#manual control of a camera

[doornkamp-blog]

NEW TO PHOTOGRAPHY? - USE THE MANUAL SETTINGS

The only way to be comfortable with your camera is to use it. And the best way to learn how it works is to explore the manual settings. I know it is easy to just use the Auto settings, but you will never become creative that way. You must practice .. practice … and practice … with the manual settings. Take them one at a time. See what the aperture settings do to your images. Experiment with…

[amygdalae]

I was messing around in Nokron and I saw this bigass chandelier and thought it was one of those bloodborne spiders

oh I like that chandelier :^) there are so many intricate and beautifully constructed objects in the game's areas that might entirely slip past the player's notice

[shima-draws]

So I noticed over the past few months that my right joycon has been drifting. But I didn’t realize how fucking BAD it was drifting until I got a pro controller and started running around in Scarlet going “……Holy shit? My camera isn’t constantly drifting down? I don’t have to consciously move the camera back UP every 3 seconds? This is amazing. This is AMAZING I can actually experience this game like a normal person”

[qmpy]

Same camera that takes crappy fried scrunched up pictures of cats when zoomed in without messing with settings

You know that thing where you see a gorgeous view (left) and try to take a picture of it, but your phone camera is a joyless fucking nihilist who refuses to see the beauty in anything and only sees this (right)

[caraudioexpertaustralia0]

Headunit With Carplay For Ford focus 1999-2009 | manual AC LOW | 9 INCH

Upgrade your Ford Focus (1999-2009) with a 9-inch head unit featuring CarPlay, Android Auto, superior sound, and seamless integration with your car’s controls.

[tt-squid]

woa my camera has a star trials function what

[brightsuzaku]

SOLAR ECLIPSE 2024

Monday, April 8th

Hello, everyone! I'm a couple days late, but I wanted to share a a few photos I took with my smartphone during the solar eclipse!

I DID NOT LOOK DIRECTLY AT THE SUN. All photos were taken by indirectly "looking at the sun" through my camera and phone screen. I am not sure how much better it was that it wasn't sustained looking, it was frequent glances to make sure the lens was facing the correct object an that the zoom was right.

Phone is a SONY Xperia 1 IV. Pictures, below:

f/2.8, 1/50000, 14.5mm, ISO 125

In this image, surrounded by darkened clouds, my camera focuses on the sliver of the Sun visibly left uncovered by the Moon. The eclipse is a partial solar eclipse, and will never fully cover the sun from where I was located. The clouds look far darker than they actually were in real life, and the Sun's still-powerful light shines through, as if a halo.

Here is the same location, using a different lens, so that you can understand:

f/2.2, 1/1600, 2.67mm, ISO 125

Using a different lens, you can see the darkened shape and logo for the entrance of a Home Depot hardware store building in the foreground. I'm standing under a small tree in the parking lot, and you can see a few branches on the far left side. Anyway, the day's blue partly-cloudy skies above are significantly darkened by the partially-eclipsed Sun, in the upper middle of the image. It's an extremely bright glowing spot!

I didn't get any cool pictures of cast shadows on the ground, mostly because of the store building having cast the largest shadow of all.

But, I did get a weird photo of the lens flare as the eclipse progressed!

Once more, using these settings, f/2.8, 1/50000, 14.5mm, ISO 125

In this photo, I tried to get another picture of the eclipse! If I wore borrowed eclipse glasses, I could see the Sun as a small crescent, because it was mostly-covered by the Moon. However, my camera couldn't capture such details very well, and that sliver of light creates a bright round circle of eye-piercing glare, in the middle of the darkened clouds. What is notable is the shape of the lens flare, radiating from that too-bright orb: crescents! The lens flare features two crescents that can be seen: one closer to the Sun that is similar in orientation to the sliver of Sun located to the upper-left of the glare, and a second crescent with a "pink" halo (that appears reflected in orientation), even further to the upper left. The fuzzy, cottony shapes of the surrounding clouds are just visible around the source of the glare, but the rest of the surrounding sky is almost uniformly darkened.

I hope my pictures were interesting! And, I hope my descriptions were helpful. Catch ya later!

[anonymusbosch]

kinda freaked out that one of the control wheels on my camera is not working. I'm gonna try to disassemble it and see if I can fix it because I was shooting last weekend without being able to control aperture/ISO/shutter speed/exposure compensation manually and A Bitch Likes To Be In Control

[martinroyhall]

News: SUMMER NEWS FROM SUZUKI

0% Finance offers on all S-Cross models. Two years free servicing across the full Suzuki Hybrid passenger car range. Just putting this latest news from MotorMartin’s friends at Suzuki out in full: Suzuki is one of very few brands that offers Hybrid technology as standard across its passenger vehicle range together with high standard specification and all the tech you need. With Suzuki there is…

[softgrungeprophet]

elaborate dressup game

[ms-demeanor]

So you know absolutely positively nothing about photography

Cellphone cameras are fucking great. I love them. I love the ability to take photos whenever and wherever at basically zero cost.

Point-and-shoot cameras have always been awesome and accessible devices.

This is not a post shit-talking "basic" cameras. This is a post for people who have only ever used basic cameras who want to know at least slightly more about photography.

Because, the thing is, a remarkable amount of photography is math. And if you don't know it's math, it looks like a mystery. And you may be standing there snapping a photo with your phone that looks pretty good, but your friend with a DSLR looked at the sky, twisted a dial, and took three steps to the left and they took a photo of the same subject that looks like it belongs on a magazine cover.

How did they do that?

Probably math.

If you've come into possession of a DSLR camera and are disappointed that the photos you're taking aren't looking like the photos you thought came from DSLRs, I'm here to tell you about the math you may not know about.

What is a photograph?

At its most basic, a photograph is the result of light on a sensor. Let's consider a pinhole camera for a moment. A pinhole camera is a lightproof box with a piece of photographic paper on one side and a tiny hole in the other.

When you create a photo with a pinhole camera, you're using pretty much all of the math you would in a big fancy camera, just in a cruder form they are:

The sensitivity of the paper, film, or camera sensor to light (this is your "ISO" if you're using a digital camera or film). Light sensitivity can be easily changed on a digital camera, but on chemical-treated paper or film the sensitivity is predetermined and cannot be changed. If you want to change the ISO on an analog camera, you need to change the medium that's being exposed.

An opening to let light in - your F-stop, or aperture. The F-stop of a photo is how wide open the lens is to let light onto your film or sensor. In a pinhole camera, you have something that is theoretically a very very large F-stop because you have a very, very tiny opening to let light through (F-stops run in reverse - the bigger the number, the smaller the opening).

Exposure - your exposure is the amount of time you leave your sensor open to the light. The majority of photos you see in the world have exposure times that are measured in tiny fractions of a second, sometimes in thousandths of a second. If you're using photo paper in your pinhole camera, you may have an exposure time of minutes rather than tiny portions of a second, but your photo exposure will still depend on how long you want to leave your "lens" open.

Focal length - your focal length is a description of the relationship of the distance between the light source and the light sensor. You can manipulate this in a pinhole camera by making the camera longer or shorter. A larger focal length means a narrower field of view - it zooms in on the subject.

A pinhole camera is the simplest camera that lets you, the photographer, control all of the elements of a photo. This is, functionally, fully manual photography.

So what's the difference between all that and a cellphone camera?

Point-and-shoot cameras like those on cellphones give the user more limited control over these settings. For instance, think of a disposable camera. On a disposable camera, the photographer has control over one setting - the ISO of the film, which they can select at purchase. They can't control how wide the lens opens or how long it stays open, and the only way they can compensate for lighting that is a poor match to the ISO is flash.

Cellphone cameras are very much like a standard point-and-shoot. By default, users point their cameras, then shoot a photo. Many cellphones have a "pro" mode that will allow the user to emulate different ISOs or f-stops, but the sensors in cellphone cameras aren't as good as the ones in camera-cameras, and the lenses are very limited as well. Some cellphone cameras and point-and-shoot digital cameras WILL allow users to set longer exposures, and many cellphone cameras have multiple lenses which does allow for some lens effects, but they don't give a huge amount of control to the user.

Okay so let's say I've got my new shiny camera, what do I need to know?

For best results, you want your ISO to match the light you're shooting in. Low ISO is for bright light, high ISO is for low light. If you wanted to take snapshots of your family outdoors at disneyland in the summer, you'd buy 100 ISO film. When I used to shoot football games at night in oddly lit stadiums, I'd use 1600 ISO film. If you have a DSLR camera, there's a setting somewhere in there that tells you how to set the ISO. If you are shooting in relatively low light and the photos are turning out darker than you'd like *but* things are moving too quickly to use a longer exposure, you can bump up your ISO for brighter, sharper images but they will be more noisy and grainy than ones shot at a lower ISO. If you want clean, smooth, crisp images, your goal should be to shoot with the lowest ISO possible.

The Aperture of your camera lens determines your F-Stop. This acts like the pupils of your eyes. When it's really really bright out, your pupils shrink down to let in less light. When it's darker out, your pupils get bigger to let in more light. If you are shooting in low light, you want a low F-Stop, which means that your camera's lens is open really wide. If you are shooting in a bright environment, you want a higher F-Stop, which will mean the opening is very small. Since your F-stop interacts with the focal length of your lens, you will find that zooming in with the lens often makes images darker. To shoot clear images from far away, you need to be very conscious of your F-stop, your ISO, and ambient lighting conditions.

Exposure describes the length of time you set the camera to leave the aperture open. In many DSLRs this can span from 1/3200th of a second to infinitely long (the "bulb" setting means "aperture is open until you close it.") If you want sharp images of frozen motion, you want the fastest speed that you can get. Sports photography and photography of things like insects or milk crowns often use extremely short exposures to get sharp images. If you want blurry images you want slower speeds. If you want to take a photo in a low-light environment and capture motion within that environment - for instance, taking photos of cars on a freeway at night - you want slower speeds (if you want to do this in a brighter environment, like taking photos of a stream in the daytime, you want slower speeds and a specific kind of lens filter called a neutral density filter). When exposures are set to be longer than about 1/60th of a second, images with motion start to look blurry.

Focal Length determines the field of view of your subject. If you have a lens with variable focal lengths, this is called a zoom lens. A longer focal length zooms you in and a shorter focal length zooms you out. Lenses with fixed focal lengths are called prime lenses, and can't zoom in or out.

Depth of Field - your depth of field is a combination of the interaction of your focal length, your distance from your subject, and your F-stop. The depth of field describes the relative amount of space in a photograph that is in focus. A long depth of field means that much of the image plane is in focus. A short depth of field means that a narrow portion of the image plane is in focus. A low F-stop produces a narrow depth of field. A long focal length produces a narrow depth of field.

You can think of your camera as a tool that measures time and space. Your ISO and Exposures are measurements of time (how quickly the sensor senses the light, how long the sensor is exposed to the light), the F-Stop and the focal length are measurements of space (how wide the aperture of the camera is, how far the lens is from the sensor).

The pre-set modes on your camera, the ones on the dial that show a person running, flower, or a cloud, or a lady with a hat - these are generic settings that combine an ISO, exposure time, and f-stop that are likely to work well for outdoor action shots, landscape photography, cloudy light, and portraits. When you're using those pre-set modes, you control the focal length and not much else.

When you understand that the running person/action mode means low-ish ISO combined with high shutter speeds, you can start just setting your own ISO and shutter speed when you're shooting sports. When you know that portrait mode sets you up for low-ish f-stops, relatively quick shutter speeds, and mid-range ISOs, you can just start setting those things on your own so you can have more control.

"What about light metering?"

Since your camera is a machine that records light, light metering is pretty important. The light meter of your camera will tell you if your settings are "correct" for the amount of that the light sensor senses. In most modern cameras there is a light metering display on the bottom edge of the viewfinder that goes from negative to positive; if the meter shows that you are in the negative it means that your photo will be under-exposed (too little light will get to the sensor and the image will appear dark), if the meter shows that you are in the positive it means that your photo will be over-exposed (too much light will get to the sensor and the image will appear too bright - "blown out"). The way to correct for under or over exposure is to change the length of the exposure, making it longer for underexposed images and shorter for overexposed images.

What the light meter is doing is thinking about all of your settings and the lighting for you. It looks at the ISO, focal length, f-stop, light hitting the sensor, and planned exposure time and tells you what that combination of settings is likely to produce - something too bright, or something too dark.

When you are more experienced with photography, you get good at juggling these things on the fly and messing around with them more, which is how you can do the magic of looking at the sky, twisting a dial, taking three steps to the left, and knocking it out of the park with a picture.

It only looks like magic because you're doing a ton of math under the hood that is extremely non-obvious to people who are new to photography.

Anyway, here is a good guide to depth of field and what goes into it.

Here is a basic photography textbook that explains the principles that I've gone over here in a lot more detail with a lot better explanations. It's a film photography textbook, but one of the cool things about photography is that a lot of stuff from the analog era is still relevant in the digital area, and the basics haven't changed.

However all of that is about the *technical* aspects of photography. Photography isn't just a record of exposure time and focal length, so here's a basic photo composition textbook that talks about the artistic principles of photography.

[doornkamp-blog]

QUESTIONS AND ANSWERS - Become a better Photographer

SOME QUESTIONS ON PHOTOGRAPHY RECEIVED WHILST ON HOLIDAY On my recent holiday (cruising on the River Maine) I was asked a number of photographic questions. Let me share four of them with you:    Q.1     I can’t get my camera to focus properly at night time.    A.1     Change from Auto Focus to Manual Focus – as I did for this shot of the quayside in Sydney Harbour (Australia).    Q.2     My…

[fandomsareforlife]

You know, the option to control the camera is not something that I thought I would miss having, but it is sure irritating

[winterdeepelegy]

Vanilla Gpose Tips

I get asked occasionally how I make my screenshots if I'm not using shaders or mods. The short answer: Patience. Gpose's suite of tools is a lot more robust than it used to be when it was first released. But if you want a screenshot to really shine without using third party add-ons, it's not something you can just go into gpose, take a printscreen and get back out. You might capture a moment with nice lighting that way, but it takes more than that. 1. Choosing a location and time of day is job one. What kind of mood are you trying to convey? Does your intended screenshot have a theme (or a prompt?) or are you just looking at your new glam and marveling at how fine your character looks in it? Does a lighter or darker setting suit the character better? Setting, time of day, and weather can affect this. 2. You can stop time and weather from changing. I keep this on by default because it can take upwards of 30 minutes IRL to fine tune a screenshot. The middle button below. Make sure it's highlighted.

3. Toggle battle effects on/off. It's the button right next to the time/weather stop, the icon of the guy holding the sword. If the icon is highlighted as it is in the screenshot, your battle effects are on. If you want to capture pure motion and not worry about battle effects, turn this off. 4. Wet effect. Use it, use it, use it. It doesn't just make clothes look wet and make skin glossy, it actually helps to bring out texture and detail on the character's outfit. Especially since the graphics updates in 7.1. I've found it also adds shine to hair and can help the eyes stand out more.

5. Sticker Mode. Yes, there are oodles of cute minion stickers, flags, and numbers, but there are also some great effects to be found in the Decorations category! Sparkles and twinkles, lens flare, among other things can help enhance metallic points on a glamour, AND they can be resized! So if you want a more subtle twinkle on the edge of your spectacles or earrings, you can tilt and downsize your desired sparkle. There are also cute flowers and hearts. 6. Quick Keys. If you're playing on a keyboard, the 1 on your top number row freezes the screenshot. This is extremely helpful if you're trying to catch a battle emote right at a specific moment. If you miss it, keep trying because emotes will continue to cycle until you change them. R and Scroll Lock will both hide/unhide the gpose controls. X will turn on lighting. Space Bar will toggle your character to stop them from facing the camera and vice versa. 7. Lighting Intensity is Dependent on Distance. The closer you're zoomed in on your character, the brighter the light is going to be when you turn it on. Try adjusting your zoom in or out and toggling the light to see if the illumination is to your liking. You can also adjust the RGB on the lights to fit the mood/environment. I also recommend turning on Manual Brightness. 8. Color Filter and Screen Effect. These two features, in my opinion, require the most patience. Not every color filter and screen effect will work well together in every scenario. Click through and preview all of them in your screenshots and see if some SE's work better with your preferred CF. You might find an unexpected combination that you love. Trailer and Echo color filters are great for flashbacks (no one uses Aetherometer, it's an eye bleeder). Use the Pencil or one of the monochrome CFs and Noise 2 SE to create a nice black and white film or photo effect. 9. Frames. Frames are one of the more limited features and not always needed in order to capture a great screenshot. Action poses benefit from the Cinema frames, however, while more lighthearted moments play well with the photo options.

10. Emotes. Before you enter Gpose, be sure to /groundsit to clear your most recent emotes. Summoning mounts and minions also count as emotes for the sake of Gpose. By the same token, you can use battle abilities before entering Gpose, and this is what it will cycle through. You can't activate a battle ability while IN Gpose. You will have access to all of your non-battle emotes and facial expressions, though. You can combine any emote with any facial expression by choosing the action first, and expression second, so you can /prettyplease and /awe at the same time to make your character look hilariously horrified. If you enter Gpose with an active battle ability, you can still apply a facial expression to it from within the tool. 11. Bits and Bobs. Enable Manual Focus and Depth of Field will help bring out the details of the background more, and will help to make a more cohesive screenshot. Manual Focus is great if you want your character in the frame, but you want to shift the focus elsewhere, to an object or another person in the background for example. In the same menu where you'll find emotes, click the second eye button to "Track Camera". Your character's eyes will follow the position of the camera. Lastly, again, have patience. Allow yourself time to play with all the tools Gpose has to offer. You're probably not going to get the winning screenshot after clicking Printscreen just one time, you should take multiple shots from different angles with different lighting and effects, then compare them all and pick the ones you like best. And remember, even if it's the true endgame, it's not a competition. Your screenshots are not "worse" or "boring" just because you're not using third party tools. I look forward to seeing what you create, and you should too.

[mamaclownhunter]

I read a few but I am kinda soft for the idea of System!SY but like a player in a Video game.

Specifically I am thinking of the game Off! Where the player is their own entity the character it kinda aware of.

So SY dies and wakes up when Binghe lands in the abyss. He is given the objective to help Binghe out of the Abyss and steer him towards the best ending!!!

SY is excited because he!!! Gets to help Binghe!!

Binghe is pissed his seal came off and now he is being ordered around by some green spirit. His powers are still sealed and slowly being released by said kinda annoying ghost.

The worst part other then the Ghost being overly excited to be in Hell and seemed to be too elated about one of the worst fucking moments of his life-

The Ghost is actually fucking helpful. ‘Shen Yuan’ (what a fucking joke to give him a ‘Shen’ as a guide) knows more about monsters and their weaknesses, has an idea on what is edible what isn’t, he knows what plants to avoid, what areas are safe- and he also seems to genuinely want to keep him safe.

SY has a the video game advantage of either knowing when attacks are coming or knowing how heavy an attack will be. He also knows what Binghe can do at anytime/is controlling the attacks to some extent- either pokemon style or like the game OFF! Where is auto attacks or manual where Binghe can’t attack unless SY! Chooses.

For the first little bit Binghe resists or does the opposite where SY directs him only to- shockingly- get hit.

So I feel like for the longest time they were just at odds and bickering before SY puts it on auto and just plays it like a turn based game. Like for him sometimes time is slower except for Binghe, so he has faster reactions and honestly is more in canon with the “protagonist halo”. Where he can spend points and has his own little influence if things are dire otherwise he is more or less following his favorite protagonist through the story.

And Being such a big Binghe fan he is more than happy to just Let Binghe have the power only taking control when things look dire. He is the biggest hype man, offering information and support, offering insight or knowledge only him as a strange green figment that only Binghe can see.

He vanishes when Binghe flirts with women though. He goes off and explores or watches monsters, he hated this aspect of the book and if Binghe wants then he should- he only gets protective and sticks around if he feels like Binghe is getting taken advantage of- (though the first few times Binghe snapped at him and told him to scram- so he did in his own pissy fit) they go right back to Bickering but fuck SY still cares and he kinda likes how he can see this part of Binghe’s story.

They can’t go far from each other (I am thinking about as far as camera can scroll out) but SY can turn off audio and stuff on his side.

Though eventually Binghe just starts to trust SY. If SY says right he is moving right, if SY says between the eyes his sword is inbetween their eyes, if SY says run and hide he vanishes from the field. Because for all the bitching, raging and ranting- Binghe does notice a lot is on his sake.

And you know…. In the Abyss he isn’t alone. He isn’t figuring this shit out by himself he has someone who floats next to him asking what he wants to improve. Attack? Speed? Health? He has someone that he can mentally connect with and they just both viciously attack low IQ villian and plots where only they can hear.

The angst that the only person to interact with SY is Binghe. Who he can’t hold when Binghe has nightmares, who he can only heal if he has the resources and to produce medicine/fast heal, but is also the only person who sees and hears SY. So if he is ignoring SY- SY is alone- and I think deep down he is a social person. Binghe is subjected to a flood of questions SY wants to ask.

And Binghe has one person who cares about him and is always at his side (even forced SY never implies he feels forced in fact he seems always excited to be next to Binghe)- and Binghe can’t touch him, can’t feed him (‘I would love to try your food- but I can’t.’), can’t cherish him.

SY who is nice, who is considerate, compassionate, he cursed like he lives in a brothel and rages like a demon- but he also scolds Binghe for ignoring people, he snaps when Binghe doesn’t actually help- just takes what he wants and leaves, he believes Binghe is so much better for the world if he only got over himself and stopped thinking with his rage and anger. He thinks Binghe is smart, he thinks Binghe is strong, he thinks even half demon- Binghe is meant to be good.

What a kick in the stomach.

They can’t touch but Shen Yuan is trying his fucking best to get Binghe through hell. He apologizes for bad calls, he gets better himself, he takes his hands off the reigns but I think there are times he can’t help it. They fight, they talk, they are together.

Shen Yuan always loves Binghe and maybe he still ends up a little blackened but Binghe is quietly determined to make SY corporal. Pull him from that control panel and somewhere Binghe can hold him close. Maybe tuck him away in a nice little cottage where there is a little farm and greenhouse with all the plants SY can tend to, bookshelves filled to the brim with books and stories, in a place where SY can see all sorts of creatures to his hearts content.

The “Video Game” character being protective of their “player”

SY being a rage gamer also is so funny to me, Binghe is the only one he hears the absolute filth and insults SY throws at their enemies and frankly he either repeats it or relents that he isn’t as creative.

Binghe maybe not aware of his protagonist halo but aware of the little green ghost who can just barely manipulate the world if Binghe is in enough trouble. Shen Yuan being the only one who gets quests and updates of things Binghe needs to do and being limited on what he can tell Binghe.

The soft apologies when SY can’t control where they go or what happens can only help Binghe respond.

This is long and I am still pulling thoughts but I am slowly getting brain rot

[technoarcanist]

WAR NEVER CHANGES. BUT,

WARFARE NEVER STOPS CHANGING

"I've seen countless reasons why most mech pilots don't make the cut, but one of the largest hurdles are the physical alterations. The implants and modifications done to the fleshware is so extreme that it's enough to push most would-be pilots away from day 1.

Back in the day, when mech tech was still in its wild west years, when the technology was still in its infancy, things were different. Levers, joysticks, switches, a chair, most of the first models were something between the cockpit of a construction vehicle and a fighter ship.

Pilots in those days still consisted largely of the usual suspects. Test pilots, army jocks, space force veterans looking for something new, the occasional crazy who lucked their way up the ranks. All you needed back then was to be fit enough to work complex machinery. 'Handler's wouldn't be a coined phrase for nearly a decade. I still remember being a kid and seeing repurposed older models in the mech fighting streams.

Everything changed with the Bidirectional Cerebellum Computer Interface. To say nothing of how it changed civilian life, it was a military marvel. The BiCCI saw the creation of Mechs as we understand them today. The first generation were just retrofits, older models with a pilot's chair, and even manual controls to use in an emergency, but even then we knew that was only temporary. Before long, sleek frames of sharp angles, railguns and plasma cannons were rolling off the factory floor.

Like many things, it began small, optimising first for cockpit space by removing the manual controls. Before long, my then-supervisors thought, "Why have this glass? Why not hook the pilot's eyesight right into the advanced multi-spectral camera system? Before long, cockpits were but soft harnesses made to house a living body, their very soul wired into the machinery. Obviously, for security reasons, I cannot tell you everything about how our latest cockpits work, but suffice to say we've been further blurring the line between pilot and frame ever since.

This drew a very different crowd. Out were the army jocks and powerlifters. The only ones who even dared to have the interface hardware installed into their brainstem and spinal cord were the dispossessed, the misanthropes, those who sought not to control their new body, but to be controlled by it. No AI can work a mech properly on its own, but our pilots are never really in full control either anymore. Those who do try to go against the symbiosis get a nosebleed at best, and vegetative seizures at worst.

And that was that. The only people left who pilots these things are those who had already been broken, those who sougt a permenant reprive from being anything resembling human. A lot of my department quit around this time. I've lost a few friends over it, I'm not shy to say. Did we knew we'd be bringing in the more vulnerable people? Of course we did. But, the wheels of progress must turn, as they say, and it wasn't like we were shy of volunteers.

In our latest models, we have refined an even more advanced frame. Again, security detail prevents me from divulging too much, but one breakthrough we've made is decreasing action latency by approximately 0.02s by amputating the limbs from our pilots and replacing them with neural interface pads.

Using the pads where the limbs once were, pilots are screwed directly into the cockpit, which itself can now be 30% smaller thanks to the saved space. And, of course, we provide basic humanoid cybernetics as part of their employment contract while they are with us. Not that most of them are ever voluntarily out of their cockpits long enough to make use of them. Even removing the tubes from their orifices for routine cleaning incurs a large level of resistence.

And, yes, some of them scream, some of them break, some become so catatonic that they might as well be a peripheral processor for their mech's AI. But not a single one, not even one pilot, in all the dolls i've ever trained, have ever accepted the holidays we offer, the retirement packages, the stipends.

As you say, there are those who like to call me a monster for my work. I can see why. After all, they don't see the way my pilots' crotches dribble when I tell them I'll be cutting away their limbs, or the little moans they try to hide when we first meet and I explain that they'd forever be on the same resource level as a machine hereafter.

Those who call me a monster don't realise that, even after going public with how we operate our pilots, even after ramping up mech frame production, we still have more than twice as many volunteers as frames.

Those who call me a monster cannot accept that my pilots are far happier as a piece of meat in a machine of death than as the shell of a human they once were.

Those who call me a monster never consider the world my pilots grew up in to make them suitable candidates in the first place."

-Dr Francine Heathwich EngD

Dept. Cybernetic Technologies @ Dynaframe Industries

[In response to human rights violations accusations levied by the Pilot Rehabilitation Foundation]