mostly because it's hard to edit it at one point if you have to take out frames

#133 - For anonymous x2

Filling the prompts “could you do one with a plus size model?” and “Fic based off of heathrow? The lil "snog her in the kitchen/ dance with her to lemonworld” bit?“

Note: To the plus sized model requester: you may also like #69 - click here. To the Heathrow requester: I hope you’re okay with how I used the song in this fic? Gives it a little more originality than a basic story based word for word on the lyrics, you know? =^.^=


You’d only done print media before; just photographs. When the opportunity came up to audition for a music video, you jumped at it. The casting call write up was vague. They needed a girl aged between twenty and thirty that was comfortable smoking on camera, and looked good in a leather jacket. That was it. There were no specific requirements about hair colour, height, body type, or anything like that.

As you waited for your turn to audition, you sat in a row of other girls. You stood out. You were the only one who wasn’t wearing makeup, and you were the only one who could be considered plus size. Knowing very little about the project, it was hard to determine if those were going to be strengths or limitations. When it was your turn, the butterflies in your stomach settled. The anticipation was what killed you. The actual audition part was easy.

In the room there was a rectangular table. Behind it sat someone introduced as Andy, the director, and another as the label rep. Sitting on the table itself was a guy who presumably was in the band, or was already cast to be in the video. He was in black ripped jeans and a black and white striped shirt. His name was Van and (you had correctly guessed) he was the singer. You shook all their hands and watched for any immediate reaction. Van smiled warmly and as he blinked you noticed the length of his eyelashes. You knew models that would kill for them.

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Prompt: kamunami with chiaki growing out her hair

A/N I’m always game for fluff especially between these two (since we only got angst in the anime) so yay! Lighthearted fluff!

Fixation - kamunami

Nanami absolutely adores Kamukura’s long hair.

Aside from videogames, her favorite past time is messing with his ridiculously long hair that miraculously never tangles. She didn’t think that was even possible but then again this was Kamukura. She swore that she’s never seen him comb his hair even once and yet it’s as majestic as those edited in commercials. When he stayed overnight, she tried to catch an imperfection as she combed through his bed hair with her hand only to reach the ends with awe over its impeccable smoothness.

It’s a mystery that she can’t seem to get enough of.

It’s also convenient. The only time she was ever interested in hairstyling was because of videogames with those themes but she never did pay much attention to that in real life. How else do you think she has her hair fly away so much? The secret behind those swooshes is actually careful negligence. But that’s beside the point. This is about Kamukura’s hair and Nanami’s fascination with it.

She started out with putting it up in a ponytail, simple enough that even she could pull it off. She’d tie it up and sometimes even down low in a dolphintail. Then she moved on to braiding after watching tutorials online. She branched out from there and experimented. Sometimes she’d try to go for those in fashion magazines and other times, most of the time really, she’d style his hair in uncanny semblance to videogame characters. Point is that she was enjoying playing with his luxuriously long hair.

“Mmm, is there any style in particular that you’d want today?” She knew that he had no preferences but she still asks anyways. It’s the thought that counts after all. He lets her do as she pleases so the least she could do is let him know that he always has a say even when he doesn’t have anything to say.

“Surprise me.” He answers just like he’d always say. She never does surprise him like how she wants to but she doesn’t give up. Someday she will surprise him so hard that he’ll be his most expressive yet, she thinks to herself. It also sounds like a better excuse for playing with his hair.

“Okay!” And Nanami works through his hair as she hums the catchy bgm of a recent game she played. Coincidentally, it’s the same game whose character’s hairstyle she’ll try to copy. She’s especially fond of that protagonist and she can’t help but be excited over how this will turn out.

The extra cheerfulness doesn’t go over Kamukura as he raises an eyebrow in suspicion. “You seem… happy.”

“I’m always happy with you.” She replies without hesitation and continues to comb through while facing him. “I really like your hair, you know. Have I ever told you that?”

He never answers her question. He’s too busy making a statement as his own fingers comb through the ends of her hair. His hand drags through languidly and she has to pause as a shiver passes through her frame. He almost smirks at her reaction. Almost but his amusement is heard in his voice as he suddenly says, “I like yours much better.”

And she just blushes so hard at the comment especially when he looks at her with such smoldering eyes. Her grip on the comb tightens like how her chest clutches with anticipation. She lets out a shaky breath. “Oh…”

Nanami grows her hair long afterwards.

It was hard at first but mostly because she was terrible at maintenance. With her hair thicker and longer, she realized just how practical her short hair was. Long hair is nice and all but only if it’s not in her face her eyes specifically, in zippers getting stuck, in everywhere because of tragic hairfall. Basically, she still likes long hair only if it’s not hers. It’s annoying and she would rather have all of it chopped off but then she thinks of him and that one lingering comment, and then she reschedules the trip to the hairdresser.

It took months, almost a year, and now her hair falls just above her waist. She’s gotten better at taking care of it but only barely. That’s because she lets him take care of it for her instead.

Kamukura absolutely adores Nanami’s long hair.

Having her fingers go through his hair is one thing and having his go through hers is a whole new different experience. It’s not as smooth as his admittedly but it is soft and pink suites her just well. He doesn’t style hers like how she styles his, instead he prefers her hair down- which annoys her the most but tolerates just for him. He likes to bury his face in her locks and just breathe. Her scent is fragrant and overwhelming, and he finds it soothing. Not a day goes by that he doesn’t take joy through playing with her hair.

But as much as he adores her long hair in his fingertips, he especially enjoys pulling it aside so he could drop a searing kiss across her nape. He enjoys adding knots to her hair as clutches it when he pulls her in for an intoxicating kiss. He enjoys getting tangled in it along with their mess of limbs when they embrace too passionately. He enjoys her hair and lets her know every day. Her hair always ends up a mess after but she does not mind it one bit not when she catches him with a small smile.

And when they’re not too fixated with each other’s hair, they remember just how smitten they are over one another.

MERRY CHRISTMAS/HAPPY HANUKAH/HAPPY HOLIDAYS @edendaphne! i’m your backup filler for the @mlsecretsanta this holiday season ♥

i was flailing a bit for an idea of what you might like, and then i remembered this fantastic piece of ladrien you drew (and the awesome idea that came with it :D) so i thought i’d write something based off of that. i hope you enjoy! ♥♥♥

(@mirthaculous went above and beyond to make this readable, and at 1am, no less ;A; one day i will pay her back, this i swear (9′-’)9)

EDIT: SHIT I FORGOT TO CREDIT @sixsaltysweets / @howdoyousix she helped out a ton with early stage flow betaing god bless ♥♥♥ THANK YOU RUX ;O; 

It figured that the one day Chat had begged out of the signings was the one day an akuma crashed the con.

“All this,” Plagg complained in his ear as Adrien helped direct the panicking crowd. “All this just for a piece of paper someone scribbled on.”

Adrien’s own ‘piece of paper’ burned in his pocket, warm with the memory of Ladybug’s fingers brushing his as she handed it to him, so he didn’t comment. Instead he nudged his grumpy kwami back into his shirt and continued to usher the out-of-town con-goers from towards the exit, wincing at the cacophony.

It was amazing how much three years of constant attacks could desensitize a person to surprise supervillains — and how much panic they could instill in someone who wasn’t desensitized.

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My Lip Sync Method

I’ve had some people ask me about how I do my lip syncs, and lately I’ve had some requests over on YouTube for a tutorial/explanation of my method. I’ve been thinking of doing something like this for a while, so here goes an explanation of how I do what I do.

As an example, this is going to be an explanation of how I do videos like Sincerity, Who’s On First, I Like Watching You SleepZelda Williams as Yellow Diamond and Lip Sync Dump. Videos like All Your Base Are Belong To The Diamond Authority and New Steven Universe Leaked Intro With Peridot! contain other editing elements that won’t be covered here.

Without further ado, let’s dive right in.

The first and most important element is choosing your frames. It’s best to choose good clips before you even start grabbing those screenshots. You want shots where the character says a large range of both vowel and consonant sounds that you can match up to your audio. As a general basis, it’s good to have A, I, EE, OH/UR/R, OO, M/B, L, CH/T/K/D and F sounds. There’s some variants but they mostly look like this.

Some variants, like TH, can either be represented by the clenched teeth or have their own dedicated mouth shape.

Some other variants include the main vowels said at different volumes or intensities. These can be really useful when someone holds a sound for a long time, or pronounce some words into broken syllables. For example, “day” as D-AY-EE, or screams “AHHHHH” starting off quietly and getting louder and more frantic.

I haven’t included a very wide range of sounds, and there might be some your audio includes but don’t exist in your visual source. So what gives? Substitution is key. Pretty much, it all comes down to what looks right. If you don’t have F, you can swap it out for the clenched teeth, and if you don’t have OH, you can substitute it with OO. 

Sometimes you can get away with using a very limited range of source frames, but that’s harder to get to look nice. It’s much easier to have a broad range of frames to work with in the first place. If you want to use a specific shot, you might have to put up with working with just a few frames to match all your sounds. Experiment, play around with it, see what looks best. You might have to make some compromises. My process is all about trial and error and just fiddling with things until they work.

As for actually matching the frames to your audio source, this process is all about careful listening and matching the images to the sound. This is what my timeline looks like for Jasper saying “You rocks quit having sex metaphors over there.”

For this, I first of all make sure I’m using my headphones here. No speakers, no cheap earbuds, no neighbours partying next door, to make sure I can pick up on the details. I scrub through the audio frame-by-frame, listening for the subtleties in the speech. Where does a sound end and a new one start?

I break it down into basic sounds, corresponding to what frames I’m working with. “You” is covered by just the OO sound here, as I don’t have anything to work with for the “ya” on its own. There’s no frame to match the R sound, so I sneaked in a TH to break up the movement. Then I move back into into the round mouth for “ock” and clenched teeth for the “s.” Keep matching the frames to the sounds, and before you know it, you’ll have the full phrase down.

Splitting the words into their components ends up looking like this. You’ll notice some of the matches aren’t perfect, and some look a bit off. This is where that substitution thing comes in, and also why you check how everything looks in motion as you go. Something that looks odd alone can make the phrase move more fluidly as a whole.

So, things are looking good, and you want some more movement in there. Time to turn things up a notch. This is where it gets a bit trickier. Let’s start with head movement. Maybe moving up momentarily for emphasis, or turning from one position to another. As an example, I’m talking about stuff like this moment where Yellow Diamond changes her position.

When doing stuff like this, be sure to capture each frame in the movement. When you’re placing them on the timeline, try to match up the lip movements to the sound as much as possible. In a pinch, you might be able to take out one frame that doesn’t fit, and the movement can still look fluid. Most viewers will be none the wiser. Ideally, you want the mouth movements in the the full motion to match the audio perfectly, so choose the point at which you make that change very carefully.

As an ultra bonus, I like to make all my frames in a head movement last for 2 frames each. Having them only hold for one frame generally makes the movement too fast, and if they’re held for a different amount of frames each, it can make the movement stilted or jittery. This can be quite hard to pull off, and I only do it when I’m being especially picky. Sometimes you’ve just gotta play around to make it fit and make some of those compromises.

I’ll also note that you can afford to cheap out a little on the lip movements if you have to. You can skip a vowel or a consonant, and it will (hopefully) slip right by a viewer because of the movement. In that YD clip above, I skipped out on the I sound in “Looking back at you.” There wasn’t anything that would fit in there, so I synced it as if the source had just said “Look back at you.” It keeps that fluid look and slips right by because of the head turn.

Sometimes, movement can be a problem. If there’s moving background objects, like twinkling stars, fire or rolling waves, it can look really nasty and choppy when you play it back. I fix this by doing some masking. I’ll point out that I really don’t like doing masking. It’s my least favourite thing in editing, but sometimes you’ve just gotta do what you gotta do.

The easiest way to cover up nasty choppy movement is with a simple still frame. Let’s go back to Jasper and my project timeline.

The lower layer is my sync work, and the upper layer is a mask to hold those frames still, so they don’t move as she talks. You can also do this with the original clip to maintain the movement of the fire, but since this clip is a lot longer than the original source, doing stuff like that can get too tricky for me to bother with. This is just a simple way to keep everything still and crisp.

Here’s that simple mask in the top layer. A quick and dirty cut to keep the fire holding still while keeping Jasper talking. When you want to keep things moving, it can get more complicated. Let’s move over to Ruby for an example of maintaining motion by using the original source visuals.

See those sweat beads? You don’t want them jumping all over the place, but you also don’t want them to remain static because it takes away from the shot.

As with that Jasper bit, the lower layer is the lip sync, and the upper layer is the mask. The difference here is the mask is a moving piece of footage instead of a still frame. I cut the movement at a place where the last frame of one clip matches up with the first frame of the next, making for a clean loop of that sweating.

The mask here is just her eyes and forehead, so that’s the only part of the footage playing here as not to get into the way of the mouth movements. For this stuff, I always do the lip sync first, and the overlay/masking after. The most important element is still the lip movements. Everything else, while also important, is secondary.

This stuff is the basis for how I do stuff like syncing the eye movements in Sincerity. I don’t have the project file for that one on hand, but I do have the “If You Seek Amy” segment from Hiatus Bomb 3.4, which is pretty much the sequel to Sincerity.

First I did the lip sync, then came syncing up the eye movements. The longer segments of footage are Lapis reading the page, and the shorter ones are her moving her eyes back to the start of the page. Both of these movements are faster than they are in the source footage. I found the parts where each line ended, sped up the footage to match the timing, put in the quick movement back to the start, and repeat for each line. The part at the end there is holding her eyes still for a few frames before the end of the segment, where she looks over at Peridot.

As much as I hate masking, it’s become a basic staple in my lip sync work because of how clean and smooth a little bit of it can make everything flow. These are similar to the techniques I use to make characters blink, move their eyes, change their expressions and move or hold things such as background elements or other characters in a shot.

That’s pretty much all for the basic (and some of the not-so-basic) staples I use in a video. Pretty much, it’s all about timing, listening closely, and making sure every thing moves fluidly and cleanly. If you feel like I missed out any important details, or have any questions, feel free to message me!

charlie-n-foxtrot  asked:

I am just coming in to say you are officially one of my favorite creators! After stalking Mary Kate Wiles after LBD I quickly found your work and I actually love it ALL! I may have to call kitr my personal favorite though. I just would like to ask, whats your creative process from having the ideas to actually executing them, it just seems so insane that someone can have these great ideas and make them so unbelievably real! This is getting long so I'm going to stop, much love from New Zealand xxx

You are too sweet and I’m so glad you’re enjoying Kissing in the Rain, I love it too! It’ll probably be hard for me to find another project with so many things I love concentrated in 2-3 minutes after this. But I will keep trying, and I hope you guys will like whatever comes next, on both my personal channel and at Shipwrecked

Regarding my creative process from having the ideas to actually executing them into a finished product, this is a longer answer. I will pepper this post with pictures to keep it interesting. Spoiler alert, it ends with a video.

The beginning often varies and I’m not always the one who has the idea, but when I do, it usually starts with a random text message at a random hour, like this:

This text idea is one of the lucky few that made it out alive. My text histories are a veritable graveyard of ideas that never came to be, which is totally fine. Mostly it’s just helpful to have your go-to friends who you trust to tell you when your crazy idea is half-baked and when it could actually be a thing. If I’m excited about a new project, I start by first reaching out to the people who will be most invested in making it happen. For me, that’s my cast, my director of photography, and my production designer. They’re usually all on board before the scripts are even written.

Then comes the actual writing. I have a notebook where I sketch out my story ideas and most come to nothing, but sometimes they do come to something. It’s always gratifying to go back to the first page where a project was mentioned and see ‘Oh, hey, this idea turned into a thing that turned into another thing that turned into this video.’

Once the script is written, the next thing I do is create a Pinterest board and share it with my production designer. I generally prefer to have one board per location on a project, since we have to design by location. I target the dominant elements of our set design - book walls, skeleton keys, shadow puppets, floral imagery, etc. Even if something isn’t a perfect match but evokes the feeling/atmosphere of what I want, I’ll repin it. The purpose of our Pinterest boards is for us to be able to step back and get a general impression of all the elements of our set design coming together.

Next I discuss the project’s cinematography style with my director of photography. Our meetings tend to vary by scope of project, but we almost always start by watching a bunch of YouTube clips of movies I’d like to copy in terms of lighting/camera moves. After that, we’ll compose a shot list from the shooting script, and occasionally we’ll have a loose storyboard.

At this point, we’re usually in the thick of pre-production and a bunch of things start happening at once.

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I saw BvS at one o’clock this afternoon in an empty theater with my best friend and a shitload of popcorn, and I have been thinking about it since. It’s the kind of movie you can’t help but think about. It’s the kind of movie that you can’t help but recap. I walked out of the movie recapping it to my friend. We spent our entire lunch trying to explain the movie to each other. When I got home, I held my mom hostage for half an hour as I recapped the entire movie to her. Hell, since Amelia and I were the only ones in the theater we spent the entire time watching the movie recapping it to each other. And when I say recapping, I mean literally we were just recounting what we had seen on screen. At one point when Batman was rescuing Superman’s mom, I burst out laughing not because of what was happening on screen (which was a pretty good fight scene), but because I was still remembering the Martha moment. And then I immediately reminded Amelia that that moment had, in fact and despite everything, actually happened. This is simply a movie that demands to be talked about, which is what I’ve spent the last five hours doing. Mom’s pointed out how very many times I’ve used the words baffling and inexplicable. That’s because this movie is the most baffling and inexplicable film I have seen in a long time. 

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anonymous asked:

I love all of the CP on your blog :) I just finished both books&there isn'tenough content about this wonderful series! I was wondering- Laurent seems pretty cold to Damen through most of the series. Well There's that time in book two when they're alone in the inn. Besides that are we sure Laurent loves (as people put it) Damen? I mean, like where's the transition of hate to love? Book 2? I love your analysis of the story so I would love your feedback on Laurent! :3

[settles in at desk with a bowl of chili and the cp ebooks, annotated w/ color-coded highlights][cracks knuckles][starts typing] okay, my darling grayface. LET’S DO THIS. a read more for the children, you know the drill,

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