lens choice

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Camera Lens Choice!

These are some guides I did specifically for the Green Lantern Animated Series.  I learned most of my knowledge of CG camera lenses while working on Clone Wars (with Maya).  I could see the rules being different on a live action set.

Also, note that this indicates stylistic choices I wanted on Green Lantern.  Tron Uprising, which I think is a beautiful looking show, tends to use a lot more wide angle lenses than we did, which is what gives it that extra “anime” look.

If you work in traditional animation, you probably don’t have to think much about lens choice - unless you work in anime, or Avatar the Last Airbender.

Director of Photography Breakdown - Roger Deakins

Roger Deakins. A man who has developed the irrefutablereputation of a cinematographer with unmatched consistency. If he works on amovie, it looks good. His style is often referenced for what we have come toexpect in aesthetically pleasing contemporary cinema. In this post I willattempt to break down constant techniques he uses and develop through linesbetween films.

 …

Wide Shot

Deakins is a master of the extreme wide shot.Perfect lens choice and composition allow him to establish space like no other.Often these shots are used at the beginning or end of a scene to lead us intoor ease us out of a moment. I find that when I experience shots like thisviscerally, with the character, it provides a perfect entrance into the headspace of the characters within the scene. The shot from Skyfall (upper middle shot) is not only incredible to look at, but it is used as an opener to establish the emotional turmoil he is experiencing by returning to the harsh and unrelenting landscape of his childhood. In the top shot from True Grit, the shot is used to establish the isolation and privacy Mattie hops to experience when visiting the grave of Rooster.

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Establishing Shots

I think these are my personal favourites when it comes to Deakins work. Every establishing shot is on point. Not only are they all composed to perfection, but the slight tweaks in variety keep them interesting. I found 4 examples in which the subjects are never in the same part of the frame. On top of that, he uses leading lines and lens choice to create depth and completely establishes colour palette for every scene with these awesome shots.

 …

Mid Shots

Although there are only two examples here, they are the perfect ones to represent the strength in Deakins’ mid shots. For the first shot, both the vertical and horizontal thirds are filled with interesting material. It creates immediate depth with the shallower depth of field, with the closer out of focus grass, the subject and then finally the fence trees and sky outside the focal plane. In the second shot from Prisoners it demonstrates Deakins’ excellent use of the leading lines in the desk to draw our eye to the subject in the center of the frame. It is also a perfect representation of his use of practical’s to light a subject in low light.

Close Ups

Finally the close ups, the bread and butter of most DP’s. Deakin’s is definitely a fan of unconventional these types of shots. These frames scream unconventional, from a close up with no light on the subject, to the side view of the parked car, they are trying to break the mold of what we expect from an average close up shot. Why follow the textbook when you can create your own.

Killerwave soulmate idea...

veganpunkers cause I ship them thanks to you….

Soulmate colors au. The au verse where you see in color upon meeting your soulmate. Caitlin and Ronnie are soulmates but Caitlin suspects she’s colorblind because she does not see the full spectrum of colors that humans should. Then the Particle Accelerator explodes and Caitlin realizes she must be one of the rare people to have more than one soulmate because she has not lost her ability to see some colors. It’s both reassuring and devastating because Caitlin loved Ronnie, she does not want anyone else but, the idea she won’t live the rest of her life without a soulmate is comforting.

Except, of course, her other soulmate is Mick Rory who she only meets because he helped Snart kidnap her. Mick’s thrilled but he’s the only one. (Like Len is going to threaten Mick’s soulmate of all people just to draw out the Flash, like Mick would let him)

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Kingdom Of Heaven

DOP – John Mathieson
Format - Arricam LT ST 500T 50D 200T
Lenses - Cooke S4 and Angenieux Optimo Lenses
Aspect Ratio - 2.35 : 1
Delivery - Digital Intermediate 2K, 35mm Anamorphic

Notable Strengths – Colour, Action Sequences, Pacing, Lens Choice, Wide Angles, Use of Set, Movement in Camera, Use of Shutter Speed

daughterofscotland reblogged your post:

Nice wooing!But I’m kind of sad that Len took his kiss like that :(

Well, you know, for such a clever man, Len can be a bit of an idiot at times.

He’s figured out that the Man in Yellow is a serious, major threat, and he wants to give him to Barry - but the Man in Yellow is a speedster and Len will need the cold gun to take down a speedster. Worse, his investigations are implying that he’s Harrison Wells, Barry’s trusted mentor - and let’s be honest, soulmate or not, Len wouldn’t be convinced he could convince Barry of that. Or to let him just get the cold gun.

Hence, kidnapping Cisco. He can take it, he’s a very nice kidnapping victim, apart from the mouthing off. And when Barry comes flashing in to save the day, well, Len makes a choice. If he wants to catch Wells unawares, he needs distance - and he can’t let Barry know. The kid’s adorable, but looking back at the initial kidnapping, Len remembers each and every tell that should have clued him in that bit faster. The kid’s a terrible liar, really - how he managed to keep his identity secret from anybody that knows him for any time at all is a wonder. For instance, Len still has a hard time believing that Barry’s sister didn’t put two and two together until Barry’s kidnapping coincided strangely with the Flash going awol.

In short, if Len wants to get the Man in Yellow, he needs to put distance between himself and Barry, and he doesn’t trust that Barry would be able to pull off pretending. So he kidnaps Cisco, so he freezes Barry to the floor, so he turns his back and betrays him - except he’s also perfectly aware that by doing this, he runs the very real chance that his soulmate won’t accept him back. That Barry won’t understand.

That he might not give him a second chance.

So he takes the kiss, then and there, because Len’s an idiot and doesn’t think that Barry will really let him have another chance, because he’s not convinced that Barry will forgive him for betraying him, but Len can’t think of any other way to bring down the man that is a threat to his soulmate. So, he’ll save his soulmate like this even if costs him said soulmate.

Mick absolutely thinks Len’s an overly dramatic idiot, and tries to communicate that by winking at Barry, trying to make him understand that he shouldn’t take this entire mess too seriously. It’s only when Barry stops flashing through the backroom of Saints & Sinners, where Mick has taken to leaving really nice sandwiches for him in the fridge, that it occurs to Mick that Barry might have missed his meaning and that Len was that bit too succesful in making Barry think they’d turned evil on him.

Mick spends a rather impressive amount of swear words on telling Len exactly how much he’d better hope that Barry’ll take them back after this mess is done. (It’s also possible that he burns down some of Wells stuff in the time before they make their final move. After all, it’s all his fault.)

Reunited

Originally posted by coldsflash

Request - A Leonard Snart imagined

Pairing - Leonard Snart X Female Reader 

Word Count - 1,247 

Part 2


Leonard stepped out of the chained gates of the prison, inhaling his first breath of fresh air in almost three years. With Mick on his tail, the pair began to work out their plans. Mick was determined to steal some more stuff…he had no intentions of getting caught this time. (Mick said that every time before he ended up getting caught). Leonard had one mission if you will that he wanted to complete before he went to do anything…he wanted  needed to see you. 

Leonard had been seeing you before he went to prison. You promised Len that you wouldn’t see anyone else, you wouldn’t even touch another human being unless it was Len. You knew that Len struggled with trust issues which is why you never even looked at anyone else the way you looked at Leonard, besides over the time you were together despite the difficulties that being in a relationship with a criminal can at times possess you had fallen hopelessly in love with him. 

Leonard loved you, he just didn’t know how to say it or at times express it. Leonard was going to have to learn quickly because while you hadn’t seen nor touched anyone else…that doesn’t mean you couldn’t have a secret…


 As the cab pulled up on your address, Len stepped out of the taxi looking up at your house, Len suddenly felt nervous. There was a time period where you were unable to go to visit him at the prison because of work commitments and being in prison wasn’t easy. Leonard couldn’t help but over think why you couldn’t come and visit. After that time apart you hadn’t missed a visitation date. That time period when he first went into prison was extremely foggy. 

Leonard finally gathered the courage to make his way towards the door, he stood there, Leonard could hear something faint in the background, was that laughter. Leonard didn’t expect you to have anyone else around especially at this time in the morning. Leonard thought that his return would bring you much joy more than what was currently going on behind the closed door he decided to knock. Three knocks later and Leonard nearly turning around and walking away, you finally opened the door with paint covering your hands and face. Pulling open the door you gasped at the sight of Leonard. He hadn’t told you he was getting out today. As you were about to speak to tell Leonard how much you had missed him you were interrupted.

“Mama come on.” Your son came bounding down the hallway before running into your leg. Leonard looked down at your two-year-old son who was tugging at your jumper. You knew that this was going to come at some point, just didn’t expect it to happen so suddenly. Mick had noticed how neither of you were saying anything, he wanted you both to get reunited so he could go into your house have some coffee maybe some gingerbread. Mick loved Gingerbread and you always had Gingerbread. It wasn’t until Mick looked down did he realise why no-one saying anything.

“Oh,” Mick spoke as you and Leonard kept your eyes on each other. Neither of you willing to make the first move or so you thought.

“So this is why you wouldn’t visit for the early part of my stint. So my thoughts were correct, you were sleeping around.” Leonard’s fiery words stabbed you like a branding iron. You had not slept around at all. In fact, you had kept your son a secret from Leonard so he didn’t worry about you or try and break out of prison…again.

“Seriously! After all, I’ve gone with you! After staying loyal to you no matter what you’ve done or what you’ve stolen. I never cheated on you! Y/S/N is your son! I’m sorry, I thought I was doing what I thought was best, I didn’t want you breaking out of prison to then be put back in prison so I or Y/S/N didn’t get to see you ever again.  I love you far too much to cheat on you” Leonard had always admired how you were one to voice whatever you were thinking. Suddenly, your words sunk into Leonard’s head. You had disappeared for nine months because you were pregnant and now he has a two year old son. 

“Now, do you want to come in or not?” You growled you hated being called a liar. You understood why Len struggled to trust people but you had been loyal this long so why would you cheat on him? 

“Can I come in regardless?” Mick asked you, you stepped aside and let Mick in waiting for Len to make his choice. Mick ruffled your son’s hair. 

“Hey kiddo, why don’t you show me where your Mum keeps the food. I’m starving.” Y/S/N looked up at you looking for approval you gave a simple nod, Y/S/N took Mick’s hand leading him towards the kitchen. I stood there folding my arms across my chest. 

“Y/N look I’m-I’m sorry.  I didn’t mean to jump to the wrong conclusions, but I’ve been locked away for a very long time. You know how things get. He’s definitely mine.”

“Yes, he’s definitely yours unless I’ve had an immaculate conception. Now would you like to come in.” Leonard stepped closer towards you, your  breath hitched as the lack of contact that you and Len had experienced for three years.

“I have missed you. Alone for so long.” Wrapping your arms around Leonards’ neck you smiled, before leaning in and kissing him passionately, Len’s grip tightened on his waist, pushing your bodies closer together. 

“You Mr Snart have a lot of making up to do. So why don’t you come on in and for the first time in nearly three years relax, I really hope Mick hasn’t eaten everything.” Grabbing hold of Leonard’s hand you lead him into the house, you were nervous to introduce your son to Len for the first time. When you walked into the living-room you burst into a fit of laughter. Mick was on the living room floor painting the Christmas ornaments you and Y/S/N had been working on before they had both showed up. 

“What…I like this kid.” Your eyebrow raised before deciding to see how Mick would react to something. 

Y/S/N, do you remember your middle name?” You asked softly as Y/S/N thought about it for a while.  

“Mick.” Y/S/N replied as Mick’s eyes widened, as you crouched down this time. 

“Y/S/N, what’s your last name?” 

“Snart.” Y/S/N was more confident than last time. 

“Remember how I told you how Daddy had was away on top secret special business,” I asked as I watched Len’s expression. When Y/S/N nodded, you looked up at Len when Y/S/N eyes widened, he got up running towards Len. 

“Daddy!” Len crouched down and picked him up holding him close to him. Len didn’t have the best upbringing but he was more determined to bring his son up the right with so much love. 

“Guess who’s going to be spending Christmas with us?” You asked gently as you stood up. 

“Really?” Y/S/N asked Len, you was asking him the same question. 

“Yeah.”

“Uncle Mick too.” Y/S/N asked and Mick nodded. 

“Yeah me too.” Mick confirmed and Y/S/N lit up. Sure, there was never going to be any white picket fence and Leonard was going to break the law probably but you had family and that’s what was important.  

ppl often talk about “empowerment” like it means “a good feeling” but u know what would be 10000% more useful?

talking about the right to make choices for yourself instead! (u could use “empowerment” but u could also use “autonomy” or “liberation”!)

like i’d love to hear “we as a society need to empower women to have whatever appearance they find most comfortable without coercive social sanctions that will punish them socially, economically, physically, etc., for not performing beauty standards.” we’re not there yet! it’s a goal!

i’d love to see fewer people saying “women are empowered by different clothes” when they mean “women like different clothes”.

like i’d really. just love to see more people look at this thru a liberation lens. what is constraining choice and autonomy when it comes to women’s bodies? bc things are.

women who don’t fulfil oppressive beauty standards are punished. we pay a heavy fucking cost for looking different! is that real empowerment? is that power over our own bodies, to face increased risk of assault, to be hired less and paid less and fired sooner and sometimes legally punished etc., just for existing in our bodies/trying to exercise autonomy over them? cos to me that sounds like coercion! punishment!

idk i’d just love to see more conversations about empowerment be about, you know, oppressed people (including, but not limited to, all women as a class) gaining power over our own bodies. don’t get me wrong, wearing clothes u like is incredibly important!! i just feel like empowerment is about u actually getting the power to make that choice freely u kno?

a tale of stolen wallets

Their first date after leaving the Waverider is at a mom and pop ice cream store in Central City. Len helps himself to a Flash sundae while Ray has a Captain Cold popsicle. They both make fun of each other’s choices, Len more successfully than Ray.

At the end of the date, Len offers to pay for both of them. “Len, that’s sweet, but I have more money than you do. I should pay.”

“Are you sure about that, Boy Scout?” It takes a second for the words to sink in, and then Ray’s fumbling for his wallet, whipping it open to find it perfectly empty. Len waves a handful of hundred dollar bills at him from across the table.

“You really shouldn’t carry so much in your wallet. Someone could steal it.” Ray tries to scowl, but he’s more amused than anything else.

“Looks like you can afford to pay for both of us, and the next date too.”

Len smiles. “So, there’ll be a next date then?”

“If - if you want?”

“Raymond,” Len leans closer, “I’d be delighted.”

It’s only once Ray gets to his car that he realizes his now-empty wallet has vanished as well.

Their second date is at an Italian restaurant. Ray carefully tucks his wallet away inside his briefcase before leaving his apartment, determined that this time, he’ll pay. Halfway through the meal, Len starts lining Ray’s credit cards up on the table, edge to edge. “Remember, pretty boy, always cancel your credit cards as soon as you notice they’re missing.” Ray opens his briefcase, and sure enough, his wallet is gone. He’s sure that Len never went near it and yet, somehow, he still managed to steal his wallet.

He proceeds to steal it on every date they ever have.

On their tenth date, Ray accidentally forgets to bring his wallet. As the date progresses, Len grows steadily more frustrated, and Ray can’t understand why. He doesn’t bother to look for his wallet because he’s used to Len paying - even if it is with Ray’s money - and so he doesn’t understand Len’s frustration until he gets home and sees his wallet lying on his bedside table. He texts Len a photo of it, with the caption “Looking for something?” Len doesn’t reply, and the disgruntled silence say more than words ever could.

On Valentine’s Day, Ray writes a card and leaves it in his wallet, pressing a flower into the card. Halfway through the meal, he looks up to see Len looking at the card with a soft smile. Ray’s wallet is still in his pocket, but he’s stopped questioning how Len manages to pilfer the contents, and accepted it as a truth of the universe. The Legends will find a way to mess up every plan that Rip ever conceives, Central City will always seem cheerful regardless of the crime rate, the sun will come up in the morning, and Len will steal Ray’s wallet.

After that, Ray starts putting things in his wallet if he wants Len to see then. It becomes their main form of communication. Sometimes it’s candy, or small trinkets he picked up that remind him of Len. Notes, ranging from love letters to reminders to pick up the dry cleaning. Flowers, carefully pressed between pieces of paper. Gradually, things like grocery lists and tax forms (Len didn’t fill them out honestly, but he did fill them out, and Ray thinks that that’s one of the most romantic things anyone has ever done for him) are added. Over time, anything he wants to tell Len without saying it out loud gets written down and put in his wallet. Texting is for emergencies and other time sensitive things; anything else can wait for the next time Len decides to commit theft.

Sometimes, Len just steals the contents. Other times, he steals the whole wallet. Ray can’t figure out what he’s doing with them or where he’s keeping them, but he’s clearly hanging on to them because sometimes he sends them back. Every so often Ray will reach into his pocket to find a wallet that he didn’t put there himself, with notes inside saying everything from “dinner at 6” to “we’re out of laundry detergent” to, one day, “I love you.” That’s the one wallet Ray keeps, hiding it inside a box of tools where he knows Len won’t look for it, the note safely inside. He’s not sure if Len truly hasn’t found it or if he’s just letting him keep it, but Ray treasures it all the same.

Ra amuses himself by buying outlandish wallets, forcing Len to deal with novelty wallets and vintage wallets and thrift store wallets made from duct tape. One lucky find has the Flash on it, and vanishes almost immediately. Some of the uglier ones never get stolen, and simply have their contents emptied, as though Len is categorizing them as too distasteful to bother taking possession of. Whatever happens to the wallet itself, Ray can count on Len to find the messages inside on a regular basis.

It’s not until their dates have turned from tentative firsts to a comfortable routine that they finally address what has become their longest tradition.

Ray comes back from a night out with Sara to see Len waiting at their kitchen table, looking tense. Before he can say anything, Len beats him to it.

“Is something wrong?”

Ray’s confused. “No? Why would there be?”

“You texted me to say that Sara said hello. You never text unless it’s urgent, and this wasn’t.”

Ray gives an embarrassed smile. “I was going to leave you a note in my wallet, but Sara thought that’d be weird, so I texted you instead.”

Len hesitates, and then says, “Do you want me to stop stealing your wallet?”

“What? No, it’s fine. I like it, it’s our thing, now. Isn’t it?”

“You don’t mind that I keep stealing your money?” Len asks, unusually serious.

“You stole my heart first,” Ray says earnestly, “and that’s much more valuable.”

Len rolls his eyes, but something in his face softens. “How very sentimental of you.” Ray reaches out a hand, and Len grasps it, the two of them smiling contentedly at each other across the table.

Then Len holds up his other hand, smugly waving Ray’s wallet at him. “So it’s alright that I took this just now?” Ray grins, and leans in and kisses him.

He never does get that particular wallet back.

anonymous asked:

(1) So maybe this is just me but I think it says something very interesting about Len as an individual that he CHOSE to remove his own hand to get out of the cuffs. This is not something I can easily see the rest of the team doing. Can you see Ray, Kendra, Stein, or Jax pulling the same move? Probably not. When stuck with an array of bad choices that was the best bad choice to Len.

(2) I feel like this really demonstrates a) the lengths Len will go for Lisa (bearing in mind Mick had just threatened her) and b) his survivor mentality (keeping in mind the importance of len’s hands). Because I love all your meta analysis, any thoughts/opinions on Len’s decision to ice and smash his own hand?


Okay so I’m finally getting to this ask! 

It is fascinating that Len came to that decision. I do actually see some of the rest of the team doing it though, for the record. 

Ray would do it if he felt he had to in order to save or help the team or people he cares about. There are things about Ray I don’t always like, but he has a lot of positive qualities too, and one of those are his brave, bold, and loyal instincts. He’d lose a hand in a heartbeat if he meant saving or protecting someone important to him. I guess the difference with Ray is that it wouldn’t be a go-to thought though, he wouldn’t immediately come to the conclusion: best solution is to cut off my hand. He would more likely be examining the rail for how best to remove it from the wall or the cuffs for how to dismantle them or any number of other solutions. His panic state doesn’t tend to lead him toward the same actions as Len’s, I don’t think, though he’d do it if it did cross his mind as the only solution and he had the means.

Jax would do it too, and even potentially Stein. Jax is a team player – we see in his first appearance on the Flash that he risked his life, in order to help a teammate to safety and was injured in the process. We know Jax would lose the hand because he’s already done something similar when put under pressure and forced to make a snap call. Jax would do whatever he had to in order to protect the lives of his team. And Stein? Stein took thermocore at great danger to himself, overcame Valentina at the memory of Ronnie… Stein is terrified of losing someone else he cares about. He might not lose a hand to save just anyone, but he’d cut it off in a heartbeat to save Jax.

Sara too, but you didn’t mention her on your list. But she is tough as nails and trained to be ready for any eventuality and to keep going. Though I suspect with her, she would also have the “don’t panic” mindset drilled into her from her training and the extreme situations she survived before that, coupled with that training, to break/dislocate her thumb(s) instead and slide out of the cuffs. It would likely be excruciating, but I think that would be her go-to. Failing that or having that not an option, either cutting off the hand would be something she does.

Kendra it’s hard for me to say. She tends to need to be pushed to do extreme things (like jumping off the roof the first time) and doubts herself a lot, or holds back. I think she would be capable off losing the hand, but I don’t think she could/would do it alone – she would need the encouragement of others, or else a witness telling her not to so that she could prove to them and herself that she can


But that’s all tangential to your real point and question.

Len doesn’t choose to keep working at the railing nor does he wait for backup and nor does he dislocate his thumb. No, he ices and shatters his fucking hand off.

But I’m not surprised. His mindset leading up to that was literal panic. He is a mess the entire scene. He is angry and afraid when he first wakes, calms himself enough to snark and appear cool when a threat (Chronos) appears, and then he’s completely blindsided. So many of his worst nightmares are coming true, living and breathing. And by the time Mick leaves, Len must been reeling, trying to take everything in – the horror of what Mick has been through, the difference in him, the threat to Lisa, the threat to the team, the threat to himself, and the guilt for helping create this situation.

But he doesn’t have time to slow down and process, to think, and he can’t shed the blame, so he’s there and internalizes and has too much adrenaline coursing through him, because he has to act fast. And I definitely don’t think it’s his first plan – he’s getting down that hall and assessing the situation, and when the railing isn’t about to give, not in time, but his gun is there, and he gets it down and pulls it over with his foot and…

And that’s when it goes to shit. Because you can see him instinctually move for it but get stopped.

And he glances at the cuffs like they’ve betrayed him, zooming in on his hand, on his predicament…

And you can see the second he realizes what he’ll have to do, because he can’t reach for the gun.

He’s already curing his fingers in defensively. The thought is still pre-conscious, still evaluating the scenarios in his mind too quick for one to really stick, but it’s there and his unconscious mind has already made this choice.

Because Len is trapped, literally feeling like a caged animal, scared and alone.

And when he evaluates his options, he knows the quickest, most efficient way he’s getting out of this is to lose a hand, and that’s what matters to him – getting out of there and doing it fast. It’s impossible to say which calculation his mind landed on – whether he thought the team would kill Mick first or whether he would kill them, would come back and kill Lisa too. So I agree that it shows the lengths he will go to for Lisa, but not solely for Lisa (we already know he would do anything for her). It shows the lengths he’ll go to as a survivor, what he’ll do to get himself free, to fix his mistakes, to stop this before anyone else gets hurt.

All he knows is he has to get out of there, and the sooner he does it, the less likely someone he cares about will die.

And so when the scene cuts back to him, we get the barest glimpse of indecision before he starts to move, resolved.

The venerable ‘fuck it’ steadiness coupled with the scrunched expression tension and wariness. Off comes the shoe, and he doesn’t even try to get the gun into his hands, he just lines up the shot. 

And I could get very speculative with this. I could say that Len’s rejection of trying any option that didn’t result in grievous bodily harm is a reflection of his demonstrated tendency to put himself in harm’s way – throwing himself into the back of a moving truck, jumping onto and off of moving trains, and basically all sorts of potentially physically painful situations. I could say it comes down, in this case too, to an issue of internalized self-worth problems that have been triggered especially now thanks to his guilt over what’s happened, but that have existed for years and which have caused him to undervalue his own physical well-being. I could say that his guilt is the reason that he’s about to lose what I’ve argued (x, x, x) is pretty much an essential part of him as a person, for how he communicates and interacts with the world – his hand, his right hand. I could say he’s punishing himself by ignoring any other potential options, and his panic and adrenaline are high enough to stop his more reasonable and rational brain from overcoming that urge, that instinct.

But that’s a lot of speculation. So I’ll work with what’s on the screen. And what’s on the screen is that he doesn’t get both of his hands out of the way to shoot the rail, nor does he move the cuffs so that the gun blast will hit the section that links them; doesn’t test or try to see if the metal is impervious to his gun (which is appears to be, but the point is, he doesn’t test it to know that). Instead, he lines up the shot.

With one hand and it’s cuff as the target. And he knows what he’s going to do, bunches his face up in preparation before he ever pulls the trigger (gotta say, he aims well with his feet).

And the decision to smash it after that is only common sense of course, just the next step. And even frozen, it’s still agony. He’s in a lot of pain when he’s done shooting the gun, breathes and steadies himself, and then he looks over his hand.

And that doesn’t look like a man surprised that the cuff isn’t frosted over too, so maybe he had some inkling of that (it’s not like his gun seems to work on Chronos’s armor, after all). And it doesn’t look the like expression of someone who is bitter and angry about being here. He’s more resigned, more focused on the present. It’s already frozen, it’s already dead to him, and now it’s the only thing standing between him and freedom. 

To me, he looks like he’s accepted this, that this is where his choices brought him, that this is… some form of atonement, if only it will allow him to save someone that he cares about.


So in sum, Anon, Len is a survivor, and he’ll do pretty much anything to protect the people he cares about, whatever that looks like. How he jumped so soon to losing a hand seems to me to be a consequence of his willful rejection of his own physical well-being in adrenaline-laden situations, coupled with his guilt feeling like a caged animal needing to escape no matter the consequence.

Len’s hands mean everything to him, but not as much as the people he loves.

9

The Revenant

DOPEmmanuel Lubezki
Format - Arri Alexa 65, Arri Alexa XT
Lenses - Hasselblad Primes (65),  Panavision Primo, C-Series, Leica Summilux-C and Zeiss Master Prime Lenses
Aspect Ratio - 2.35 : 1
Delivery - Digital Intermediate 4K

Notable Strengths – Wides, Colour, Composition, Use of Landscape, Movement, Large Format, Lens Choice, Obtrusive Cinematography Choices (Helps The Story), Use of Space, Changes in Focal Length

10

Mad Max: Fury Road

DOP – John Seale
Format - Arri Alexa ArriRAW 2.8K, Blackmagic Cinema Camera Pro Res 422 (Some Scenes)
Lenses - Panavision Primo Lenses
Aspect Ratio - 2.35 : 1 
Delivery - Digital Intermediate 2K

Notable Strengths – Style, Composition, Parallel Shots, Creating Depth, Colour Choices, Action Sequences, Lens Choice, Camera Movement, Coverage, Lens Choice, Pacing, 

8

Black Hawk Down

DOP – Sławomir Idziak
Format - Arriflex 35-IIC 35mm  50D 250D 100T 320T 500T
Lenses - Zeiss Master Primes
Aspect Ratio - 2.35 : 1
Delivery - Super 35mm

Notable Strengths – Dynamic Camera Movement, Action Sequences, Space Creation, Low Light, Composition, Colour, World Building, Establishing Shots, Wide Shots, Coverage, Lens Choice, Use of Location

“A World Without Barry Allen”

Prompted by @kazza-spexy to do a ficlet based on this post.

Len knew something was wrong the moment they got off the ship in 2046 and saw Star City in ruin. There was too much chaos, too much destruction. At one point, he may have enjoyed it. He may have slotted himself in nicely with a band of thieves and rose to power with Mick at his side. But this was wrong. Everything was wrong.

He couldn’t get who was missing out of his head. What had happened to the city’s heroes? The heroes in neighboring cities? What had happened to Barry?

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Macro Photography

I’ve noticed my macro photos get a LOT of attention, and a lot of people seem to really like the way they turn out, so I wanted to share how exactly it is that I take photos like these: 

I don’t have a fancy camera– I have an iPhone. And the camera on it is good, but not THAT good. 

So I picked up a set of these! They’re clip-on lenses that fit pretty much any smart phone. (Including the older, thicker iPhones!) They come in a lot of different styles, and you can find ones that have different lens choices (I know my housemate found one that had a telephoto lens too). I don’t usually promote specific products, but I know a ton of us are broke college students, and $15 is so so so much easier on the wallet than a fancy new camera!