scenes simplified

Scenes Simplified ~master list~

**indicates the latest additions

Shadowhunters:

1. Malec 1x04 Raising Hell
2. Malec 1x06 Of Men and Angels
3. Malec 1x08 Bad Blood
4. Malec 1x09 Rise Up
5. Malec 1x11 Blood Calls To Blood
6. Malec 1x12 Malec - Pt. 1
7. Malec 1x12 Malec - Pt. 2
8. Malec 1x13 Morning Star
9. Malec 2x01 This Guilty Blood
10. Malec 2x03 Parabatai Lost
11. Malec 2x04 Day of Wrath
12. Malec 2x05 Dust and Shadows
13. Malec 2x06 Iron Sisters
14. Malec 2x07 How Are Thou Fallen
15. Malec 2x08 Love is a Devil
16. Malec 2x09 Bound By Blood
17. Malec 2x10 By the Light of Dawn
18. Malec 2x11 Mea Maxima Culpa
19. Malec 2x12 You Are Not Your Own
20. Malec 2x13 Those of Demon Blood
21. Malec 2x14 The Fair Folk
22. Malec 2x15 A Problem of Memory
23. Malec 2x17 A Dark Reflection
24. Malec 2x18 Awake, Arise, or Be Forever Fallen
25. Malec 2x20 Beside Still Water
26. Malec 3x01 On Infernal Ground
27. Malec 3x02 The Powers That Be
28. Malec 3x03 What Lies Beneath
29. Malec 3x05 Stronger Than Heaven
**30. Malec 3x10 Erchomai



Andi Mack, Jyrus:

1. Jyrus 1x02 Outside the Box
2. Jyrus 1x03 Shhh!
3. Jyrus 1x05 It’s Not About You
4. Jyrus 1x07 Dad Influence
5. Jyrus 1x08 Terms of Embarrassment
6. Jyrus 1x10 Home Away From Home
7. Jyrus 1x12 Best Surprise Ever
8. Jyrus 2x01 Hey, Who Wants Pizza? Pt. 1
9. Jyrus 2x01 Hey, Who Wants Pizza? Pt. 2
10. Jyrus 2x03 Friends Like These
11. Jyrus 2x04 Mama
12. Jyrus 2x10 A Good Hair Day
13. Jyrus 2x12 We Were Never
14. Jyrus 2x18 Crime Scene: Andi Shack!
**15. Jyrus 2x23 Keep a Lid On It


Andi Mack, Other:

1. Tyrus/Jyrus 2x11 Miniature Golf
1. Jandi/Jyrus 2x13 Cyrus’ Bash-Mitzvah Pt. 1
2. Jandi/Wandi/Jyrus 2x13 Cyrus’ Bash-Mitzvah Pt. 2
3. Jandi/Wandi 2x13 Cyrus’ Bash-Mitzvah Pt. 3
**4. Tyrus 2x26 The Cake That Takes The Cake



The Fosters, Jonnor:

1. Jonnor 1x05 The Morning After
2. Jonnor 1x07 The Fallout
3. Jonnor 1x16 Us Against the World
4. Jonnor 1x21 Adoption Day
5. Jonnor 2x02 Take Me Out
6. Jonnor 2x03 Play
7. Jonnor 2x04 Say Something (PICKUP LINES)
8. Jonnor 2x10 Someone’s Little Sister
9. Jonnor 2x15 Light of Day
10. Jonnor 2x18 Now Hear This Pt. 1
11. Jonnor 2x18 Now Hear This Pt. 2
12. Jonnor 2x19 Justify the Means
13. Jonnor 2x20 Not That Kind of Girl
14. Jonnor 2x21 The End of the Beginning
15. Jonnor 3x01 Wreckage
16. Jonnor 3x02 Father’s Day
17. Jonnor 3x03 Deja Vu
18. Jonnor 3x04 More Than Words
19. Jonnor 3x08 Daughters
20. Jonnor 3x10 Lucky Pt. 2 (pt. 1 listed below)
21. Jonnor 3x10 Lucky Pt. 3
22. Jonnor 3x10 Lucky Pt. 4
23. Jonnor 3x11 First Impressions
24. Jonnor 3x12 Mixed Messages


The Fosters, Joah:

1. Joah 4x03 Trust
2. Joah 4x06 Justify


The Fosters, Other:

1. Season 3 Promo
2. My entry for Famdom Week for wybcampaign.
3. 3x04 More Than Words Promo
4. 3x05 Going South Promo
5. Brallie 3x05 Going South
6. 2x05 Brandon + Pot Brownie
7. 3x10 Lucky Pt. 1
8. Zariana 1x18 Escapes and Reversals
9. Season 3B Promo
10. Season 3B Jonnor Promo Pic
11. Nésus/Jude 3x13 If and When
12. Jude/Jack 3x19 The Show




Girl Meets World:

1. Larkle 1x13 Girl Meets Flaws
2. Shory/Rilaya 1x16 Girl Meets Home for the Holidays




Other:

1. Phineas and Ferb 1x01 Rollercoaster
2. Scream Queens 1x03 Chainsaw (short)
3. Phan: phil is not on fire
4. Love, Simon Trailer

Imagine detective!Woozi, who spend days trying to solve a mystery, finding out that his partner, detective!Mingyu was able to solve the same case almost immediately, leaving the former bewildered.

anonymous asked:

I personally think it only appears Sans can bleed because he has a bottle of ketchup in his jacket. During a True Pacifist Run when you go to Grillby's with Sans, he pulls a bottle of ketchup seemingly out of nowhere. I assume he always keeps it in his jacket.

Sure!  If that’s what you believe, that’s awesome.

Again, I’m fine with other people’s head cannons, but I’m personally not a big fan of the ketchup idea.  I like to think that Sans pulling the ketchup bottle out of nowhere was just Toby wanting to simplify the scene, heh.  But yours is an interesting take too!  I just have a different idea, haha.

Maybe it’s just me being a little sour from all the times people tried to convince me that this head cannon is the only true option, and I couldn’t have my own ideas.

So much of the game can be taken in so many different ways.  I love hearing new ideas and new theories.  Not everyone will agree though, and that’s okay.  I just don’t like seeing people fighting over these ideas, and who’s right or wrong, you know?

Sorry for rambling, haha.

bokkle-oran-doove-deactivated20  asked:

I’ve just read your post on how to write combat, but I was wondering: I do Ju-Jitsu & there’s a lot of throws with technical names, how are you suppose to write them without either sounding like your talking to a 5yo, or with names that people don’t understand? For example: • Ron did a butterfly throw on his attacker. • Ron caught the punch and bent the attacker over, he wrapped his leg over the straight arm and as he stepped over with his second leg, he slammed the man’s head into the floor.

Writing Specific Fighting Techniques.

Sorry for the delay! There’s a few ways you can go about this, depending on what purpose the combat serves within the story. Here’s the key points though:

Are the names of techniques actually bad

If the style of combat is a major foundation for the story, (say if you’re writing about an MMA fighter as she struggles to get back into the ring again after a serious injury), then sometimes it’s good to give the names of techniques (while explaining them, of course.) In this case the reader expects to learn things, because there’s not much else going on outside of the progression of skill and the interwoven emotional battle.

In all other cases though, it’s usually better to leave technical names out.

If the fight scene is long, then simplify things.

It always gives me a little frustrated tingle in my gut whenever I have to simplify techniques for the sake of reader understandably, but it’ll help your story in the long run. Sometimes it’s better just to say:

Ron caught the punch and threw his attacker down, slamming the man’s face into the floor. 

Does the reader know what the throw actually required to pull off? Nope. Could a Ju Jitsu fighter read it and know which technique was being used? They could make a logical guess, but still, probably not.

But an ordinary reader can easily get through a full page of this writing style and still visualize what’s happening, even if they miss the little details – the weight shifts, the subtle movements, the specific placement of feet and hands – and that’s more important overall. You’re writing a story, not a How To pamphlet. 

For every detail you keep, augment it with sensations, feelings, and emotions.

If your main character pinned their head into someone’s neck, do they smell the attacker’s sweat? If they grab the attacker’s wrist, does the person’s silky shirt slip a bit under their skin? If they shove their elbow into their attacker’s side, do they hit a soft spot or a bone that cracks? When they instinctively throw a dangerous move on their sparing partner, do they regret it? If their attacker is heavily injured, do they slow or soften their moves, or go for a knockout?

Fleshing out a scene with these immersive components can help your description of the moves themselves feel less like that atrocious How To pamphlet, and more like a fight that’s actively happening.

Concepts are good for authenticity.

If you’re writing a character who’s supposed to know these moves front and back, it might feel like simplifying everything down the bare minimum means you lose the feeling that the character is actually highly skilled. 

To add back in this authenticity, try including details (perhaps during something no-suspense, like sparing) with the reasoning behind them. What goes into disrupting someone’s balance and why would you want to do that? How do you use the force of your whole body to move someone, instead of just your arm muscles? What has to fall into place before specific moves can be pulled off? What risks come with certain techniques?

Showing that the character knows these sorts of key concepts will help prove that they have the skill they claim to know, even if the writing of the techniques is simplistic.

anonymous asked:

What are your thoughts on the girls making Jonah uncomfortable

Although it could be easy to interpret it as, to quote Jyrus scenes simplified, “save meh frum da heteros”, I don’t necessarily think that’s it (could it be a small part of it subconsciously? Maybe. But I don’t think it’s the main point of the scene)

All throughout season 1, we see that all of Jonah’s social relationships are very superficial. He has a manipulative girlfriend who he clearly doesn’t truly care for beyond a superficial level (”Happy birthday. From, Jonah’…..okay). He’s seen hanging out, smiling, and talking with other large groups of kids, but they all appear to be more acquaintance friends than close friends. He’s captain of his ultimate frisbee team, but even his teammates are more groupies than friends (Gus: “I did it for you, Jonah!”). And in the beginning of the series, this superficiality extends to his relationships with Cyrus and Andi as well (I would include Buffy but he doesn’t even really have much of any relationship with Buffy in S1). Cyrus and Andi, while less groupie-like than the Space Otters or his acquaintances, treat Jonah as “Jonah Beck ™ “ throughout the first half of season 1. It’s only as they grow closer to Jonah do they start to realize he’s more than that (Cyrus: “I didn’t need to know he was human after all”). So when Andi stands up for herself in the iconic “Were We Ever” speech, I think it forces Jonah to examine the relationships he does have, and he realizes how superficial/fake most of them are, as well as realizing how his relationships with Andi and Cyrus are probably the closest to resembling genuine friendship. 

And this realization that Andi and Cyrus are the closest things to real friends that he has is what drives a lot of his actions in 1x12 and the first half of 2x01 (aka what was supposed to be 1x13). Him dumping Amber, that sweet sincerity when he says “Thank you, Cyrus”, the way he wants to spend more time with Andi. It all connects to him trying to preserve and solidify what he realizes are his truest friendships (and we could go into a tangent about how heteronormativity probably makes him think that means he has feelings for Andi….but that’s not the point of this post).  

So fast forward to season 2, and we see Jonah less with The Space Otters and random big groups of acquaintances, and more trying to integrate himself with the GHC. In the early episodes of this season, this clearly intimidates him (like when Buffy confronts him and says they’re like a small gang in 2x01) and he doesn’t feel part of the group still in 2x05 (”I know you guys are the GHC…”). But we see him try to develop these individual relationships with them nonetheless—with Andi as a sort of gf, with Cyrus (2x04, 2x11), with Buffy (2x10)—even if he sometimes fails because he lacks the execution and his thinking process is definitely still somewhat warped from dating Amber. 

Okay, on to the girls at the bar mitzvah. While Jonah looks like he’s having a good time dancing with them, he clearly is uncomfortable with them at the basketball net. And it’s because they’re acting like superficial groupies there. He’s being viewed as “Jonah Beck ™” again. And now what once gave him validation in season 1 is doing the opposite; it’s creating anxiety

So when he finds out from Cyrus that his sorta relationship with Andi is in jeopardy, that only increases the anxiety. Aside from Cyrus, Andi is his closest genuine friend (and seeing how a lot of her words and actions are what caused Jonah to reevaluate his relationships, it makes sense he fixates on his relationship with Andi more….almost a little too codependently). Then when Andi pretty much dumps him, it doesn’t matter that Andi agreed to stay friends (”taters at The Spoon later?”), he was already dealing with anxiety prior to their chat. He is most likely already catastrophizing everything she’s saying—thinking she’s totally through with him even as friends and subsequently thinking he’ll be cut off from the GHC since they’re so close knit, thinking he’s alone, thinking that when he loses Andi/GHC he’ll only be left with groupies who may make him popular but also make him lonely; etc etc. These might not all be fully realized thoughts, but they’re there.

All these internal thoughts building up into more anxiety are shown when Andi leaves and the camera zooms into an anxious looking Jonah. And after the panic attack, when Dr. Goodman asks if anything made him anxious or nervous, Jonah says “yeah. kinda”, but doesn’t say what. Part of it is because he doesn’t want to talk about it to anyone yet, but part of it is also because it’s not so concrete as Andi dumping him. It’s more complex than that, and Jonah might not even know how to describe it. Sometimes articulating the source of one’s anxiety is difficult. It is for me as an adult, so I can only imagine how it would be hard for teenage Jonah going through this for the first time. 

But what he does know is that he never wants to feel that way again. So he goes to Andi’s house, intending to tell her about the anxiety and panic attack. But he backs out. Maybe it’s because he’s just scared, maybe it’s because he thinks she doesn’t want to be friends with him after breaking up with him. So instead he avoids addressing the real issue, and comes up with a quick, desperate band aid type of solution–giving into what Andi wanted before (being official). It’s messy and will certainly blow up in his face ultimately, but it’s also a very apt thing for him to do in the moment as a teenager who doesn’t have any coping skills for this. 

Anyway, I don’t know how me answering this ask turned into one long Jonah meta, but here we are. I’m excited to see where the writers take this story line for the second half of season 2!

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This week’s behind the scenes sketch is (surprisingly) from Clyde’s Season 2!

This EI introduced Joaquin and underwent many changes as we were designing his character. One question was how was he seducing the MC. Would he creep up behind her and whisper in her ear or steal something precious from her first, like a necklace? Initially we wanted to show Clyde’s reaction since this was his route. Some ideas were to have him looking through the window, shocked, while Joaquin kisses MC. However, we decided the main purpose was to introduce Joaquin. We simplified the scene to emphasize Joaquin’s forward nature.

Poor Clyde!

Are there any specific EIs or titles that you’d especially like to see the production sketches of? Let us know!

anonymous asked:

Hey dude I love your work! I was wondering if you had any advice about shooting in snow, e.g a good colour film stock and how to meter?

Thank you!

There are two general scenarios in which I like to shoot snow. This is not to say you cannot make great photographs in other conditions, I just find these work for the style of images I desire to make.

The first would be “overcast” conditions where the light is soft and flat. In this scenario I tend to shoot Kodak Ektar 100 for its color saturation and contrast, it renders subjects that are in flat even light very nicely. I meter an area of snow that is lit evenly, in overcast conditions this should be most of the scene, and place it 2 stops above middle gray so as it will retain its texture, contour and color. I will then meter my highlights or shadows, if any, so I am aware of how they will be rendered, making adjustments if needed. I use a spot meter but if you are using an incident meter, which measures the light falling on the scene rather than the light being reflected back (like a spot meter), overcast light is the easiest lighting scenario to measure as the light falling on your scene is soft and uniform.


The second scenario would be mixed light in partially cloudy conditions. The mix of direct sunlight, diffused sunlight and shadow can create some amazing scenes on the simplified canvas that snow creates. Typically in these types of scenes I like to shoot Kodak Portra 160 for its dynamic range, lower contrast and the way it renders highlights/over exposure. I will first meter the highlights, typically a bright cloud in the sky or a bright reflecting edge of snow. I will place these highlights at about 2 1/3 stops above middle gray. I will then meter the more generally lit (midtone) foreground of the scene as well as any shadows or darker subjects to make sure they fall within the exposure range and will be rendered how I want them to appear. This typically means giving them a bit more exposure which requires I compensate for the highlights by using a Graduated ND Filter over the highlights. Graduated ND filters are generally thought of for bright skies but I have used them upside down, to the side and even from the top and bottom at the same time to “hold back” bright areas of scenes. Metering scenes like this without a spotmeter is difficult.  You not only need to understand the range of the scene but also the relation of highlights, shadows and midtones to each other. 


For more info on how I use a light meter you can also check out this post!

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“The code is more what you’d call guidelines then actual rules…” Points to YOU if you caught that reference ;)

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Scenes Simplified Master List