Funny how you can completely change a photo with editing! Obviously the edit isn’t that good because it’s my first attempt at doing this but goes to show just how much you can do! I just added a sun basically to make it look like I was actually looking at something haha so crazy!! Don’t believe everything you see I guess? hahah
PSA: just figured out a better way to edit dark skin. So when you do an “S” curve in photoshop, it changes the colors making darker skin look red/orange/yellow toned. You have to turn the layer blending mode to “luminosity” so it won’t change the color. Then turn that layer opacity down a notch because it often desaturates the photo too much. Then on top of that create another “S” curve layer (keep it on the regular blending mode) to add some of the saturation back in. This way the color looks more brown opposed to red/orange/yellow.
Unedited vs. edited.
Both beautiful, both super badass.
Some would say that the second photo hides the “truth” of who I am. But does the first photo really tell the truth of my being?
I am not my crooked nose. I am not my acne scars. I am not my uneven skin tone. I am not my makeup.
I am vibrant, intelligent, funny as hell, shy beyond belief, tenacious, idealistic, and compassionate.
The first photo and the second photo are entirely different. But they’re both me. And they’re both not me. And I’m beautiful either way. You are, too.
I have times where I don’t want to touch anything I write after I’ve gotten it outside of myself, because the work of getting it outside of myself makes it feel like a complete thing. A lie, of course.
Hanif Willis-Abdurraqib, interviewed by Sarah Seltzer for Flavorwire
"How much more can they take from me?” - Awesome Camera Pans in Fury Road #1
Let’s take a look at how Joe’s armada is introduced in the movie and how these shots are simultaneously used to further develop the characters and present different point of views in the narration.
Above is the first camera pan we get from the armada, starting to show off with some fire, giving us a first impression of the size of the war party with the troop transporter behind the dust in the background. The camera moves in the same direction like the cars, finally lingering at the Razor Cola hodrod, which once used to be Max’s beloved Interceptor.
The Razor Cola thematically smoothly segues into a another, huge camera pan I will break down step by step.
Part 1 of the huge camera pan: Character Development:
The camera moves contrary to the moving vehicles, starting with a close-up on Max, shouting “
Ah! How much more can they take from me? They’ve got my blood; now it’s my car!
“. The shot then proceeds to show us exactly these things, focusing on the chain with the red IV line, Razor Cola in the background. Then we see Nux, the person who is taking not only Max’s blood but also his jacket, and finally Slit, who will end up taking the blood bag’s boot… All the loss here.
Part 2: Establishing Shot
Here we get to see more about who these guys are that took all this from Max. It gives us not only an overview on what’s happening, it’s also one of the defining wordbuilding shots in the movie.
As Nux speeds off, we get to see his car, what it can do, and how it looks. It’s a almost like a quick character introduction. Later on we see the crucial asset that is the boost of The Nux Car, also we need to quickly recognize the vehicle in the later fight scenes, therefore it’s useful to know the silhouette of it.
Then, the drummers on the Doof Wagon, which by the way has been brilliantly introduced in another great camera pan/zoom when they let it down from the Citadel.
And finally, the Doof Warrior! Undoubtedly the single most iconic shot in the whole movie. This is an overwhelming picture because it communicates so many things- obviously it’s fun and bright and just over the top. But it also shows us HOW this world works- there is the concept of the dual-purpose of things, for example: The guitar is a flame-thrower, the pursuit vehicle is also a stage on wheels, built together from all sorts of findings. These guys are wasteful and they have fun anticipating war- that’s Immortan’s pomp and the mentality of his warboy in a nutshell.
And this shot is a wild ride and so overwhelming for many reasons, especially if you consider the camera pan starts out with this image of PAIN and LOSS……
….and ends with this bright image of wastefulness and excited anticipation:
Also notice how very similar these two compositions are framed. In the left foreground, there is Max all distressed at the armada in the background who is his enemy. However, by the time the camera pan reaches the Doof Warrior, the point of view drastically changes. The armada in the background is now not only a war party but a partying party and an audience for the Doof who takes Max’s place in the frame.
Ah, revisions! And you thought the first draft was tough.
Before we dive deep into the revision process in future posts, we need to cover a few basic questions: What is the difference between revising and editing? And exactly how many drafts of your novel do you need to write before it is complete?
That’s what we’re digging into today, and we have a lot to cover, so let’s get started!
I’m currently rewriting my first (or, as I think of it, my
1.5) draft of one of my novels. It is long. It is arduous. It is taking me
forever, and I have spent a lot of time opening it, staring at it, and then
going to do something else.
It is also necessary.
While all forms of revision are necessary, different ones
should be used at different times. At the start of the process—after you have
completed a full draft of your story—you should rewrite. At the end of your
process, you should revise.
Rewriting, in this case, means starting a new document—or a
new notebook, if you like writing by hand—and writing every word of a new draft.
(Small amounts of copy-paste are okay, I guess, if necessary.) Usually this is
done with the old draft open next to the next draft, but depending on the
amount of work that needs to be done, there can be significant changes made.
Revising means taking an existing document and going through
line by line to find awkward passages, grammatical mistakes, and typos.
The reason that rewriting should be the first thing that you
do is that it allows you a lot more freedom—logistically and mentally—to make
major changes to your story. Need to add a scene? Just write it in. Need to cut
a character? That’s much easier to decide beforehand and rewrite the scenes
around them rather than trying to cut them out line by line. You can see your
old work and refer to it, but you’re not constrained by the way it’s written.
On the other hand, by the time you get to your last draft—which
might be draft three, or draft ten, you shouldn’t be changing entire scenes.
Your entire story should be written, and you should just be polishing it.
I know rewriting is miserable. I know you don’t want to
rewrite. I know it would be easier to just do a pass-through, fix grammatical
mistakes, and call it a day. But for 99% of writers, your first draft isn’t
good enough to do that. So take the time. Rewrite. You’ll thank me later.
This is a little manip I made for OnlyOneKing_12, and it´s my very first head-swap with 3D footage! This is not perfect in anyway (I need to be more patient), but I had fun and I hope that Vincent likes it. ;D
And before you ask, I have no idea how long this took me. The footage adds up to around 5 hours, but that includes all the things I cut out: the rendering, all the crashes, all the things I tried out but failed with (correcting the colors on the feather, trying to key the hair to fall more naturally, fix the lag in the head turn, etc), so I can´t really tell you exactly how long it took.
I would love to make more of these videos, where I time-laps my messy messy process. Is there something specific you guys would like to see me do?
I’m editing a story at the moment which is set in Scotland and the character is making shortbread and I just started internally screaming because clearly this person has never made shortbread before in their entire life. Like no, stahp, what are you doing, why are you melting the butter, that’s no…you don’t knead cookie batter what is, you’re adding eggs? How many eggs????
While lots of people have lots of different ways of editing,
there are some general things to look out for before you move from one draft to
the next, whether you’re rewriting, revising, or somewhere in between. Because
you should know what you’re going to change before you start changing it, or
your new draft won’t be much better than your old one, or at least it’ll take
you significantly longer and significantly more effort to do it.
So here are some things to look for:
Inconsistencies—There are a gazillion types of
inconsistencies that you can have in your story. You can bring up a plot point and
forget it. You can create a requirement that the characters do something and
never have them do them. You can say that the world works a certain way and
then have it work some other way. Or you can mix up a character name, a
description, timing, locations, or (in my case) gender pronouns.
Plot—You need to make sure to know what your plot should be,
and make sure that what you wrote matches what you want it to say. More than
that, though, you need to make sure that your plot actually make sense. This
spans from overarching plot to small plot points. It can be small plot holes
that sink your story as much as big ones.
Setting—Your setting needs to be at least clear enough for
the plot to be understandable. It also needs to match and enhance your plot
instead of competing with it. Beyond that, you also need to make sure you don’t
spend the entire time just describing the setting, no matter how cool it is.
Overall, your setting should avoid holes or logic gaps while also being as
unobtrusive as possible.
Unnecessary characters—This is more of an issue in short
stories where you have less space for characters, but you should make sure that
you actually need the characters you have. I wrote one story where I got to
chapter 5, realized a character who was supposed to be important was actually
totally useless and ignored him for the rest of the draft. Draft two, he’s
Timeline—Does your timeline make sense? Do scenes follow
after each other without obvious gaps? Do they feel like they overlap? Is your
timeline consistent? Does your pacing work? Is there enough tension?
Characterization—Does your characterization match what you
want it to show? Are your characters bigoted? Is that intentional? Does their
characterization match their background and their experiences? If not, why not?
Does their personality change the way you want it to?
Relationships—Are the relationships what you want them to
be? If you say characters have a certain relationship, do you show it? Is there
chemistry? Is there tension? Does the way the characters act towards each other
reflect the relationships they have?