cole’s father, Hank Anderson, sits beside a fluffy wedding dress.

“Is this why I was told to wear stockings under my dress pants?” Connor asks, unbuttoning his blue dress shirt, having already shucked off his black suit jacket.

“Your dad’s probably pissing himself laughing just thinking about what you’re about to wear.”

“Oh yes, that’s reassuring, Hank, thank you.” His words drip sarcasm. Hank barks out a laugh, Cole and Connor smiling in response. “Come on, I’m sure I can rock a wedding dress.”

“I’m sure you can, too. Doesn’t mean you’re not gonna be a walking tomato while wearing it, though.”

“That’s... not a reassuring claim. I’ve worn a dress before, what’s different about now?”

“Damn, you already forgot? Well, I’m not gonna be the one to remind you.”

-

Upon his return, he is met with compliments about his looks and the dress he sports, ruffled white bottom lifted just enough to let him walk.

Some business men are conversing with his groom, and when they all turn to look at him, his husband receives pats on the back, the men declaring him a lucky man.

The crowd is gathered back up, and the bouquet toss is relatively uneventful. Maxine and a blue haired woman end up catching the flowers together, meeting eyes as their hands make contact and sparks of interest flash in their expressions.

The garter toss originally starts as innocent as the relinquishing of his chastity can be, his groom’s hands gliding up his smooth legs to grasp the garter holding up stocking, but then Elijah Kamski, his goddamn fucked up dad, shouts that he’s supposed to use his mouth.

So now, Connor is crimson in mortification as his husband’s head disappears under the skirt of his dress, breath fanning against his thigh.

Teeth nip at his skin in the process of grasping the garter, and Connor hides his face in his hands as he squeaks. The garter is tugged down his leg, and finally the taller brunet’s head pops back out, the lace held in his mouth. His eyes are dark, but they aren’t meeting his, a whisper of red high on his cheekbones. He releases it into his hand and balls it up loosely.

The man throws it behind himself, moving immediately after to stand next to Connor’s seat. He leans down to scoop the smaller into a bridal carry—almost appropriate, considering his attire, but still utterly embarrassing. Neither of them can even bring themselves to care about who caught the garter as Connor is taken away from the party.

•

Okay, maybe I really like the idea of Connor in a wedding dress. I saw an edit of a screen cap from the game somewhere and saved it to my camera roll, but I kinda cropped out Hank because.. well, you know.

Here’s what the (cropped) edit is:

[10oclockdot]

True/False 2017 Festival Report, part 2:

in which I give capsule reviews of films that I viewed on March 4 and 5, the last two days of this year's True/False, in order of best to worst. Part 1 here.

The War Show (Andreas Dalsgaard, Obaidah Zytoon, 2016) Imagine Five Broken Cameras, but in Syria. Mix in a deeply wise coming-of-age story that tragically spirals into a tale of existential perdition with poetic voice-over to rival The House is Black and ending with the most clear-throated call for piece I've heard in ages. That's The War Show, and that description doesn't do justice to this rich, multi-modal, and severely underappreciated film. It all begins with Obaidah Zytoon, a young woman who liked shooting home movies with her friends (and who became the film's director), playing forbidden music as a DJ on a Syrian radio station. "Going on air was like dancing in a mine field," she recalls. As the anti-Assad protests begin, she films the people marching with her. "I'm doing it to breathe," says a kid named Nawarah. A bevy of catchy chants fill the air with the bracing spirit of revolution. And so we meet her exuberant friends -- Houssam, her lover, Lulu, a friend who removes her hijab for the first time, Hisham, Lulu's boyfriend and a poet, and more. But even as their spirits remain high and the crowds swell, "demonstrations turned into funerals," she tells us. Journalists are targeted, the country's "senses polluted" by the ensuing flow of disinformation. "No one raised in Syria can define freedom," says one of her comrades. Dozens of locals show off scars left by torture at the hands of the Assad regime. The friends take one final trip, and then, out of nowhere, they start to be arrested, kidnapped, houses destroyed, one is even killed, the halcyon opening smashed. As the film goes on and the madness of the conflict spirals ever farther away from believability, I found myself lost -- I didn't know where we were, when we were, or what to believe. Intelligently, the film doesn't attempt an encyclopedic or journalistic account of the conflict -- it would be impossible as yet anyway -- so what we're left with are fragments that we can barely situate or hold onto. Scenes of destruction, of protests and counter-protests between those wanting democracy and those wanting a caliphate, children playing with unsafed rifles, and, of course, an inside look into how a revolution gets co-opted by warlords and arms dealers, each staging some unreality for YouTube to further their financial cause. "There was a place for everyone in the war show," Obaidah explains, "except for the people." Many moments of brilliance follow after this, but it culminates in the very final scene of the film, just as a felt most poetically and tragically lost (which, of course, is the point). After years of prison, a disappeared friend returns unexpectedly, reconciling the lives of the few friends who remain. "Syria as we know it is gone," she intones, but kneels over a clay pot, gathering soil and planting seeds, and she says of the Syrian people, "We will plant the seed of peace around the planet." And there it is: the powerful, beautiful, perfect message of The War Show -- that the Syrian diaspora is, contrary to what every xenophobic isolationist asshole has ever said, the greatest peace movement of the 21st Century. Because the Syrian people, each scarred by the madness of their country's war, will carry the scars of that war their entire lives, scars that will always speak to the necessity of peace, wherever they live and as long as they live. It's an essential message and an essential film.

Brimstone and Glory (Viktor Jakovleski, 2017) I guess that in the back of my mind, I knew that documentary could be pure spectacle -- what, after all, are IMAX documentaries? -- but I never imagined I'd spend fully half of a feature length documentary leaning forward, mouth agape, absolutely in awe of the visceral madness taking place in front of me. Brimstone and Glory is a documentary about fireworks -- specifically the absolutely bonkers annual fireworks festival in Tultepec, Mexico, where half the buildings in town are labeled "Peligro" (they build the fireworks there, year-round), where they erect hundred-foot-high towers of fireworks (castles of fire, they call them) and where they build sculptures of bulls the size of buses and run them through downtown, shooting fireworks off of them into crowds of thrill-seeking and oft-injured spectators. Director Viktor Jakovleski spent went three years in a row, shooting with drone cameras, an arsenal of Go-Pro's, and cinematographers covered head-to-toe in protective gear diving headlong into the middle of the mayhem. Add to that eruptive sound design, sharp editing, and a driving original score co-written by Behn Zeitlin (the guy who directed and wrote the music for Beasts of the Southern Wild), and you've got one of the best adrenaline rushes you can get sitting still in a seat. Best moment: as they're setting up the castles of fire, lightning strikes one of them, setting it alight. Cut to the perspective of a Go-Pro mounted on a man's head whose job it is to rapidly scale the wooden tower without a safety harness and put things in order. Damn.

Manifesto (Julian Rosefeldt, 2017) Extreme close-up, shallow-focus, ultra-slow-motion: a fuse burns across the screen, sending sparks in all directions while Cate Blanchett quotes some delicious gobbledegook from Tristan Tzara's Dada Manifesto, culminating with, "I am neither for nor against and I do not explain because I hate common sense." Thus began a film that refused common sense and did not explain itself. Cut to old women shooting off fireworks over some abandoned Eastern bloc factory or weather station. As a drone camera flies over the tumbledown complex, we find Cate Blanchett, dressed as a shabby character that recalls Denis Lavant's Monsieur Merde, dragging a suitcase through the ruins and quoting Marx. In a flash, the opening credits are a barrage: huge white block letters on a black background, the names of artists and thinkers who wrote manifestos, each on screen for about a third of a second, like a stripped-down Enter the Void. The ensuing 90-minute film follows Blanchett as she dons a dozen different disguises in a dozen different environments -- from a puppet shop to a garbage processing facility to an anechoic chamber, all brilliantly photographed -- and speaks excerpts from a few dozen manifestos from across the last century and a half. To be clear, this is not a documentary. In fact, it began as a 13-channel video installation that editor Bobby Good transformed into a feature. Though most of the audience was probably befuddled and confused about the origin of these words (the film does not caption the quotations), they were generally amused by the absurdity of deterritorializing the tone of the manifesto into more quotidian environments (a highlight: Blanchett as a news anchor conversing with Blanchett as a field reporter in a rainstorm). I enjoyed the handsome cinematography and the Nils Frahm score, but I had the most fun whenever I recognized the origin of the words: Maciunas, Lewitt, Jarmusch, Brakhage, and a few others. As for the words I didn't recognize ("Equal rights for all materials," "One dies as a hero or an idiot, which is the same thing," "Elephants are very big and cars go very fast, but so what?"), I looked a bunch of them up and learned something. A nice provocation of a film. Perfect for screening the last week of a class on avant-garde art history.

Distant Constellation (Shevaun Mizrahi, 2017) A lovely, slow-moving film made of lovely slow-moving and somewhat haunting images. The whole is not greater than the sum of its parts, making it a film that's not especially worth seeking out, but a few of the images will probably stick with me. In Istanbul, languid shots of a building under construction intercut with languider scenes of life in a retirement home. It all seems to take place neither in the past, nor the present, nor the future, but a place disconnected from time, where the overworked young build a future that won't happen while the un-visited old disappear from a past equally unreachable. Two old men ride up and down on an elevator in order to have a private conversation with each other. A very old woman who insists on being known by a pseudonym (Selma) falls asleep in the middle of an interview. One old codger, not without some charm, recounts the sexual exploits of his youth before proposing marriage to the director, saying she'll surely outlive him, which would make the marriage to her advantage. A stopped clock labeled USSR sits next to a working Western one. An old woman complains that now she walks too slowly to make it all the way across the street while the walk sign is on. The rhythms of the modern world aren't kind to everyone, but as tales of the Armenian genocide reveal, perhaps the world was never all that kind. So this constellation drifts on, and fades away.

Still Tomorrow (Fan Jian, 2016) A woman with cerebral palsy living in a remote Chinese village writes a poem that gets shared a million times on Chinese Facebook and scores her a book deal. That sounds like a good hook for a documentary, but the film lacks a clear shape or direction. For the most part, Yu Xiuhua spends the film not charismatically soaking up her newfound fame (though there's a bit of that, and it's really fun), but rather fighting with and divorcing a husband she's never loved. That focus feels strange until you notice that the poetry isn't really the object of investigation here, but rather the abuse which lower-class disabled people suffer in exchange for a caregiver. Sadly, this theme receives scant development. Still, there's plenty of her lovely poetry on display. "Silent wheat in the moonlight / the frictions between them / are the trembling of all the things of the earth." Here the image shows a wheatfield near her home. It's a choice not entirely without grace, but when a documentary's images cannot stand alongside its subject's words, the project falters.

Lindy Lou, Juror #2 (Florent Vassault, 2017) I desperately wanted to like this film. Lindy Lou served on a jury two decades ago that sent a murderer to death row. There's no doubt the man was guilty, but in the intervening years Lindy Lou has come to deeply regret this decision. So she and the documentarian travel around Mississippi tracking down her fellow jurors and finding out whether any of them changed their minds. It's a clear spine with clear motivation and all, but the structure ends up deeply limiting the film, since many of the people she goes to talk to aren't all that interesting people to talk to. The film was at its best when one of the jurors who'd also felt pangs of guilt years later suggests that their ought to be a state-funded counseling service for jurors who have to do such work. In the Q&A after the film, Lindy Lou, who was there in person, suggested that the trauma experienced by jurors on such cases was a bit like the trauma experienced by soldiers -- and she ought to know, she's a veteran herself. But she made the mistake of mentioning the film American Sniper to the fairly liberal crowd at T/F, which drew a couple of muted snarls from people seated near me. And in that moment I realized that even if Lindy Lou's on the right side of the death penalty debate, the Confederate flag flying on her property and her husband's gun enthusiasm (both depicted in the film) put her in such a different world from many of the folks in the audience that effective bipartisan collaboration might be impossible. I rarely learn more from the Q&A than from the film, but that was the case here.

[ijaxezi-blog]

James Coyne

Task 1:

Me, Myself and I

The first project we were given was called “Me, Myself and I”. The brief instructed us that we needed to create a 30 second video that teaches the audience something about myself. We were also encouraged to show our creativity.

My response to this task stuck to the brief. My video was precisely 30 seconds long and the project took 3-4 hours to produce. This was because I wanted to include as much about me and my life as I could into a short amount of time. To do this I used video footage I had recorded from over the last year with the technique of “cutting to the beat” to a song that I chose because of its lyrics and tempo. The footage included days out, my summer holiday and my experience with the National Citizens Service. The lyrics included the phrase “You’ve got one life to live, don’t let it go” which I thought was appropriate for my video as the video was about my life, living my life and enjoying my life. The tempo was at the right speed that there was enough time to see the clip/shot but it also was able to get a lot into 30 seconds. And gladly I can say I am very pleased with the final result.

The Spoilers Re-Edit

Another task we were given was given in order to build our skills in audio recording and syncing audio with visuals in editing. We were given a muted two minute clip from an action/western film called ‘The Spoilers’. The clip we were given included two characters - one male and one female - talking at the start until they are interrupted by another male character. The two male characters then start to fight and then bring the fight out into the bar which leads to multiple characters fighting. After watching the muted clip for the first time we knew straight away that we needed dialogue, punching noises and far more. We were then given tascams as well as a brief summary on how to set them up and how to use them. The task proved to be very challenging as first time round we struggled to get enough dialogue to place over the muted clip when the characters are talking. Eventually - once we had done all the other audio - we went back to the dialogue. I decided that the best way of getting the right amount of dialogue was to time how long each character talks then write a script with lines that follow how long the characters speak for in the muted clip. We ended up having notes wrote along the line of: “Man1: 2 seconds, Woman: 3 seconds” etc. When it came to the other audio (non-dialogue) I added the diegetic audio first e.g. punches, glass smashing, things being thrown etc. Then I added the non-diegetic audio which included intense action themed music that start once the two male character start fighting. I also added atmos in the background to make sure there was no parts where there was dead air. We were also given the wilhelm scream and taught about the origin and story behind the stock sound effect. We were also told to try and place the sound effect into our audio which I feel we did successfully. In conclusion the task was challenging and it introduced us to just how important audio is.

Health and Safety

We did a task in order to test our skills in health and safety where one of our tutors set up an area in which there was lots of health and safety hazards and we were given a check sheet and instructed to find as many safety hazards that were on the sheet - and were not on the sheet - as possible.

Comparing How Two Films Use A Range Of Communication Methods To Convey Meaning

Baywatch

In the trailer for the 2017 comedy/action film ‘Baywatch’ communication methods such as key conventions are used in order to imply the genre. At the start of the trailer slow motion shots are used of one of the main actors - Dwayne Johnson - and some of the other characters too. The shots show the character running in slow motion as well as Dwayne Johnson diving into the sea with fire above the surface, this connotes the action genre very clearly as the slow motion is used in order to dramatise the shots and the fire is used to connote danger which is a key convention in action movies. The trailer then shows Dwayne Johnson climbing through a yacht that is on fire which directly connotes the action genre further. The trailer goes on to promote the comedy genre by having jokes/funny lines between the main characters as well as having a shot where two of the main characters cut from being on a jet ski to being on a slow pink moped which connotes the comedy genre as it shows them going from an epic action movie styled jet ski to being on a slow pink comedy movie styled moped.

Spider-Man: Homecoming

In the trailer for the 2017 sci-fi/action film ‘Spiderman: Homecoming’ communication methods such as key conventions are used in order to imply the genre. The trailer starts off with intense music, fast paced editing and a gang of people breaking into an atm with a laser weapon/tool. This straight away tells both of the genres to the audience. The intense music and fast paced editing are key conventions that tell us that the film is an action film. On the other hand the laser weapon/tool being used to break into the atm implies the sci-fi genre as they are using highly advanced alien like equipment in order to break into an atm. The trailer then goes to the main character Spider-Man as he stops the thieves with a mini - fast paced editing - fight scene which includes the character using super human strengths to fight and spider like abilities in order to sit on the ceiling. The main character using these super human/non human abilities clearly connote the sci-fi/fantasy genre of the film as these are not abilities that are in the real world. Later on in the trailer there is a shot of a corner shop exploding and setting alight with the main character then running to the shop which further connotes the action genre as explosions are a key convention of action films. Also later on in the trailer there is another shot of the main character using his spider like abilities to crawl along the ceiling of his bedroom. This further connotes the sci-fi genre as it is very clear that the main character has some sort of super powers or inhuman like powers.

Comparison

The two trailers share one genre in particular. This is action. Both of the trailer both include key conventions of an action genre. The ‘Baywatch’ trailer includes a shot where one of the main characters dives into the sea with explosions above him. The ‘Spider-Man: Homecoming’ trailer includes a shot where the main character is running towards a corner shop that is exploding. Here we can see both of the trailers include the action movie key convention of explosions. This is one similarity between the trailers. Another genre that is incorporated into the ‘Spider-Man: Homecoming” trailer is the genre of comedy. This is a key aspect of the ‘Spider-Man’/Marvel franchise as they try there best to keep a serious tone in most of their films however they also try to incorporate comedy styled lines in order to make the audience laugh and enjoy the film more. It is very clear due to the key conventions that ‘Baywatch is mainly a comedy which create a link between the movie and ‘Spider-Man: Homecoming’ as they both include the comedy genre. However the sci-fi genre is not implied within the ‘Baywatch’ trailer unlike how in ‘Spider-Man: Homecoming’ it is the main genre. Within the ‘Baywatch’ trailer there is no key conventions or anything that would be used to imply a sci-fi genre in anyway.

Task 2:

As a class we all went to visit the BALTIC Centre for Contemporary Art in which we were given a guided tour around the building and we looked at all of the current artwork on display. There was a lot of artwork on display at the time as the BALTIC was holding a competition between contemporary artists in which they were given an exhibit to exhibit their art which is then judged by the public. Who ever out of all of the artists gets the most votes wins and they get to create something that will permanently go on display in a public place. This visit was a form of primary research as we physically went out to go look at the artwork with our own eyes. This could have been secondary research if we had looked on the BALTIC+ website instead of visiting the exhibitions themselves as the website is made so that you can only see pictures of the artwork from certain angles and it has all been filtered.

As a group of 4 we went out to record vox pops. We asked people 12 questions about their experience at Newcastle College. We recorded the vox pops with a Canon 600D and a microphone. We wrote down 12 questions that could open up a long/detailed answer in order to get as much primary research as possible. We all took turns on who would ask the questions, who would direct the interviewee and who would film this way we were all able to get a chance at everything.

We also went out as a group of 3 and were given the name of a conspiracy theory. We did both primary and secondary research during this task. We did primary research in the form of going out into the campus and asking both students and staff about the conspiracy theory we were given which was about Paul McCartney. We found that a lot of younger people had not heard of the conspiracy theory but some older people had heard of it. We then did secondary research in the form of looking up the conspiracy theory online and adding to the information we had already gathered.

Primary research is research or information that is direct from the source making it unfiltered and more reliable. Some examples of primary research that we have done is going to the BALTIC, vox pops and asking people about the conspiracy theories. Secondary research is information that is from the internet or literature. Secondary information from the internet is not reliable as it can be posted by anyone or edited by anyone. Secondary research in the form of literature and books is very reliable but limited. It is reliable as it has to be checked multiple times before it is published. It is limited as you are limited to only that book or only that library etc. It is also very time consuming to look through books for the information that you are looking for which is why a lot of people prefer using the internet as it is very fast to find the information you want however it is not always reliable as other sources.

Task 4

For my ‘My North’ video I wanted to make my response to the brief different to other peoples so instead of just going out into my local area and filming local sights as a slow cinematic montage instead I decided to present my video as a journey with faster cuts and upbeat music. My video starts of with myself waking up and getting sorted to leave the house and then doing so. I did this in order to give a bit more depth into my video and to give it more of a narrative. I then filmed a lot of footage of not just my local area put places that I would often be e.g. the coast, Cullercoats and Tynemouth etc. I also filmed some shots that showed myself walking along the coast in order to further more present my video as a journey. I also included signs in order to indicate where I was and what ‘My North’ is to me. I included a sign that says ‘Cullercoats’ in order to inform the viewer that the next set of footage is shot all within Cullercoats which is where I live. Within the shots in Cullercoats there is also another sign saying ‘Cullercoats Bay’ which also helps tell the audience the location that I am currently in. I also kept with this theme by recording the sign that is when you enter Tynemouth which was another location that I filmed at. I also included a sign that indicated the name of a location within the Tynemouth segment of my video which was the sign saying ‘Tynemouth Castle and Priory’. I then finished my video with me walking back into my house to end the journey narrative and video.

Production File:

3rd October:

Filming part of intro

Filming on coast

Filming in Cullercoats

4th October:

Filming in Cullercoats

Recce in Tynemouth

5th October:

Filiming part of intro

Filming in Cullercoats