like this shoot for instance

My Big Fat Greek Wedding Zimbits AU

My Big Fat Greek Wedding was on last night, and I thought – what if this was a Zimbits AU?  I put together a little fic outline. Here’s what I came up with.


My Big Fat Southern Wedding

  • Dicky Bittle is the gifted and talented baking son of Suzanne and Coach Bittle who own The Dancing Pies restaurant in Atlanta.  A shy and quiet young man, Dicky spends most of his time baking, confiding in his moomaw, working at the restaurant but he wants more.  He wants more for his life than just the restaurant and his very large, very close-knit and overbearing extended family.
  • When the Bittles expand and build a chain of restaurants, they open up a Dancing Pies in Nashville.  It immediately becomes the biggest and most profitable restaurant in the chain, so the Bittles move to Nashville to oversee it.
  • Enter Nashville Preds star, Jack Zimmermann, who one day upon the insistence of his teammate Tater Mashkov, visits Dancing Pies for some of the pie Tater won’t stop going on and on about.
  • Dicky is working at the restaurant and feels his heart practically stop beating when Jack and Tater are seated. Dicky doesn’t think he’s ever seen anyone as beautiful as Jack in his entire life.
  • “Zimmboni, everything here is good.  You trust me,” Tater says as Dicky pours Jack a cup of coffee.
  • “Do you recommend anything?” Jack asks brightly.
  • “If I made it, uh… you’ll eat it,” Dicky says pushing up his glasses.  
  • Dicky remembers how he’s dressed and wants to die.  He woke up late that morning and is wearing some baggy jeans, a faded Cookie Monster t-shirt, a smear of toothpaste is just under his lower lip, and his hair is sticking up in the back with a cowlick from hell.
  • “The bitty baker is too funny, Zimmboni!” Tater yells as Jack smirks and watches the shy waiter from behind his menu.
  • “You made all the pies?” Jack asks.
  • Dicky nods nervously as Jack asks Dicky to just bring him what he thinks he’ll like.
  • They two enjoy their pie and coffee as Dicky dreamily watches from the counter.
  • They leave and Dicky thinks that’s that – until one afternoon Dicky is at the local bookstore perusing the cookbooks when he hears a voice behind him.  “Hey, aren’t you that baker?”

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Stray Word

AKA that SLAV FUCKS UP FIC WOOT WOOT

So this took me AGES (i took this prompt like a week ago oops) but I FINALLY DID IT!!!! I hope you like it. Contains a lot of team-as-family feels. Came out fluffier than intended, but I doubt anyone’ll complain ;)

Enjoy!

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In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters, and by keeping the camera on one side of this axis for every shot in the scene, the first character is always frame right of the second character, who is then always frame left of the first. 

Shooting in the round refers to a style of cinematography in which the 180-degree rule is broken and the actors are filmed from multiple sides. During instances like TV show panel discussions, shooting in the round can help the guests feel like all the panelists are equal and create a feeling of greater intimacy.

In the scene where the Joker confronts Rachel Dawes, Nolan completely shatters the 180-degree rule and leaves traditional methods of shooting in the round behind. An orbital shot is performed where the camera rotates around the conflict in the center. The abandonment of balance and stability throws viewers off. The camera begins to spin faster and faster throughout the scene, mirrored by the high strung and anxious sounding violins that build in speed and key. It’s as if we’re watching some kind of horrifying, nightmarish jack-in-the-box. It’s winding up quicker as time slowly ticks by; as time passes, the viewer gets increasingly disturbed, and the seconds seem to slide by as if they were years.

VID-TALK


Drone footage — a gift or a blight? 

Behind this, almost click-baiting title (fortunately I’m not asking you to click anywhere), hides the sempiternal question of content vs form.

Let me start by saying that I’m not against drones or any other vid-shooting technique that is not a static shot, like for instance, timelapses with a dslr, gimbal cam shots, etc.

But I can’t help feeling that more and more videomakers (and to a different extent, photographers) - for better or worse  - can’t do without an obvious amount of fanciness in their shots.

I recently recalled something one of my teacher said, that I consider a personal rule that I hold dear : “the role of the technician is to make the audience forget about the technique” and it makes sense, right? You want the viewer to immerse themselves into your video, effortlessly “ingesting” its message.

To achieve this goal, you can’t have the viewer notice technical elements, such as technical errors, for instance; a boom mic getting into the frame or the shadow or reflection of the operator (happened to me quite a lot in the past, actually). But in my opinion, the same applies with technically correct shots, edited in a manner that makes the intent of showing them off, obvious.

Let’s illustrate with some vid-editing math :

1:30 short vid, divided by an average of 1 shot for every 3 seconds — 5 if you’re feeling slightly contemplative (in the western-sense of the word because for instance Japanese-contemplative in video may give you 10 seconds or longer per shot)

So on average for one and a half minute (or ninety seconds) video you’ll have thirty (30) three-second shots.

Videos of that length featuring ¼th or more of their shots made by a drone isn’t that exceptional anymore in the amateur/semi-pro world. (Some might also be drone-only, but maybe those would fall in a category of their own?)

In these amateur-semipro (and sometimes even pro) spheres it seems, it’s all about using the cool tools… and showing it.

So logically, you’ll open with a drone shot. You’ll add a few more here and there, perhaps even several in a row because it is such a cool and unusual angle, right? Then you’ll also have to finish with a drone-shot, just because.

The problem with that is that it generates a series of things that are usually pretty detrimental to the goal of making the experience seamless for the viewer.

First it breaks one fundamental rule : “a wide angle shot must be followed by at least two shots at different focal lengths” and since drone shots are all wide-angle, showing several in a row creates monotony and a sense of repetition and boredom.

Second, we could consider the impact of their unnatural angle of (bird’s eye) view. It makes it extremely hard for people to relate to the images shown. We are terrestrial creatures, we live and go on about our days with both our feet on the ground, so, flying around — in my sense — doesn’t help people connect to the content. Come back to earth, get closer, get personal.

For the third point, I’ll just go back to my initial idea and mix it with the previous one : you’ll end up making the viewer think “wow, this is a drone shot” instead of the desired “wow this content, I’m interested in it”.

Drones are perfect when used scarcely : a situation-shot, a shot conveying an emotion through top-shots alluding to danger or confusion, a first-person shot and other creative shots like intriguing travelings using the elements in the foreground and background…

But that’s about it. All in all, on a 90 shots of 3 seconds long production, I might consider using 3 in the project. Yeah, that small amount. Even though to me it’s not a small amount (as it’s 1/10th of the production). Finally, if I can avoid opening/ending on a drone shot, believe me, I will.

The drone shots I love are those shots where, as a technician, I had to ask myself : “was that a drone shot?”. If I am unsure, even for a second, it means that the common viewer will just keep watching without thinking about it, and that’s the goal of almost any audiovisual production.

As a rule of thumb, as a videomaker, I live by this advice about camera movements : “you do not make a camera movement for the sake of aestheticism, movements have functions that need to be respected” 

At one point I realised this piece of advice can be applied to anything in video, movements, but equipment too. If you steer away from the standard/classic static-shot, you have to know why you are doing it.

Everything you do should have a narrative purpose.

prompt: trauma
rating: T
summary: Sasuke has an incredibly traumatic experience.

It only takes Sasuke a moment to realize that there is something very, very wrong.

“S-Sasuke-kun?” Sakura stammers, blinking her big eyes up at him. Her entirely too long lashes graze the height of her cheekbones, and her pretty pink lips form something like a pout. “Is everything alright? Why are you looking at me like that?”

When he knows he should be letting her go, his grip on her wrists tightens. He feels the wet dirt begin to seep into his nails from the training grounds; he digs his knees deeper into the soil, and drops his head down. His long bangs hide his dark eyes, ones that were too intense but a few seconds ago as they burned into hers, and he takes a deep breath.

“Sasuke-kun?” she asks again, too sweetly. The way she says his name tickles his ears enough to make his hands twitch. “You’re starting to hurt me.”

He takes another deep breath, and she sounds so far away, but nearly too close at the same time. She begins to squirm in his grip, twisting her wrists and kicking her legs a little. “You won, Sasuke-kun, like you always do. You can let go now, please–”

“One second,” he says, and his voice is hoarse. It comes out through gritted teeth, and his voice is rough enough to surprise her.

Her eyes widen, very green and as sharp as her voice, and she shuts her mouth tightly. She gives him a moment, like he asks, but he does not move.

“Aye, yo, bastard!” Despite Sakura being the only person Sasuke can see, they are not alone. “What the hell are you doing? Trying to get even more of Sakura-chan’s attention? Let her go!”

He hears Sakura scoff beneath him, but she doesn’t say anything. He watches her blush spread on her cheeks through the hood of his fringe, but his body stays rigid.

“Quiet down,” he hears Kakashi instruct. He says, and then continues, “Naruto is right. That’s enough, Sasuke, let go of Sakura. We get it. You’ve won.”

In an instance, Sasuke shoots up like a bullet. His release is anything but gentle, prompting an all too soft moan to release from Sakura’s lips, and he rushes out of the training grounds before anybody can call after him.

The sink water is not cool enough when he splashes it in his face, but he thanks his lucky stars that the training ground bathrooms are unlocked on this too sunny morning. The mirrors are foggy, but the blush on his cheeks is apparent enough.

He sighs, loudly, and he’s pretty sure he hears it echo in the hollow bathroom. It’s exasperated, and tired–and embarrassed.

“Fucking Christ,” he whispers, and the glare fixed in his eyes is at nobody in particular; perhaps at himself, or, more evidently at the moment, the tent pitched in his shorts.

“I…” he begins, with a deep breath, holding his own gaze in the fuzzy mirror, but he does not continue. Instead, he shakes his head and sighs again, not as loudly this time, but nonetheless flustered. He runs the sink water again, as cold as it goes, and splashes himself once, twice, and a third time.

It feels good against his hot skin. He runs a wet hand through his hair, and shakes himself out. He aches too painfully between his thighs; he feels himself twitch, and a groan escapes his lips.

Calm down, he thinks, it happens to the best of us. As special as Sasuke Uchiha may be, he is not strong enough to avoid the traumatic consequences of puberty; no amount of training can help him avoid doing such a… natural thing.

And, as he often entertains the idea, he has an especially hard task avoiding such a… natural thing with a such a pretty girl on his team.

He shakes his head, and frowns deeply. It’s disgusting, he knows, to look at, to think about Sakura in such away; she is his comrade, his equal–kind of–, and not some object to be ogled at during training. She is a kunoichi, a fighter, and, though he’ll never say so out loud, his friend. His ashamed blush flutters back onto his face at thinking he could do something so lecherous to Sakura.

And god forbid she should ever find out she can cause such a reaction from the ever-icy Sasuke Uchiha; he’d never live it down.

With a purse of his lips, he splashes himself one last time and turns off the faucet with more than enough force, the hardness between his legs having died down to something a little more manageable.

He’ll just have to push the thought of Sakura, pubescent Sakura, suddenly too attractive Sakura from his dirty, disgusting mind. He’ll throw away the thoughts of him pinning her down, wrapping his wrists around her own, her chest flushed a pretty pink and her cheeks puffed as she breathes harshly beneath him–

Maybe he just won’t spar with her for the rest of the day.

He slams the bathroom door behind him in his last fit of frustration before trekking back towards the training grounds. His team comes into his line of sight nearly too soon, only causing his frown to deepen on his already annoyed face.

“Hey, bastard, where the hell did you go?” Naruto yells, frowning. “You ditched our spar and I had to fight Sakura-chan!”

Sakura rolls her eyes, waving him off with a hand. “Shut up, Naruto, and leave Sasuke-kun alone!” she yells, and much to Sasuke’s satisfaction, smacks the blond upside the head.

“He’s the one acting weird! You should be hitting him!” he cries, a deep frown on his face that only causes Sasuke to smirk.

“Shut up, dead last,” he hisses. “I had to use the bathroom.”

“Well, now that you’ve gotten whatever you were doing in there out of the way,” Kakashi interrupts them, voice too amused to be innocent, look in his eyes so knowing it makes Sasukes hands twitch. “We can break for lunch.”

“Finally!” Naruto grins. “Come on, Sakura-chan, get ramen with me! We can leave that stupid bastard by himself–”

“Just shut up, Naruto,” she says, and rolls her eyes. “Like I’d ever eat with you. Sasuke-kun, why don’t you get lunch with me?” she asks, voice gentle, eyelids fluttering.

He nearly chokes on his words when he says, “No thanks,” a little too quickly, and makes a turn for the bathroom.

pandapinku  asked:

Ok so u are another Jihope bruh that I follow n yes this is old but what brought u to them? Which occasion? Vid? Fancam? I always like to know these things 😏😏😆😆😆

THIShttps://www.youtube.com/watch?v=Td4RydkUxHs&index=82&list=LL9lVNV9Laxaisu2uDUWetcQ

everyone should watch this bc it’s hilarious and they’re so cute with each other! and then there’s plenty of other instances, like photo shoots, bangtan bombs or on their shows where it’s a lot of Jihope action and you can clearly tell that these two love each other *_*

here’s some more :

how could you not ship them ಥ‿ಥ

4

People forget about your humanity when you become famous. I know there will be those who, on reading this, think: ‘Oh, you’re a famous star — deal with it! But I have witnessed, first-hand, how people push, pull and swear at stars — particularly the young ones — just to get any old shot. It’s shameful. You would not want your own daughter treated that way, believe me.”


I always had a vision of nicki doing a shoot kinda like her dazed and confused one but much darker ,the dazed and confused had two different perspectives kinda like reality vs expectations. Her reality being a good housewife which the shoot already represents and her expectations is her being a dominance. Like for instance the shoot where nicki is dressed in the blue gown with the gloves it gives off the vibe of her cleaning but the expectation would her cleaning her spouses blood and the shoot of nicki looking as if she’s putting a meal in the oven the expectation would her putting her spouses head in the oven. Or her Reality is her actually being dominant and the expectation is for her to be a housewife.