short-bone

Penguins have “knees” inside their bodies. This is actually the case for almost all birds. The femur bone is short and very close to the torso, whereas the Tibia and Tarsus are longer. The femurs are not actually within the torso, they are just very close, so that when you take an X-ray, the rest of the torso overlaps the top part of the legs.That’s why it looks like a bird’s “knees” bend the “wrong” way. What we think of as the “knee” is really a bird’s ankle. This, and the anatomy of the pelvis, is why birds usually hop, instead of walking, and wobble from side to side when walking. (Source)

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Throwin’ the Bones

Of the divinatory techniques with which I am familiar, bones are my personal favorite. Yes, they have that very witchy vibe – but it’s more than that; the bones are honest. They don’t sugar coat, and while they have to be interpreted, once you know how to read them – there’s little room for interpretation. They are very direct and are much better suited to answering yes or no questions than tarot. With a little imaginative methodology, there few questions the bones can’t answer. And even fewer they won’t answer (as tarot cards can be known to do). A few examples of things I think the bones are better at answering than tarot: questions involving time, questions regarding health, sickness and maledictions; they present a broader grasp to any given situation – incorporating things outside of the question presented and how these things relate to the question or the reading, showing the interconnectedness of life – and how these things all relate back.

Our countless cultures have countless methods for collecting and reading the Bones – and I can only rightly attest to my own methodology: one in which the Bones need not necessarily consist solely of bones, but a collection of gathered trinkets and curios, all with their own meaning, their own story and their own energy. My collection consists of: bones (bare and painted), coins, stones, shells, jewelry, twigs, buttons, animal teeth and other squabbles. The only rule I implement is that the item can be easily gathered and (safely) tossed without breakage or injury (save your razor-blades and glass shards for witches’ bottles!).

Collecting the Bones and Bobbles

Most any small bones will do, though its recommended that you use bones that haven’t been cooked, as cooked bones have a tendency to get very brittle – especially in the case of chicken, which is quite common. In my collection I have a number of different animal bones: most are chicken, but I also have some raccoon and possum bones, as well as teeth and claws. I built a “base” of bones, but am continuously adding or replacing as I see fit.

A short list of “Bones” I like to include – most of which serve as my “base” bones:

  • Self Bone – used for the reader
  • Other Bone – used to represent another person or the person you are reading
  • Magic Bone – represents the need for or use of magic
  • “Evil” Bone – malicious or hateful acts, disadvantageous behavior
  • Love Bone – represents romantic love
  • Male Bone – represents male fertility, masculinity, sexuality or a man
  • Female Bone – represents female fertility, femininity, sexuality or a woman
  • Health Bone – represents physical or mental health
  • Wealth Bone – represents financial standing or monetary issues
  • Family Bone – represents familial connections or a family member
  • Fate Bone – represents destiny and your lifepath (I use a shell for this: open side up means an event can be altered, destiny is not set in stone; open side down, this path must be walked – prepare in lieu of fighting)
  • “Key” Bone – (I actually use a small key) which represents the key to any given situation, the remedy or problem at hand and its cause

This list is by no means comprehensive and I have many more bones in my collection with more menial meanings. This is simply a small list of options to be added to and adapted by whosoever casts the bones.


Reading the Bones

There is no right or wrong way to read the bones, there is simply your way and their way. Below I will dictate how it is that I do a general reading – again, this is just an example of one way, take and adapt to fit your own unique style or tradition!

  1. Begin by collecting your bones into your hand. I keep mine in a leather pouch, but don’t like to toss them directly from the bag as it doesn’t allow for much control – i.e. the bones fall out either in a massive, unreadable pile or they fly out in such a scattered way nothing is close enough to read. Throwing them from the hand allows for a rather contained casting, and one that can be read easily. I do not include the Self or Other bone, instead, the Self Bone is placed before the caster and the Other Bones is placed either in front of the person you’re reading for or simply in the middle of the casting area. When reading for yourself, place the Self Bone in the center and discard the Other Bone.
  2. Throw the Bones. This can be done on a square of cloth on which a circle (or any number of complex shapes) has been drawn or simply upon a flat table. If throwing in a circle, discard all bones that fall outside of it. These bones are null for the reading, though they can also be read as “far from the person’s mind/current situation.”
  3. Interpret the Bones. This is done by noting the location and connection of the bones present. For instance, note the Love Bones proximity to the Other Bones and the Male Bone. This could be interpreted as being the male love of the querent – but if the “Evil” bones is introduced, this could symbol ulterior motives or a hostile or explosive relationship. Read based on both their proximity to the Other Bone – the closer, the higher priority the matter is – and their relation to one another. It’s very much like investigating a big puzzle, putting it together piece by piece to form a comprehensive understanding of their life or situation. Also not their relation based on the third dimension: x bone seems to be overlapping y bone – is the x issue eclipsing an underlying problem or truth represented by y? It depends. Only through practice will you find clarity.
  4. Convey the message. I always like to spend a few moments making a variety of “hmm” noises when reading for others – it builds up their anticipation. Or you can throw in the occasional gasp or snarky smirk. Their responses are usually hilarious – even more so when yours are genuine! If you are reading on your own, it may be a good idea to sketch out a general map of the readings as opposed to taking a picture as often bones overlie others, which makes for a rather misleading photo representation. You might also find jotting down notes rewarding, especially in synthesizing a cohesive read.
  5. Once you’ve garnered all the information you can from that particular toss, feel free to specify: take the bone/situation you wish to examine and toss the rest again over it/them, reading the others through that particular lens. I.E. Who is this person mentioned? What are their qualities? What is the nature of this love? What magic is being referenced here? Follow that rabbit hole as far as you wish, building your understanding.

Do not be afraid to adjust your style! Want to narrow down a time frame? Make a sort of timeline with the bones. Wish to determine the source of an ailment? Shape the bones into the form of a body. I find the bones allow for far more creativity and ingenuity than cards. And above all – TRUST YOUR GUT.


Photos: These are photos of my “base” bones when I first started reading; since then they have probably doubled (if not tripled) in number and do not incorporate my other animal bones, claws or teeth. 

Bungou Stray Dogs Movie Staff Talk - 11/03/2017

So I went to the overnight theater viewing of BSD Season 2 yesterday. Here are some bullet points about the short staff talk with Bones animation producer Suzuki Mari and Kadokawa producer Kurakane Chiaki.

  • The staff was also fangirling over BSD! I felt their delight and excitement in having a new material.
  • They were ecstatic about Odasaku’s appearance.
  • They took note of how Dazai’s hair in the poster is a bit different than the usual.
  • Kurakane-san was particularly happy about Kyouka’s appearance in the poster. “Hey, Kyouka-chan’s there! She’s cute!”
  • They also remarked how Chuuya’s eyes are different as opposed to what is expected when he’s in Corruption state.
  • In the PV, they mentioned how Dazai’s eyes have no light in this scene.
  • They also commented on how intriguing Akutagawa’s line is in the PV. 
  • The staff arranged a meeting with Shibusawa’s real-life wife, who they found to be a really kind person. They visited the literary master’s house and had a fun and memorable experience, Asagiri included. His wife talked about things like how Shibusawa used to sit on this particular chair in the house, and that the master’s table where he wrote his pieces was left untouched.
  • When they presented the character design, they talked like, “This is your husband. He became an ikemen!“ 
  • Harukawa-sensei and character designer Arai-san worked together for Shibusawa’s look. With regards his hair, the talk was something like, so far there isn’t any long-haired character in BSD so they gave him a long hair.
  • If you remember, BSD’s official Twitter account had a countdown about the movie’s announcement in June when they posted pictures of the apple pie on the Dead Apple plate. They bought that apple pie in Yokohama, and the staff ate it. They said that there is meaning behind those pictures, on how the apple pie slices were arranged. So please look at them again and think. ((I can’t get anything tho huhu))
  • In addition, if you look at the three visuals together they say something about the movie’s content.
  • The fans should also look forward to the full version of GRANRODEO’s Deadly Drive especially that the lyrics contained the words, "stray dogs.”
  • In the end, they were really happy with how the PV went, and that everyone is really doing their best for the movie. They said that the fans’ support will be their strength, and that they are really thankful that BSD has continued to keep going.
Mark ego's as quotes from my life
  • Dark: "i accidentally created a cult."
  • Dark part 2: "you interupted my monologue. "
  • Dark part 3: "I AM THE DUNGON MASTER HERE!"
  • Bing: "are those underwear with pockets!?" "those are shorts..."
  • Bing part 2: "bone apple titty"
  • Bing Part 3: "he was a girl, she was a boy...wait thats not how that song goes."
  • Wilf: "I'll go get the sacrifice...i mean guest."
  • Google: "im charged and ready to fight god in the bathroom."
  • Host: "i'm secretly 5 pugs in a trench coat"
  • Host part 2: "what if im secretly blind?"
  • Doc: "i dont have enough money to have cancer. i dont even have enough money to die."
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A fine and rare pale turquoise silk damask pet-en-lair robe, circa 1770, the fabric late 1730s, early 1740s, the lightly boned short jacket with closed-front, angular elbow cuffs trimmed with matching ruffles, ‘sack’ back, with matching petticoat and narrow ruffled choker band, the fabric woven with large-scale flowerheads c.1730-40

anonymous asked:

how do I go about making a short film? I have no experience and want to experiment but have no idea where to start. have any tips or advice?

Hi Anon!

There’s a lot that goes into making a short film and the bigger the project, the more you need. That being said, this post is a bit long so I hope it’s not too overwhelming.

Let’s start with the basics, ranked (roughly) from most important to least important:

  1. Camera (Equipment)
  2. Location
  3. Script (PreProduction)
  4. Crew
  5. Cast
  6. Budget

Technically, a camera and location are all you need to make a film that is strictly aesthetic. But having a script (formalized or not), is IMMENSELY important if you are telling a story with any kind of plot. If you can get a solid story on paper and are able to organize it well, you will be off to a good start.

So if you get these 6 things together (or even all but the budget), you can make a bare-bones short film.

Now let’s expand this list to be a bare-bones “professional” set. I use “professional” in quotes because equipment is NOT equivalent to skill, experience, or quality.

  1. Equipment (Camera)
    1. Camera
    2. Lenses (Prime or Zoom)
    3. Tripod
    4. Tungsten/Florescent/LED lights
    5. Shotgun mic
    6. Boom pole
    7. Multi-track field recorder
    8. Slate
  2. Location
    1. Written permission to use space
    2. Knowledge of the layout
      1. Room for people and equipment
      2. Lighting situation
      3. Sound situation
      4. How to film shots in the space
  3. Script (PreProduction)
    1. Script
    2. Script Breakdown
      1. List of characters
      2. List of props
      3. List of settings
    3. Scheduled filming days
    4. Shot list
  4. Crew
    1. Director/Cinematographer
    2. Production Designer/Art Director
    3. Gaffer
    4. Boom Operator/sound mixer
    5. Editor
  5. Cast
    1. List of confirmed actors
    2. List of extras
    3. List of dietary restrictions (Cast and crew)
  6. Budget
    1. Cost of props
    2. Cost of food for cast and crew
    3. Cost of location

As you can see, most of the requirements are based on planning. The more you do in preproduction, the better off you will be during production. This also means that lack of equipment shouldn’t deter you from making a film.

If you’re interested, below the cut I have expanded this list even further to show what goes into an average short film.

Good luck!

Jules

Keep reading

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Researchers discover Moabosaurus in Utah’s ‘gold mine’

Move over, honeybee and seagull: it’s time to meet Moabosaurus utahensis, Utah’s newly discovered dinosaur, whose past reveals even more about the state’s long-term history.

The Moabosaurus discovery was published this week by the University of Michigan’s Contributions from the Museum of Paleontology. The paper, authored by three Brigham Young University researchers and a BYU graduate at Auburn University, profiles Moabosaurus, a 125-million-year-old dinosaur whose skeleton was assembled using bones extracted from the Dalton Wells Quarry, near Arches National Park.

BYU geology professor and lead author Brooks Britt explained that in analyzing dinosaur bones, he and colleagues rely on constant comparisons with other related specimens. If there are enough distinguishing features to make it unique, it’s new.

“It’s like looking at a piece of a car,” Britt said. “You can look at it and say it belongs to a Ford sedan, but it’s not exactly a Focus or a Fusion or a Fiesta. We do the same with dinosaurs.”

Moabosaurus belongs to a group of herbivorous dinosaurs known as sauropods, which includes giants such as Brontosaurus and Brachiosaurus, who had long necks and pillar-like legs. Moabosaurus is most closely related to species found in Spain and Tanzania, which tells researchers that during its time, there were still intermittent physical connections between Europe, Africa and North America.

Moabosaurus lived in Utah before it resembled the desert we know – when it was filled with large trees, plentiful streams, lakes and dinosaurs.

“We always think of Moab in terms of tourism and outdoor activities, but a paleontologist thinks of Moab as a gold mine for dinosaur bones,” Britt said.

In naming the species, Britt and his team, which included BYU Museum of Paleontology curator Rod Scheetz and biology professor Michael Whiting, decided to pay tribute to that gold mine. “We’re honoring the city of Moab and the State of Utah because they were so supportive of our excavation efforts over the decades it’s taken us to pull the animal out of the ground,” Britt said, referencing the digs that began when he was a BYU geology student in the late '70s.

A previous study indicates that a large number of Moabosaurus and other dinosaurs died in a severe drought. Survivors trampled their fallen companions’ bodies, crushing their bones. After the drought ended, streams eroded the land, and transported the bones a short distance, where they were again trampled. Meanwhile, insects in the soils fed on the bones, leaving behind tell-tale burrow marks.

“We’re lucky to get anything out of this site,” Britt said. “Most bones we find are fragmentary, so only a small percentage of them are usable. And that’s why it took so long to get this animal put together: we had to collect huge numbers of bones in order to get enough that were complete.”

BYU has a legacy of collecting dinosaurs that started in the early 1960s, and Britt and colleagues are continuing their excavation efforts in eastern Utah. Moabosaurus now joins a range of other findings currently on display at BYU’s Museum of Paleontology – though, until its placard is updated, it’s identified as “Not yet named” (pronunciation: NOT-yet-NAIM-ed).

“Sure, we could find bones at other places in the world, but we find so many right here in Utah,” Britt said. “You don’t have to travel the world to discover new animals.”

Lunchtime Drabble: Short People

Bones x Reader
Words: 449
Warnings: fluff, AOS

A/N: I’m breaking into a “new” fandom for me. I haven’t written anything Star Trek before. 


Y/N stood in the closet glaring at the top shelf. She had been sent in by Dr. McCoy to grab some extra supplies for the away team but he had failed to mention that the supplies were on the top shelf.

“Apparently no one in Starfleet ever thought a stool would come in handy,” Y/N muttered to herself. “That would just make too much sense. Let’s not be practical, that would just be too much!” She continued to grumble to herself as she carefully grabbed the highest shelf her hands could reach and stepped onto the highest shelf her foot could reach and began climbing the shelves. “Good thing I have on this very practical short skirt, clearly made for climbing shelves so that I can do my blasted job.” she muttered to herself as she climbed up a few more shelves. “Who in their right mind builds shelves this high on a starship anyway?!”

“What’s taking so long, Y/N?” Bones demanded from the Medbay.

“I’m working on it, Doc. Having some short people problems in here.” Y/N replied as she climbed up another shelf, this one wobbling slightly.

“What do you mean?” Bones came around the corner just as the shelf gave away and Y/N lost her grip on the top shelf and fell back right into the doctor’s arms.

“Y/N, darlin’ if you wanted to get close to me all you had to do was ask,” Bones grinned.

“Oh please,” Y/N rolled her eyes as she wrapped her arms around his neck. “One look your way and it wouldn’t have taken any words at all.”

“You wanna test that theory?” Bones asked, his eyes moving from her eyes to her mouth and back again.

“I’m game if you are,” Y/N whispered. Bones closed the couple of inches between them and claimed her lips. He carefully pulled his arm out from under her knees, allow her feet to touch the floor and wrapped his arm around her waist, pulling her flush against his body and up onto her toes. He tipped his head slightly, deepening the kiss.

Neither Bones or Y/N heard the captain come into the room until he cleared his throat for the second time. They broke away from each other, blushes creeping up their faces.

“Bones, do you have those supplies ready yet?” Jim asked with a huge grin on his face. Bones easily reached into the top shelf and handed Jim the bag of supplies. “Thank you. As you were.”

Bones grinned and reached for Y/N, pulling her back into the closet and into his arms. The door closed just as Jim glanced back and saw their lips meet again.

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TRAINED and BEADED CHIFFON EVENING GOWN, c. 1900. 

2-piece black chiffon over cream silk having boned short sleeve bodice trimmed in cream applique lace, silver sequins and steel beads, with black silk and beaded tassels, self belt with fancy buckle. Skirt decorated with beaded and sequined bands, the uppermost joined by vertical bands, lined in cream silk.