#photo editor for Windows 10

[ifyougiveuptoday]

maru doesn't pay taxes

[3dsangel]

man what the hell is clip champ.

[size-two-shrimp]

Seriously. It's 14 seconds long. What the fuck is wrong with Windows.

My favorite thing is when I record a seconds long video and the default apps on Windows to view it tell me it's 2600 hours long.

[owlchimedes]

Hi there ! I absolutely love your photos (I only just realized that a bunch of studyblr photos I've recently fallen in love with were yours!)

I was curious if you had any tips for taking good photos/editing them? I find that my photos don't seem to quite have the same good lighting as others' and would truly appreciate any advice you might have on the matter.

Thank you and have a great day!!!!

Thank you!! 🤩 (have to say, I’m a big fan of your blog)

I actually don’t edit my photos that much! Sometimes I might blur or crop out identifying information, but I rarely mess with the colors or shadows of a pic, and if I do, it’s just with the limited tools in the Apple Photos editor. I mostly curate my posts really heavily — for every posted picture, there are 24+ blurry bad ones that didn’t make the cut. Besides that, I do have a couple of general tips:

Prioritize light colored notebooks, papers, pens, etc. since they reflect more light and make an image seem brighter. Select matte over shiny. Photographing shiny black objects is very hard!

Pay attention to shadow and contrast. Hard, flat light (like full sun at an acute angle) in the warm spectrum photographs really well. Most of my favorite pics have been taken between 7-10 am or 4-7 pm. It can be helpful to haunt a handful of study spaces so that you can predict how the light will behave.

It really is about what you’re photographing. I like the way that paper, ceramic, leather, and glass refract light so I tend to have more of those objects around. I have a hard time photographing cloth, so I don’t do bed-spreads or carpet/floor layouts.

Be careful with blue light! Snapping pics of computer screens sucks because it adds a hard, blue square to an image that can be really jarring. Put f.lux or some other color filter on your laptop and take the pic from an angle to limit the amount of blue. Likewise, I try to avoid taking pics in the very early morning or under fluorescents.

Be careful with dappled or fractionated light. It can look very cool but depends on what’s being photographed (ex: left is fun, right is disorganized even though they have the same lighting situation).

It can be helpful to have a tiny guide/reference photo for each batch, or even a HEX code that you aim for. Honestly, I use the avatar thumbnail for this blog. If I put a picture next to it and squint, do they seem consistent? If they do, post! It helps with getting that warm luminous quality that I particularly like.

And lastly, always give yourself permission NOT to take a pic! My worst pictures come when I force them and the best ones are when I’m busy studying only to look up and go “woah, pretty!” You can boost your chances by sitting alone near a window & using all your favorite supplies, but it really is somewhat up to the Fates!

[formulatrash]

I feel like people don't understand this. like, people do not get how much abuse you get working in motorsport.

I still get hundreds of emails a week - my email was shared via a forum a few years back and people use it all the time. they range between succinct 'go die' messages and long, rambling things detailedly explaining how they'll dismember me. they often have guesses at where I live. I didn't say who my flatmate was for a long time on twitter and neither of us can post photos anywhere near our house or with the windows in the background if it's of the cat, etc. people have come up to me in pubs and screamed at me in my face. my editors used to receive between 10 and 70 emails a week asking me to be removed from my (outrageously junior) position because people hated that I had any platform whatsoever that much.

people will literally cheerfully eat up every straight white man in motorsport media and then shit themselves stupid when anyone else is in it. there is not just a longstanding but recent hire at Autosport with credible sexual harassment claims against them and yet no one gives a fucking shit about that do they.

I get hundreds of asks a week on here. I get DMs on every social media platform. people make up abjectly insane shit about me ("Hazel claims she experiences slavphobia" what the fuck I am not slavic you insane pieces of shit) and lie and lie and lie and I can do nothing about it. and this has ruined my life. I will never get away from it. it doesn't matter that I lost my job, it will continue forever. I hate it.

and people like Barstool were key to this.

if you want a career in motorsport: don't! fuck this whole shit off. never touch it. get out before this happens to you.

[leavemetoplaythesims]

shading and lighting tutorial!

this was requested by an anon. a little before we start! i use procreate on my ipad pro with an apple pencil. unfortunately procreate is the only program i know but i imagine similar features exist in other programs as well. i feel like i need to say that i am in no way an expert on shading and i know it's not always accurate. also if you end up using this tutorial in some of your edits please feel free to tag me, i would love to see it! if i've missed something or if i explained something badly don't be afraid to ask me about it. okay long post ahead!

so i'm going to just make a little simple edit of my girl. this is a screenshot taken from cas that has the sunscreen filter on it from the built in windows photo editor on 20% intensity.

now i've added my normal little touch ups that i usually do, eyelashes, catch lights and highlights as well as touching up her scars. everything is painted with the soft airbrush except for some highlights that are painted with the 2B compressed charcoal brush. before adding highlights however you should figure out where you want the light to come from. i've drawn a little ugly sun for you to see where i've placed my light.

now i use the soft airbrush and paint with black where the shadows would be. if i would have fixed up the hair (which i didn't for this one because it's my least favorite part and i didn't have the energy) i would have made sure to make the shadow layer behind the hair ones since i think it looks better if the hair isn't shaded the way the face is. then i blend all of the black out with the smudge tool with the soft airbrush so it looks a little softer.

then change the layer to soft light and change the opacity to 60% and voilà! you have soft shadows! if some shadows still look to harsh for your liking just go back in with the smudge tool a little more.

now do a layer on top of everything and kind of circle the part you want lit up the most with black again, smudge it and set the layer to soft light at 60% opacity.

this step is not a must, i don't do it very often anymore but if you want some extra color or light you can do this. choose a color you want your light source to be. i tend to feel like intense colors look the best. paint it where you want the light to come from, then use the gaussian blur tool until your satisfied.

now you can leave it in the normal layer setting or play around a bit with different ones until you find something that you feel fits. for this one i decided on using the difference layer setting on 70% opacity.

a step i always almost forget is shading the eyes! to do that you just repeat the normal shadow process. paint it black, smudge and put the layer to soft light on 60% opacity. it adds so much, i highly recommend this step! now you're done with the first part. now save it as an image and start a new canvas with that image.

if you want to use gaussian, motion or perspective blur now would be the time. i didn't for this one but i almost always do. this next step is also totally optional. we are going to use chromatic aberration in the displace setting on 90% opacity and slightly pull it to the side. then use the normal chromatic aberration between 5-10%. it just adds a lot of fun and weird color that i just love and makes the edit look so much more alive. then use sharpen, i usually do 10-15%. and after that use bloom. my edits are almost always dark so i use a lot of it. i think i did 35% for this one to give it a little glow. then use noise. my go to is 3% on max octaves. then go into hue, saturation, brightness and change the saturation to 55% (you can do however much you want but these are my go to's) and brightness to 49%.

now go into curves and play around. i always make the gamma brighter but the colors i play around with so much.

completely optional again but i've recently started to add a gradient map, especially instant or noir. for this one i used noir on 20%. and that's it, we are done!

before/after.

hopefully this is understandable and helpful. have fun!!

[spectrearia]

so I'm probably speaking to the void here and I know tumblr isn't really the place for this, but I genuinely need suggestions or help regarding video editing software.

windows decided to be Awful and completely erase the video editor from my PC with one of the more recent updates, and also changed the photos app to be way worse?? I'm having really bad issues with trimming my videos now; they end up looking insanely washed-out in the trimmed versions but I NEED to trim them in order to cut down their file sizes because I'm running out of space to store my game recordings;;;

does anyone know of any good (preferably free) video editing software I could use for windows 10 that can allow me to trim videos easily?? I'm wary about what software to download because I don't know what's actually reputable out there.

this is genuinely a big problem for me because I love recording game sessions and the ability to properly trim my videos was something I relied on a lot. if anyone has any suggestions, I'd love to hear them

[peerbear]

Saint Catherines THE SHOOT

The shoot for Saint Catherines was a very heartwarming experience.

We started out checking the equipment at Craglockhart Kit Stores where I colour-coded every character's lavalier microphone so that I could quickly and easily differentiate between transmitters and receivers on set and also know immediately whose was whose and thus where to connect it on my MixPre 10 on which I gave each character a channel each. The boom was 1, Phoebe 2, Harry 3, Jo 4 and Sara 5. The colour choices were Phoebe blue, Harry red, Jo yellow and Sara green. I also in a previous session where I had booked out the MixPre 10 to go over settings, learned how to use the WingMan App's reports (using a Youtube video), which is a log of the notes you make on each take on set, which is super helpful for post-production. This was the first time I used the MixPre 10 on set with so many channels and the first time I recorded a 4 people simultaneous setup.

We had also been introduced to the Tenacle Sync which syncs the timecode for camera and sound and saves time in the edit. I took it upon myself to set this up every day and coordinate with camera because they had so many other things to worry about. We had had a brief previous session going over how to use it and I messed up because I had put a cable in the wrong port of the MixPre I did not realise this until the last day, so the tentacles were synced but the MixPre was not receiving the timecode, but the camera was. So we only had the last day synced automatically, which took away time from our editor, Alyssa, but she had factored this into her edit window anyway. I still felt guilty and this was a massive learning curve for me. It will never happen again!

Here is a photo from the session of how it should have been and I forgot to double-check the photo, rookie mistake:

Back to Craiglockhart Campus, after checking all of the equipment, Katie, Eva and I helped Orla load up a van with the equipment and once we had done this she drove off to Saint Catherines. I then drove myself and some of our crew (Katie, Eva, Alex and Sophie, our continuity supervisor) to Saint Catherines.

From here I won't go entirely in chronological order because so many things happened, so I will just give some key highlights and summaries of what happened. Every day we would shoot from about 9 to 5 and in the evenings we would relax and play werewolf which became a proper daily ritual.

Before the shoot, I had been quite nervous about being in charge of sound mixing and recording because I usually find this very hard and run into many issues. After all, there are always issues when recording sound that in some instances are out of your control. But on the shoot, I fell in love with sound recording and found myself getting into the groove and getting more and more comfortable with it. Something I have to say is that when I listen back to my recordings and see photos of me on set I hear and see how serious I am! I think this will be my nerves coming out and me wanting to do my best, it must be the German in me or something because I am never so to the point and sharp. With the expressions, I am not as worried because I know I have a bit of a resting bitch face.

As we were recording both inside and outside I found the struggles for these were very different. Inside the mics were more sensitive in the smaller space and the lighting setups created lots of whirring sounds. Outside cars were extremely loud as we were situated right next to a main road, something I had been aware of on the location recce, but it had seemed like a much quieter road at the time. There was also a construction site where someone was building a house, but somehow this did not interfere with dialogue too much.

Something I learned about dialogue was to do with recording overlapping dialogue. When so many people are on set it is very hard to avoid having actors not interrupt each other during takes. Usually, they will and this will be what is used in the final picture edit because it is a natural performance and what is required of them but in sound, this means the different character's dialogue are not separable from each other which means it is less manipulatable and hard to get rid of. Usually, dialogue is separated into each character but when there are interruptions this is harder. However, overall my dialogue was mostly very clear and I had fewer problems with it than I expected. While on set I was most nervous about scenes 8 and 11, which are the confrontation scene and the support and reconciliation with a friend scene. These are arguably the two most important scenes of the film. Sadly when I got to the sound design I found these were the hardest to work on and contained the most affected dialogue due to loud wind, waves, and traffic.

On this project I learned a lot about micing up the cast, I looked into it and found that placing the mic between the dip in their chest proved to provide the best and smoothest audio. For women, this dip is in between their breasts and I found this was a very new situation for me to navigate. I was told by friends that on their sets women had to lav themselves up, but the actresses had no idea how to do this and I did not find it fair to ask this of them, nor did I want to risk having bad dialogue. But we were lucky, who knew being gay can pay off in the workplace. I would lav up the actresses while my boom op George would lav up the only actor. I would navigate this by ensuring actresses felt comfortable and most of this involved them moving the microphone through their clothes themselves and even holding it in place in the necessary dip. My main point of contact was applying the mic to their chest with medical tape that I had procured before the shoot. What I also had to take into consideration was costume. Different costumes required different lav positioning and these also required different housings made out of tape, something that I learned from Tom in the test shoot and then adapted to fit my own needs. These housings lessened contact between the lav and the costume. Laving up the actresses would get quicker each day and we quickly found our rhythm and a way to make this work for each of them. From the second day after having a noisy necklace on our lead I would speak to costume and as much as possible ask for changes if they were detrimental to sound. This of course did not always happen, but I found solutions along the way.

I was absolutely blessed with Orla, I feel we worked really well together and she always left space for sound. This was something we had spoken about previously and I had requested extra room for not only time for room tone but also wildtrack sound takes of actions and sometimes even dialogue, especially where there had been interruptions previously. This meant I had many options in the design for when things had gone wrong in the actual takes. As Orla is a sound person as well as a director this is something she pushed for so I got nearly every sound recorded in the space where we shot it. They would call wrap for camera and then me, George and the actors would record whatever was on my sound shopping list for that scene. Every afternoon after shooting George and I would go over what we were shooting the next day to make sure we had everything on the shopping list that was needed. Overall I was super happy with clear dialogue and production sound. I know the actors had also never taken part in wildtracks before and I am aware I was in a very lucky position and I am very thankful for it, I think it really paid off in the sound design edit.

I felt we worked incredibly well as a team and built some close working relationships and friendships. Everyone put in so much and without each and every person we would not have been able to make the film that we made. Katie and her camera department were incredible, I have described them as a well-oiled machine and they were just that. Also working with Katie has been a creative experience that I really enjoyed because I feel we connected really well and worked hard together. Having Eva on set was such a relief, she is so near and dear to my heart and it was nice to see her excel and be such a strong support for the camera team. She was also a big support for me as sets can be stressful and having her presence around meant I had something and someone from home and it was nice to also work on a grad film together. George as my boom op was my saviour coming on board very last minute and being an incredible boom op, he has his own separate post coming up. One day as a treat I let him sound record because I was going to do on set folley footsteps to the water's edge to replicate Phoebe's steps towards the water. He again excelled. Orla was an incredible director and made an incredible space for everyone on set, she looked after all of us so well and kept us on the right path. We all felt we were in safe hands and we definitely were. The cast was really well picked and as the days went on they fell deeper into their characters and we all very quickly believed who they were. The whole crew was great to work with and helped provide a positive atmosphere on set.

My one issue on set was the bathroom and shower issues that we had, but this was unavoidable as we were so many people and our lodgings were not used to this. As an IBS girlie, I had multiple evenings and mornings where I would run to the car drive from the lodge to the caravan carefully to then barge in and use the toilet. Cold showers were not an issue as this is something I do regularly. I was a bit cheeky and had these every day as I am unbearable to be around when I am unshowered so it was best for everyone that I broke this rule. Or at least that's what I am telling myself, but I know I get insufferably grumpy when I feel unclean.

I did find I had to manage my stress and my resting bitch face, but with time both eased and by the end I felt completely in my element as if this was something I had been doing for a long time.

So at the end of the shoot, I found myself as a happy sound girl, as we say, I fell in love with sound recording and felt comfortable and in my element. We all made it back to Edinburgh in one piece and so did our equipment, which myself Orla and the camera department helped unload.

Here are some shots and even a little video from all of our days on set, as you can see we had a blast:

[brickcentral]

🤩 ARTIST SPOTLIGHT: @huehughes Hello everyone! It's time to direct the spotlight toward our community members, and today we will get to know better Hue Hughes!

"My name is Hue Hughes. I am a video editor and vfx artist living in coastal South Carolina. The inspiration behind this photo is creating a practical image that had action and tension. Shooting outdoors is something I very rarely do but it is how I got started.

I begin taking my very first toy photographs in 2017. It all started when I purchased a camera and macro lens. I started shooting my sons diverse collection of robots, space ships and superheroes.

It was a short time later I found a unique connection with LEGO®. Its simplistic design, scale, detail and bright color palette of this toy lent itself very well to toy photography. So well in fact, I bought a few more lens and enough LEGO® sets to start a small toy store and never looked back.

I believe every great story has a beginning, middle and end. This same philosophy also holds true for a good photograph. The image must tell a compelling story that catches the viewers attention and resonates some form of a response - a memory, excitement, joy or just a simple thought from your childhood.

Every image of mine is a window into another world and it’s that window we gaze upon to find a great toy story. Whether it’s throwing baking powder to simulate a winter blizzard on a mountainside or a fire cracker that showers a scene with sparks to mimic an explosion, I like creating all of my effects in camera and practically.

I build my own sets and create my own effects by hand using common household materials and old filmmaking techniques. This style of artisan photography adds an element of realism, personality and craftsmanship to a photo which forms a tighter bond between the viewer and the image.

I am a stronger believer that gear does not make a great shot. It helps but as an artist your equipment should help you achieve your style. My camera is a Canon 7d. I pair this body with either a EF-S 10-22mm f/3.5-4.5 or EF 85mm f/1.8 usm. A single Litepanels Caliber Fresnel is my go-to for lighting. The final element is a fog machine that when combined with the Fresnel creates rich, dreamy photography."

Thank you for accepting our invitation and let the community knows you better!

If you want some insights on the exclusive picture and for a better view of the others, head to our blog at https://brickentral.net/.

- @theaphol, Community Outreach Manager

[aisquaredchoco]

Maria Clara: A timeless symbol of Filipino womanhood

Maria Clara is a character from Dr. Jose Rizal's novel Noli Me Tangere, who was introduced as the protagonist Crisostomo Ibarra's fianceé. Not only was she known for being the love interest of the protagonist, but also became the standard of how a Filipino woman should look and act: modest, elegant, and well mannered, just as how Maria Clara was portrayed in the said novel.

(some ramblings below the cut..)

So...apparently my PC is in good shape again. Turns out a dirt in the RAM was the only problem it had. First thing I did after taking it home was to fire up my TS3 game and have these pretty pics set up. I've been wanting to show something from my heritage through sims, and this came up to mind. Only that the cc in TS3 was lacking in this department but there were a few workarounds. Also I've been being hesitant in editing my screenshots as I've always wanted to show pictures as how they are in the game, but this one is an exception as I was aiming for a classic, old timey aura of these photos. I only used some filters from Windows 10's built in photo editor and the results were already satisfying. Raw shots below:

...aaand CC credits, of course! Wouldn't have done these screenshots without these things: hair by Newsea converted by @carversims, scarf by Ersel, top is from base game with lace pattern by @simlicious, necklace is from Late Night, and these pictures were shot in the beautiful Casa Simeon, made by @jg-abuyuan-art, that truly captures the Spanish colonial era feel.

[andrevasims]

Okayyy I got some good news and bad news :P

The good news is I finished recording my legacy family gameplay video, and didn't lose any progress to crashes!

It's also nearly 5 hours long lol which is a positive to me, because I've been wanting to do even longer videos (I usually stopped at 1½ hours previously) as I like no commentary gameplay for the sake of ambience/background noise.

The bad news is it's split into 14 separate video files, and up until when I switched to Windows 10 recently, I was editing with Windows Live Movie Maker lol - Which doesn't exist on 10 (and the original install .exe doesn't work on 10).

My alternative video editor, VSDC, does work on 10, but upon some Googling it apparently can't handle the load of a video longer than... 15 minutes... Which I'm seeing by being unable to get past even importing the files into the program because every time I try it freezes, and there's no way to know if or when it'll ever unfreeze.

Windows 10 does apparently have its own new video editor that's tucked away inside the Photos app, so I'll have to see if that'll do the trick.

[actiaslunaris]

A NaNo challenge for vidders, y'all.

[Copied in whole from the original post on Dreamwidth (https://actiaslunaris.dreamwidth.org/565916.html), with slight alterations for readability on Tumblr.]

Many, many thanks to simplecoffee, who brainstormed with me and helped me design these challenges. All my love for her support and creative ideas!

Two ways to approach -- an easy mode and a hard mode -- for four different challenges, but pick one to do.

On easy mode, you do all your planning in the months preceding November, starting whenever you feel most comfortable. On hard mode, you do your planning only in the month of November, with a few exceptions.

I've tried to design these to be accessible to new vidders, while still presenting a challenge to more experienced vidders. New vidders can also use the Vexercises Challenge prompts to help generate different ways of creating fanvids (https://vexercises.dreamwidth.org/12201.html). There are others there, so poke around.

All these, whichever you choose, must be finished in the month of November.

The four challenges:

The Back of Your Hand

Take a fandom you've vidded to death, meaning you know where all the clips are you want to use, and vid a thirty-second vid for every day of the month. If you think you can't match this, make a one-minute vid for each seven-day week.

Anything goes, to the limit of your inspiration.

New vidders, get to know your source using this challenge. Do start your planning before November.

The DJ Mixer -- courtesy of simplecoffee

Make a fanmix, and then vid that fanmix. Bonus feature to the challenge -- invite someone to create you a fanmix and vid that. Your challenge here lies in creating a fluid mix, where you choose how much of each song to use. This is for those who want to make a long narrative, or play with audio mixing, or anything else this might spark for inspiration. Your finished project should have a run time of at least twenty minutes, because you are creating a set.

See the conversation between myself and simplecoffee on how you can approach this for a more clear example. (https://actiaslunaris.dreamwidth.org/558508.html?thread=522412#cmt522412)

If you think you can't match this, create a shorter set, around ten minutes.

Some audio editing resources that make creating mixes easier: Sound Forge (trialware), Audacity (free), Tonium's Pacemaker Editor (specifically designed for DJs and free; has some bugs when used on Windows 10, but nothing severe).

Simple mix example: "Diamond" by imbir, Hotel Del Luna, (https://archiveofourown.org/works/29056350).

The Extended Play of Your Fave

Choose a musical artist whom you love. (Optionally, in addition to the musical artist, focus on a favorite actor.) Mix and match four to five songs from their body of work. You are not allowed to cut these songs. Create a thematic set of videos, your pick of topic. For instance, think tropes, or other commonalities, like for supercut visuals. Choose a recently consumed and previously unvidded source, only.

For a bonus approach, go multi-fandom. For less difficulty, do only three songs. The Vidder in the Booth

Your challenge here is to show us your process. For this one, you must only work during the month of November. You choose only one piece of music, but it must be four to six minutes long. You choose only one source.

Now, get hold of a screen recorder and other methods of recording your progress. For instance, if you work on paper to take notes before you start your vid, take photos. Log your progress visually, from the beginning stage up through the finished project. You'll then edit all these into two videos: your process and your project. You must share both.

Your process video can be in "Let's Play" style, including everything without cuts, and you can fast-forward process, whatever fits with your sensibilities. If you cut out what you consider to be boring or repetitive, keep track of the time spent there and log it in your process video.

The "I Have a Type, Don't I?" -- concept courtesy again of simplecoffee

Fanvids can be many genres. Some common ones are angst, fluff, alternate universe, and constructed narratives. Fanvids can also be meta, utilizing music and source to comment on the source in some way meant to provoke thought (for example, a vid could comment on toxic couples).

So, this challenge is to exercise your ability to create several of these genres, but with two little requirements. This is for multi-fandom vidders with a shipper's focus. Examine your fandom history. What ships are you most drawn to? Do they have commonalities?

As you’ve noticed, each challenge also has an easy, as well as a more difficult way, to accomplish creating several fanvids. For this, the easy way would be to pick and choose two from the given genres -- angst, fluff, AU, constructed narrative, metavid – and make two videos for each genre. For the more difficult challenge, pick four, and make two videos for each.

Each video should be one to two minutes long.

Please note -- there can be a lot of overlap between AU and constructed narrative, but to my understanding, an AU is if characters who are not werewolves in the original source are all now werewolves in your vid. A constructed narrative is something like if you chose to retell the story of a popular film but using the characters of a different source, or repurposed source and cut it to also tell a different story than what exists in the source.

Meta example: "Cosmic Love" by lola, multi-fandom, (https://lola.dreamwidth.org/96907.html).

Constructed narrative example: "【汤薰衍生】因为我的另一半是你" by 翼翼酱, Galileo, (https://www.bilibili.com/video/BV1Pe411W7Di/).

AU example: "【浪客剑心现代衍生|斋藤一X比古清十郎】雨系列之一" by rainnorth, Rurouni Kenshin, (https://www.bilibili.com/video/BV1is411S7Mk/), contains flashes.

This is a multi-fandom challenge specifically to allow you to compare and contrast, and also, to borrow from other sources, so you can be as wide or narrow in your focus as you like. Go wild. (Break a few rules from all these guidelines if you want.)

The goal is to have fun. Show us what you can do!

[usafphantom2]

Did you know the SR-71 Blackbird sonic booms shattered the windows of Kelly Johnson, Zsa Zsa Gabor and President Nixon’s houses?

What do Zsa Zsa Gabor, President Nixon, and Kelly Johnson all have in common?

Sonic booms!

‘Obviously the SR 71 broke the sound barrier to get up to 85,000 feet and a speed of 3.2 Mach,’ explains Linda Sheffield Miller (Col Richard (Butch) Sheffield’s daughter, Col. Sheffield was an SR-71 Reconnaissance Systems Officer) on her Facebook Page Habubrats. ‘Often, I would look at the windows of our house at Beale [Air Force Base, AFB] and watched them shake so hard I thought they would break!

‘The SR-71 tried to stay away from major cities, but occasionally it would happen over a large city like Los Angeles.

‘Zsa Zsa Gabor called the police to complain after the London to Los Angeles speed run. Her windows were (supposedly) shattered in her Hollywood hills home. She was appeased when pilot Buck Adams and RSO Bill Machoreck went to her house and gave her personal autograph

Did you know the SR-71 Blackbird sonic booms shattered the windows of Kelly Johnson, Zsa Zsa Gabor and President Nixon’s houses?

Zsa Zsa Gabor

‘President Nixon called the Air Force to complain when the sonic booms broke the windows in his home in Southern California. Even though it was himself who ordered sonic booms 15 seconds apart to be delivered by the SR-71 over the Hanoi Hilton.’

Did you know the SR-71 Blackbird sonic booms shattered the windows of Kelly Johnson, Zsa Zsa Gabor and President Nixon’s houses?

President Nixon on the phone in the oval office

Sonic Booms

Sheffield Miller continues;

‘With aircraft, this phenomenon is caused by bow and stern waves — traveling at the speed of sound — getting forced together (or compressed) because they can’t get out of the way of the faster moving plane. In “smooth flight” the united wave — now a shock wave — starts at the nose of the aircraft and ends at the tail. As the plane passes through, the wave attains a pressure imbalance (called an “N” wave due to its shape) and that’s when the boom happens.

‘The following video features the Audio Recording of SR-71 Blackbird Sonic Booms. Listen here to hear what a double sonic boom sounds like!

‘In reality, there are two booms that happen. One when that reaches the observer and one when the pressure returns to normal.’

Sheffield Miller concludes;

Did you know the SR-71 Blackbird sonic booms shattered the windows of Kelly Johnson, Zaza Gabor and President Nixon’s houses?

Kelly Johnson

‘Kelly Johnson [The head of Lockheed’s Vaunted Skunk Works, the division that developed the SR-71 Blackbird itself] had a busy life outside Lockheed. He and his wife Althea Louise Young built a house in Encino, in the San Fernando Valley, 10 miles west of Lockheed’s facilities. They kept horses, and eventually acquired a working ranch, Star Lane, in the Santa Ynez Valley, north of Santa Barbara. Johnson maintained his own farm machinery in a 4,800-square-foot shop that he had built, and whose huge size and strong construction were a source of pride for him. The rumor is… that a test flight SR-71 flew over Johnson’s ranch and broke several of his large windows. But he didn’t have the nerve to make a complaint.’

Photo credit: CIA, News release by Rogers & Cowan talent agents, U.S. National Archives and Records Administration and U.S. Air Force

SR-71 print

Dario Leone

Dario Leone is an aviation, defense and military writer. He is the Founder and Editor of “The Aviation Geek Club” one of the world’s most read military aviation blogs. His writing has appeared in The National Interest and other news media. He has reported from Europe and flown Super Puma and Cougar helicopters with the Swiss Air Force.

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BALITANG LOKAL: Algorithm Computer Services failed to repair PC broadcasting equipment for OneNETtv Channel due to extreme financial difficulties [#OnlyOnOneNETnews]

(Written by Mishelle Patangui / Area Manager for OneNETtv Channel and Assistant News Writer of OneNETnews)

DUMAGUETE, NEGROS ORIENTAL -- On Wednesday morning (October 17th, 2024), a local computer repair shop 'Algorithm Computer Services' (ACS) was unable to repair Rhayniel's personal computer (PC) broadcasting equipment at 'National Highway, Brgy. Daro, Dumaguete City, Negros Oriental'.

OneNETnews was first to learn that the broadcasting services of OneNETtv Channel in Dumaguete City refuses to pay the computer repair costs by Rhayniel Calimpong's parents, who is the only independently-funded internet broadcaster and online news reporter, and his parents are facing financial difficulties, making it hard for them to cover the said costs of computer repairs for his small freelance news business.

The repair costs is much more than PHP10,000 (or roughly U$D173). Social media and physical donors have also refused to donate internet TV station, which automatically resulted unfortunately in financial difficulties for indefinite suspension of broadcasting operations beginning this Friday (October 18th, 2024) after the mall opening hours at Power Mac Center for the nationwide launch of Apple's iPhone 16. ONC Foundation will start a massive donation drive effective this week in mid-October 2024, all the way up to early 2025.

Dumaguetenos can support to send donations at 0994-269-6055 for both GCash and Maya users. International donations like Ko-Fi, Throne, Wise or PayPal are all available at "https://allmylinks.com/feling009". Taxes will be shouldered through the Bureau of Internal Revenue (BIR).

Supposedly, due to a series of PC crashes… Rhayniel wants to upgrade the system from his outdated operating system of Windows 7 to Windows 10 in the section of Solid State Drive (SSD), then cloning his own 1-terabyte hard disk drive (HDD) at Western Digital as a back-up, following the expensive production of audio and video editing between Sony Vegas and CapCut, and the only broadcast source is on Open Broadcasting Software (OBS). His online broadcasting media and journalist career for nearly 15 years, may or may not come to an end without your support.

This would allow him to resume full broadcasting operations for OneNETtv Channel and continue his nearly 15-year career in online media and journalism in the City of Gentle People.

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EDITOR's NOTE: We are featured on Dumagueteno's FB Group, but too controversial to discuss from the sucked mods in Dumaguete City. For those interested to donate, you can visit over to our news blog or via AllMyLinks site.

PHOTO COURTESY: Rhayniel Saldasal Calimpong (Freelance Photojournalist and News Presenter of OneNETnews)

-- OneNETnews Online Publication Team

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