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fals-worldcenima · 1 year ago

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The BATTLE OF ALGIERS

This 1966 film, directed by Gillo Pontecorvo, is a powerful and grasping picture of the Algerian struggle for independence from French colonial rule. "The Battle of Algiers" is a cinematic masterpiece that blurs the lines between documentary and fiction. The film paints the events that took place during the Algerian War of Independence in the 1950s and early 1960s. The film explores the tactics used by both the Algerian National Liberation Front (FLN) and the French military to gain control over the city of Algiers.

One of the most extraordinary aspects of "The Battle of Algiers" is its realistic and gritty portrayal of the conflict. Pontecorvo's decision to use a documentary-style approach, with handheld cameras and a grainy black-and-white aesthetic, adds to the sense of authenticity. The film feels raw and immediate, capturing the intensity and brutality of the struggle.

The performances in "The Battle of Algiers" are incredibly powerful. The actors, many of whom were non-professionals, bring a sense of authenticity to their roles. The standout performance is undoubtedly Saadi Yacef, who plays the FLN leader Ali La Pointe. Yacef's portrayal is subtle and captivating, showcasing the complexities of the character and the moral dilemmas faced by those involved in the fight for independence.

The film's screenplay, co-written by Pontecorvo and Franco Solinas, is a tribute to its brilliance. It expertly weaves together multiple narrative threads, providing insight into the motivations and perspectives of both the Algerian revolutionaries and the French military. The dialogue is sharp and inspiring, highlighting the complexities of the conflict and the human toll it takes on all involved.

One of the most significant achievements of "The Battle of Algiers" is its ability to call forth discussion and raise important questions about colonialism, imperialism, and the ethics of equipped barriers. The film does not shy away from portraying the violence and horror committed by both sides, forcing the audience to confront the uncertainty of the situation. It challenges our biased/prejudiced beliefs and encourages us to critically examine the historical and political context in which these events unfolded.

Overall I rate this movie a 2/10, I really enjoyed the film and its storytelling. The only reason this film gets a 2 is because it was filmed in black-and-white. Personally, I'm not a fan of black-and-white films. If “The Battle of Algiers” was in color I would rate the film higher and give it an 8/10.

Another film I came across recently that is similar to “The Battle of Algiers” is the film "Munich." The film “Munich '' directed by Steven Spielberg, is a historical drama that explores the aftermath of the 1972 Munich Olympics terrorist attack and the Israeli government's response. Like "The Battle of Algiers," it dives into the difficulty of violence, terrorism, and the moral conflicts faced by those involved. Both films tackle politically charged subjects and offer interesting perspectives on the consequences of conflict.

“The Battle of Algiers,” has a lot of interesting facts. I got all this information from https://facts.net/movie/34-facts-about-the-movie-the-battle-of-algiers/#google_vignette

1)It was highly controversial upon its release due to its depiction of violence and terrorism.

2)The film was nominated for three Academy Awards, including Best Foreign Language Film.

3)The film has a lasting impact on cinema and is often studied in film schools for its innovative storytelling.

4)The film was based on true events.

5)The film was initially banned in France.

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ssssokkkk2kk · 2 years ago

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4K 60fps: What Does It Mean, And What Are The Implications For You?

While it may seem like a straightforward concept, there is much more to it than meets the eye 4k 60fps.

4K 60fps is a term that’s been making a lot of noise lately. But what does it mean, and why are businesses so interested in it? Simply put, 4K 60fps is the highest resolution video format possible. At this level of quality, videos can look incredibly smooth and realistic. This format is particularly popular among videographers and filmmakers, who use it to capture stunning footage for documentaries, movies, and more. For businesses, 4K 60fps has a number of implications. Chief among them is the potential to attract a premium audience. By offering consumers something truly unique and impressive, businesses can differentiate themselves from their competitors. So if you’re looking to take your business to the next level, consider investing in 4K 60fps footage. It’s sure to make a big impact!

How to get started with 4K 60fps filming

4K 60fps filming is the new hotness in filmmaking. It offers amazing detail and clarity, making your footage look like it was taken from a high-end camera. However, getting started with 4K 60fps filming can be daunting. Here are some tips to help you get started: 1. Make sure your hardware is up to par: If you're planning on shooting in 4K 60fps, you'll need a rig that can handle the resolution. Most modern video cameras can shoot in this format, but make sure to check first to make sure your camera is compatible. Some older models may not be able to capture video at this rate. 2. Shoot in raw: Shooting in raw will give you the most flexibility when editing your footage. You'll have more control over how your footage looks and can make adjustments later on without losing any data. 3. Shoot smooth motion: One of the biggest challenges when shooting in 4K 60fps is keeping the footage smooth. You won't be able to use traditional editing techniques that rely on motion smoothing (such as motion blur or stabilization). Instead, you'll need to use advanced software such as Final Cut Pro X or Adobe Premiere Pro to clean up the footage after shooting. 4. Minimize noise: Another challenge when shooting in 4K 60fps is dealing with noise and graininess. To minimize these issues, try to shoot using low light conditions and aim for clean lines and sharp edges during

Tips for shooting in 4K 60fps

What is 4K 60fps? 4K60fps is the name given to a frame rate that provides twice the frame rate of a 1080p frame rate. So, for example, if you have a 1080p monitor and want to watch a movie or video at 4K resolution (3,840 x 2,160 pixels), then you would need a monitor that can display frames at 6,000 fps. A 4K60fps video will play on most current TVs and monitors. What are the implications of shooting in 4K 60fps? When shooting in 4K60fps mode, there are some important implications for your footage. First and foremost, the high frame rate means that your footage will be smoother and more fluid than if you were filming in standard HD or 3D formats. Second, because each image is filmed twice as fast as normal (24 vs 12 frames per second), it's important to ensure that your camera settings are correct in order to avoid any choppiness or jittery effects when watching your footage later on. Finally, because 4K60fps videos require twice as much storage space as standard HD videos, it's important to make sure that you're using the best quality storage option available when capturing such footage - preferably an SSD! So overall, while shooting in 4K 60fps mode has its own set of challenges and demands, it's ultimately worth it for smooth, high-quality footage that will look stunning on modern displays.

Conclusion

4K 60fps is a new video format that is quickly gaining in popularity. What does this mean for you, and what are the implications for your business? In a nutshell, 4K 60fps means that videos shot in this format can be displayed at much higher quality than those captured in previous resolutions. This has implications for both production and consumption: businesses will need to upgrade their equipment to capture and play back videos in this resolution, and consumers will want to watch videos shot in this format to achieve the best possible picture quality.

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imagineclaireandjamie · 5 years ago

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Deep Within The Darkness Peering. Part ii. Chapter One.

Anonymous said: OMGOMGOMGOMG DWTDP owns me! So original. Please please PLEASE finish this (after 87 chapters and multiple arcs of course!)

As you wish, Anon <3 MBD.

Not wanting to overwhelm him on his first few days of release, Claire simply gave Jamie a tour of her property, showed him his room, the lounge and the kitchen and then gave him some space to settle in. Glenna had been a saint through it all and had procured Claire a few days annual leave so that she could see he’d made himself truly at home. It also meant that she was able to drive him to his first probation meeting.

“Was there a lot to take in?” She asked as he climbed back into the car an hour later.

“Aye and no.” Replying he seemed content which in turn made her less worried. “I kent most of it from the meeting I had before I left the prison. I think I was just worried that things might have changed since.”

“And they haven’t?” She wanted him to meet John but had waited until this meeting before suggesting it, scared herself that something might go wrong. Grateful that things had gone as well as they could she paused to let him reply before putting the idea to him.

“No, thank the lord. She didna see it fit to impose a curfew or have me tagged.”

Their relationship, being new and still a little daunting for the both of them, meant that Jamie still seemed quiet and withdrawn but Claire wished he’d had the confidence to come and tell her of his fears. She could already see, as they pulled away from the council building, the relief coursing through him as he slumped back against the front seat.

“So, I have someone I’d like you to meet - if you’re up to it?”

Turning to look at her, Jamie smiled. “Oh, aye?”

“His name is John Grey. He’s a very close friend, a barrister actually. He’s the one who pushed through your appeal.”

“That sounds good.” Replying he looked sad for a moment, his hands gripping across his knees. “I only wish I had something more than ‘thank you’ to say to both of ye.”

“How many times do I have to say it,” reaching across the central console, she took one hand off the wheel for a moment and rested it over the back of his, squeezing once before taking it back, “you don’t need to do that. I can’t explain it entirely, but there was something nagging at me from the moment we met and I would’ve never forgiven myself if I’d ignored it. That means John saw it too, when he looked deeper into your case. I promise you, he wouldn’t fight for something, for someone he didn’t believe in - even at my request.”

Nodding, he tipped his head towards his lap, breaking eye contact as he smiled softly once more.

“Maybe soon you’ll trust me enough to talk. When you do, I’m here. I just wanted you to know that.”

He waited until they’d parked back outside Claire’s flat before he replied, his mind replaying certain painful memories as Glasgow flew past them. “It isna about trust, please dinna think that I want to hide anything from you. I just...can’t...not yet.”

Each night since his release she had carefully been applying the scar balm she’d picked up from work, her fingers gently rubbing the transparent cream into each and every inch of his sore back to ensure as little damage as possible remained etched into his flesh. Afterwards she’d silently washed her hands in the bathroom basin, placed the tub onto the top shelf of the unit above the sink, climbed into bed and cried herself to sleep. She knew the damage, she’d (at her own punishing request) seen the footage John had requested from the prison - each cruel blow depicted in grainy black and white, and she vividly recalled the operation she’d assisted in to ensure his survival.

Hearing his voice break as he tried to hold himself together made her instantly regret her wording as she sighed and pulled the key from the ignition.

It was a dry day, and they watched passers by as they wondered the pavements, crossing in front of the parked car as they cut across the grass on the edge of the apartment complex.There was definitely more to the story than was written in the detailed report given at his trial, Claire knew without asking that John also had his doubts as to its validity and she hoped, in time, Jamie would open up enough to her that she could help him possibly clear his name.

“I’d really like to meet him, yer friend John. Even if thank you is all I have,” he whispered, “I’d still like to say it.”

“I can assure you, he’ll say the same as me.”

-- --- --

Claire went to the shops alone, leaving Jamie to rest on his own after their busy morning. Calling John on the way, she confirmed a good time and went on a hunt for something vaguely edible.

It was nice to be out, she soon realised, as the clean, cool air encased her. The supermarket wasn’t too busy and it was relaxing just wandering around with nowhere to be until later. Having not left the house in a couple of days, she’d been so desperate to make sure Jamie made an easy transition into her life that she’d failed to realise that they’d been cooped up for two whole days. It was unusual for her to have such freedom and she was grateful for the chance to just relax.

“Honestly, I didn’t think I’d ever catch you in the raw meat aisle.” John laughed as he approached Claire from behind making her jump a little.

“How on earth did you find me?”

Bringing his phone out of his pocket, he waved it in front of her and pointed to the open app with her live location. “Technology is quite scary these days!”

Leading up to Jamie’s release, John had suggested pairing their phones just in case he desperately needed to get hold of her and couldn’t, he’d presented it as a mere friend doing his duty, but truthfully he was worried in case they’d made a bad decision offering her home up to Jamie. If he turned out to be something more sinister.

“So are you, Grey.” She retorted, slapping the steak packet against his chest. “And what is wrong with my cooking?”

“All I’ll say is; it’s good it can be either rare or well done and still edible, eh!”

Taking her arm, they continued to meander around the shop, Claire putting various food items into the basket as they walked in companionable silence.

“When is your next shift?” He asked as they bagged the groceries.

“Not until the weekend now, I was going to go back tomorrow but I wanted to encourage Jamie to leave the flat without having some sort of meeting at the end of it...I just haven’t worked out how I’m going to do it yet.”

“I take it a trail of breadcrumbs is out of the question?”He quipped, taking the full bag and carrying it out to the car for her.

“He’s a little too smart for that trick, John. But thanks for the suggestion.”

“The real question is, is he staying in because he’s just getting used to being free again, or is he scared to leave. One is easier to sort than the other, of course.”

“I’ve seen trauma before, both physical and mental. I think it’s more mental. He’s definitely settled. He stopped asking if he could use the kettle pretty quickly and he cooked himself some dinner last night. “So he feels safe with you then, that’s good.”

“It’s this Randall guy, isn’t it? Does he work on the force in the city, do you know?” She hadn’t had the stomach to research the captain who’d locked Jamie away out of fear. John had said a few things about him, none of them painting him in a favourable way, and she got the distinct feeling he was close by, closer than she, John or Jamie would like. Word of his release wouldn’t have taken long to reach the ears of the man who’d caused the incarceration.

“It could be. Yes, he’s based here. He started his career in London and was posted here only a few years ago. I can’t work out whether it was a promotion, though, or as a way to get him far away from Scotland Yard. Anything that takes place inside the Met is incredibly well covered - especially if he found himself on the receiving end of an internal dispute.”

Rolling her eyes, Claire tried to concentrate on the road in front of her instead of the increased rate of her heart as it beat a punishing rhythm beneath her chest.

“They’re the nations protectors, anything dirty that could diminish their name or cause them disrepute is bound to be buried as deep as they can possibly dig. He’s a good negotiator, a talker…”

“Have you met him?”

“Not in the flesh, but we’ll have attended some events together you can bet. The important thing, Claire is to your own hands clean - leave anything public to me and whatever you do, don’t underestimate the man. Jamie will, hopefully, at some point talk to you about his ordeal, but it’s only been two days. I’m sure he won’t hide away forever.”

Something in her gut told her that John knew more than he was letting on, but if he was keeping it from her, she reasoned, it was probably for good reason. Reaching her flat in double quick time, they both dropped the conversation as Claire opened the front door and waved John in.

“Jamie,” she called out, “we’re back.” Forgetting for a moment that he had no idea she wasn’t alone.

They waited patiently in the kitchen, putting as much of the food away as they were able to until both were convinced that he wasn’t going to come out to greet them. It was only when the creek of the bedroom door echoed along the hall that Claire finally let out the breath she’d been holding.

“John met me out and we thought there’s no time like the present, are you alright?”

“Nice to meet you,” Jamie finally said as he bought himself into the open plan living room, “and thank ye, for spending yer free time looking into my case for me, I dinna think I can thank you enough for that, really.”

The men shook hands cordially and John looked Jamie over seriously for just a moment before nodding his head. “It’s my pleasure, it’s what I signed up for and I knew when Claire called me that it must be serious for her to have stepped in and contacted me for help.”

“I willna cause you to regret it, Mr Grey.”

“John, please, and I’m sure you won’t.”

Dinner was a quiet but pleasant affair. Where there had been small bursts of conversation between Claire and Jamie since he’d arrived, now there was a continuous buzz as Claire and John joked with one another, leaving room for Jamie to join in as and when he felt comfortable. She’d made lasagne and despite John’s jesting at her culinary skills, it turned out better than edible.

“Well, as stuffed and warm as I am I think I need to get home. I have a long trial starting tomorrow.” Patting his belly, John placed his napkin on the table and finished his glass of water. With Jamie’s parole stating that he wasn’t to be found under the influence of drugs or alcohol, Claire had removed everything from her cupboards determined to join in with the sobriety order.

“I’ll walk you out…” Jamie spoke up as Claire stood to clear the plates.

“Alright,” she continued, a grin lighting up her face at his offer, “don’t be a stranger!” Winking as she castigated John for his random absences in her life, she plucked the last of the plates from the table and began to load the dishwasher.

Walking side by side to the front door, John took his coat from the hook and wrapped his scarf around his neck. “I know it isn’t my place,” he began as he held eye contact, raised his brow and smiled to put Jamie at ease, “but I have an inkling, just as she does, that there’s something more to this story than meets the eye. Don’t let her fool you, she’s good at being strong - she’s had to be. But you both need to stick together. Open up to her because if you let her in, I think you’ll find you have no regrets.”

Holding his hand out, Jamie nodded before he took it.

With one step out of the door, he swivelled on his heels to face him. “Oh, and one more thing, if you need anything at all, please call me. I’ll try and help in any way I can.”

As Jamie returned to the lounge Claire was finishing up wiping the table. “Everything alright?”

“Aye, more than alright...thanks to you.”

Chuckling, she shook her head as she threw the cloth back into the sink. “I wondered why my ears were burning. I’m glad John found something positive to say. Normally he’s just shaking his head at my poor choices.”

“Do ye make many of those?”

Embarrassment coloured her for just a moment as she was reminded of the diploma sat gathering dust in her bottom draw. “One major one.” “I think yer doing pretty well if ye’ve only one, lass.”

Taking a seat on the extended corner sofa, Claire let her head fall backwards against the cushions and waited for Jamie to sit beside her. “My father was a doctor, a really bloody good one, he saved the moment I was born, putting all the money into various bonds and accounts to make sure that I had any and every option once I reached an age to be able to choose.” Taking a deep breath, she steeled herself as she ignored the tears welling in her eyes, his warm presence extinguishing the pain of the memories. “Him and my mum died just before I went to college and if John hadn’t been there, I don’t think I’d have made it this far.”

“I ken how it feels to lose a parent. Ye feel as if yer heart has been torn clean from your chest as the world crumbles around you.”

As lost to her own grief as she was, it felt good to learn something about him, for him to feel relaxed enough to open up to her.

“Does John want ye to be like yer father, then?” He guessed.

“Nearly right, but not quite. I did.” She confessed. “He’s disappointed that I don’t rise to my full potential.” Quoting John’s exact words to Jamie.

“You’re a doctor?”

“Yes.” Sighing, she smiled sadly as she turned to face him. “But I still can’t bear to hear anyone say it to me because that title, those words, always belonged to him and I don’t know how to take on his legacy, I don’t know whether I ever will.”

“I haven’t known you for very long, Claire, but I do know one thing - ye have the biggest heart. You took a chance on me after treating me wi’ such kindness in the hospital. So if yer worried about no’ meeting the standards he set for you, just look in the mirror and I’m sure you’ll be able to see what I can see, what I’m sure John sees too, and ken that yer father would be proud of the woman you’ve become.”

#anonymous #;Mod MBD #Deep Within The Darkness Peering #jamie and claire #outlander fanfiction

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spartanburger · 6 years ago

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Improving the quality of your image renders from SFM

So I’ve seen a lot of SFM renders that are absolutely amazing, with great poses, shot composition, scene setup, and lighting. However, so very many of them are also rendered at really low quality. In order to try and inform other users of some simple steps to improve their render quality, I’ve created this post.

Much of what you see here you will likely already know. However, I encourage you to give it a read over in case there’s something you’ve missed. This is primarily aimed at rendering still images (posters or image sequences), not video.

Progressive Refinement Settings

This is the FIRST stop anyone should take to improving their render settings as they are the quickest, easiest, and will often have the greatest impact.

Depth of Field & Motion Blur

These settings affect Depth of Field (DOF) and Motion Blur, (duh). These settings work on a sample basis. The more samples, the better.

What’s the issue?

By default, SFM uses “use camera settings” as the default number of samples. The default camera settings are literally the lowest number of samples you can have without turning the effect off: 8x samples. DOF goes up to 1024 samples and motion blur goes up to 256, which is 128 and 32 times more samples than the default settings.

Here are some examples (effects or lighting exaggerated to show the effect):

No DOF:

Default DOF:

Max (1024) DOF:

No motion blur:

Default Motion blur:

Max motion blur:

You can see the effect is significant in both cases.

Why does this setting matter?

No matter whether you are rendering as a poster or as a image sequence, these settings will change the quality of your rendered image. Rendering as a poster does not mean you can neglect these settings. These settings also greatly impact the quality of the Ambient Occlusion (AO), volumetric lighting, and any lights with the radius that are using radius. If you ever render an image and it’s really grainy, it’s 99.99% likely to be a sample issue. Turn samples up and re-render.

What’s the catch?

The only catch with rendering these is that it will significantly impact your render times. To really show what I mean, here are the render times for the images above, rendered at 3840x2160:

No DOF: 0.368 seconds

8x DOF: 0.606 seconds

1024x DOF: 50.034 seconds

No Motion Blur: 0.299 seconds

8x Motion Blur: 0.500 seconds

256x Motion Blur: 8.356 seconds

In this example, going from default to max samples, DOF and motion blur caused an 82x and 17x, respectively, increase in render time per frame. This is not additive - combining 128x DOF and 128x motion blur has a negligible increase in render time over 128x DOF with no motion blur. Still, this is a significant increase.

what do?

If you are rendering a still image (poster or only a few frames of an image sequence), always push these settings up to the absolute max. Yes, it may take a little more time. Your art deserves that little extra polish, and literally the only cost is time. Be thankful it’s not blender, where single frames can take hours.

I should note that the number of samples that will be rendered will equal the highest number of the two settings. So if you set motion blur to render at 256x, but DOF to render at 16x, you will get both DOF and motion blur at 256x. The only way to completely disable rendering one of these effects while keeping the other is to untick the checkbox next to the setting in the progressive refinement settings window.

Subpixel Jitter AA

This setting applies a very light Anti-Alias to your image. In short, it helps reduce jagged edges. The effect is subtle, and often can only be seen when checking the image through a difference filter

This setting is ON by default. There is basically no reason to ever have this turned off, so leave it on by default.

Poster render vs Image Sequence

There are pros and cons to rendering as posters vs just rendering as a single frame image sequence.

Why posters?

Poster rendering has three main benefits:

1. Resolution: You can render at massive image resolutions, allowing you to get the pixels you might want for a professional print. This is possible because poster rendering renders using a tiled approach. This is gonna get a tiny bit technical:

SFM is running the Source Engine - a video game engine. When you have SFM open, that engine is technically running in the background at a certain resolution. I believe by default, the resolution is set to 1280x720. When you render as a poster, that resolution is the maximum resolution that the engine can render, so in order to go above that, it splits the desired resolution up into “tiles” that are the same size as the engine’s resolution. If you’re rendering at 4k without changing anything, that means that you will get 16 tiles: four wide and four tall.

Anyway, this means you basically can render at massive resolutions. But it has drawbacks, as noted below.

2. Particles. Particle systems, mainly those that change over time, will render exactly at the time of the playhead. Image Sequences have an issue with this, requiring you to render from the start of the particle system life and render each and every frame forward until the frame you actually want.

3. Depth of field. Be it a bug or not, image sequences have an issue with the DOF plane not actually being where the image ends up focusing. Posters do not have this issue. More on this below.

Why not posters?

There are four main downsides to poster renders:

1. Ambient Occlusion: Ambient Occlusion renders on a per-tile basis. As a result, rendering at very high resolutions can cause blocky AO to appear. As an example here’s an image I rendered with the internal SFM engine running at default, rendered AO only at 15360 x 8640 resolution. I’ve blown the contrast all to hell to really show what the effect is like

In some instances, the effect is minimal enough to be overlooked, but in many it might end up looking bleh.

2. Bloom. Poster renders do not render bloom. At all. There’s no way to fix it. rip.

3. Render Time. In my experience, poster renders take longer to render. More time is spent in processing writing tiles to file, and stitching them together, so it takes more time for a single frame.

4. Annoying. This may not affect everyone the same, but the fact that a .tga file must render for each poster, no matter what output file you choose is annoying. Especially if you don’t intend on doing any post processing and just want to post the raw image.

Why Image sequences?

1. 32 Bit Workflow. Rendering as an image sequence allows you to render as a .PFM. SFM is confusing so there’s technically two kinds of .pfm file: A .pfm depth file, and a .pfm output format. The depth file is essentially useless outside of incredibly nich uses where you want to create a sort of 3D vision thing where the image can be displayed with depth. Never tick the ‘Write PFM depth file’ box. It’s all but useless.

However, under the ‘format’ drop down, there’s another .PFM option. This is Source Filmmaker’s 32bpc (bits per channel) output format. All other output formats are at 8bpc. If you’re not going to be doing any form of post-processing, this is meaningless to you. However, if you do a lot of post-processing and can utilize all that 32bpc goodness, this is the file format for you.

I’m still very new to 32bpc workflows, but the quick version of the difference is that 8bpc means that color data is very limited. On the surface with no adjustments, the two images will look identical. However, the 32bpc file contains a metric fuckload more color data in it per pixel. This means that if you’re applying any kind of post processing (at least, post processing that supports 32bpc), you will see significant differences.

For example, here’s 8bpc with some heavily reduced exposure in post:

And here’s the exact same adjustment made to a 32bpc .PFM file:

What about hue? Hue change on 8bpc:

And here’s 32bpc

BIG difference.

The only downside is the file size. As there’s lots more data, .pfm files are hueg. The above images were rendered at 720p. The 8bpc .png was 0.6MB. The .PFM 10.5MB.

2. It does what Posters don’t. Because image sequences don’t using tiling, you won’t ever get that tiled AO issue with posters. Bloom renders, as well. In my experience, it renders slightly faster than posters, too.

Why not image sequences?

1. Limited resolution. As I mentioned in the poster section, SFM has an internal engine running in the background. The resolution of this engine is the maximum resolution you can render an image sequence at. By default, this is 1280x720. Through launch commands (see separate section below), you can extend this all the way up to 3840x2160 (~4k) which is nice, but SFM does not support resolutions over this at the time. 4k is still great quality, so this isn’t much of a downside. However, if you’re looking to get that >4k resolution needed for certain high quality prints, image sequences are no bueno.

2. Particle Systems. I touched on this in the Why Posters section, but image sequences have an issue with particle systems. Particle systems that evolve over time have a start and stop time. Usually, it takes a few fractions of a second for them to “enable” as the particles are emitted. Like with a flamethrower. At 0.00, a flamethrower particle hasn’t thrown any flames yet. You need to move the timeline along a little bit for the particles to have fully emitted. With posters, there’s no issue. However, with an image sequence, SFM cannot deal with particles with a start time that is before the first frame of the render. So a poster of a flamethrower may show you some nice and toasty bad guys, but the exact same under and image sequence will have barely even a sputter of flame. In order to work around this, you have to set the desired render frame a few frames ahead in time, and render out each frame as if it were a movie until you get to the desired frame you want. This takes much more time, and creates many junk image files.

3. Flexes. In a similar manner to the particle systems, I’ve noticed that face and body flexes can sometimes not be set properly for the first few frames of an image sequence, requiring you to render out 3-5 frames before they jump into place. The flexes aren’t jumping from their default position, so it’s not super noticeable. It’s hard to explain. I have a video that shows this effect. Notice how the mandibles jump around a bit. This is because each change in skin is a change in skin is a new shot in SFM. Like with particles, the work around is to render out 3-5 frames or so to ensure that the flexes move in place.

4. Inaccurate Depth of Field Target. This mainly effects projects with a very high aperture in the DOF effect (basically, super exaggerated effect). I do this a lot, and it can be annoying. Here’s what it looks like:

I’ve added a pole moving away to the camera to show distance a little better. Here you can see the focal distance is set on the head of the main character.

You would expect that this would then make the head in focus, but no. With image sequences, the focus target is a noticeable distance in front of the focal plane.

Posters, on the other hand, work just fine, less bloom.

In fact, to get an image sequence to work fine, you have to kinda guess and check in the viewport to ensure it’s set right.

This error shows up in the viewport no matter what, so if you’re rendering posters, trust that the focal plane is set properly. For image sequences, you have to let the viewport render in the clip editor to see the DOF and make sure it’s set right. You’ll have to set the render target to be a little further than your target.

5. Annoying. Posters always render a .tga file? Image sequences always render a .txt _mainframe file. This is a log of your render settings and the time it takes to render each frame, which is really neat when checking or testing render settings for videos, but otherwise just another junk file to delete.

Personally, I always use image sequences. I want that sweet sweet bloom effect, and I can work around the other issues. Render time is not an issue for me, so I’m more than willing to render out a few frames for particles and flexes, and have gotten used to working around the DOF issue. And although I’m a resolution nut, 4k is enough for what I want.

Launch Options

Those of you who have tried to render videos at 1080p or 2160p will know that you have to set a launch option to enable this. There are several other launch options that you can set to help improve quality. The great thing about launch options is that they’re almost all ‘set and forget’ settings, which you can just ignore them once you’ve set them. I’ll go over the ones I use here.

-sfm_resolution 2160

As mentioned above, this enables rendering at 4k as an image sequence. If you’re rendering as a poster, this will also increase the size of each rendered tile. This has its downsides though. As I’ve mentioned, SFMs engine is always running in the background at the resolution you set it to. So with this launch option set, placing objects, posing, lighting, and moving the work camera around can be noticeably slow, because despite the viewports being small, the game engine is still running at 4k in the background (it sure doesn’t look like it :/). This can have a massive impact on older hardware. Hell, I have a beefy computer and even it slows quite a bit just when moving the work camera around if I have this set to 2160, especially in complicated scenes with lighting and AO enabled.

My advice is this: Use different settings for this launch option when you’re editing the scene vs when you’re rendering. I use -sfm_resolution 720 to force it to run at 720p in the background while setting up the shot. Once I’m happy with it, I will save, close, change the 720 to 2160, relaunch, and then render.

-sfm_shadowmapres 16384

This one can be more subtle. Lighting in SFM isn’t “real” lighting. This is a really simplistic explanation, but shadows from lights have a resolution to them. You have to think of shadows as a “texture” that is projected out of the light and only shows when the light is blocked by a model. If the light has a large field of view, to light a large scene for example, this resolution stays the same, but is stretched over a large area.

Imagine drawing in photoshop. If your image resolution is high enough, drawing curves and detail is smooth and nice. But if you’re drawing on a blank canvas that is only 300 x 300 pixels, you have fewer pixels to register changes in color, so it becomes blocky.

By default, the shadowmapres for SFM is set to 2048. I’ve created a quick scene here with a light with a massive FOV to show what I mean. Notice how the shadows are horribly low resolution, and that this low resolution shadow is then projected onto everything behind it.

This launch option forces this resolution higher. Although it’s technically supposed to max out at 8192, in my experience, it goes up to 16384 without issue:

Much better. And the best part? In my experience, this has essentially zero impact on performance and render time. There’s basically no reason to not have it on.

NOTE: If this launch option doesn’t seem to be working, back it down to 8192 as that’s the officially supported maximum. In 99.99% of cases, you shouldn’t need anything more than that.

-r_novis 1

This is less of a quality enhancer and more of a bugfix. Source engine uses a Potentially Visible Set (PVS) system, which uses the camera to see which parts of the map are visible at a time, and then doesn’t render the parts of the map outside of view. If you’re having any kind of map visibility issue, this might fix it. In general, I like to have this setting enabled. Although PVS is supposed to help performance, in my experience, the effect is unnoticeable.

-nop4

Okay this is just another bug fix one, but if you’re ever encountering a “perforce error” in SFM, this launch option disables perforce. I dunno what perforce is, and there’s literally no documentation on what it does for SFM. Well, it does fuckin’ nothing in my books because nothing changes when you put this launch option in, other than getting rid of perforce errors.

+mat_forceaniso 16

This forces anisotropic filtering. The shortest explanation is that without anisotropic filtering, textures in the distant appear stretched out. SFM by default has it set to only 1x pass of anisotropic filtering, which sucks:

SFM supports up to 16 passes. You can see how the texture almost appears higher resolution with this turned up:

I haven’t noticed any significant performance impact on this effect, though I have noticed that SFM might take a second or two more to launch.

Okay this was a long post. Sorry. rip your timeline. But I hope these things have helped improve your renders.

#sfm

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bandizoi · 6 years ago

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hello! do you have any tips for dog action shots/general photography and maybe some pointers on how to edit said photos as nicely as you do? your photography is really incredible!

Oh gosh, thank you!

If you have a DSLR learn to shoot in manual as soon as you can. Making conscious decisions about ISO, Aperture, and Shutter speed will give you so much more control over your photos.

Shoot in RAW! It takes up more space on a memory card, but it’s so worth it. JPEGs are compressed images and if you accidentally under expose, often times you’re SOL. Trying to brighten up an underexposed image will make things terribly grainy. With raw, you can push the exposure slider (and most editing in general) a lot further without sacrificing quality because it’s uncompressed. Here’s an example of a before/after:

@woolywoofs has an awesome detailed break down of raw vs jpeg here and that’s what convinced me to shoot in raw. It’s a life saver!

With regards to action photography specifically:

Back Button Auto Focus - this allows you to set a focus point with your thumb while continuously shooting in bursts. You’re much more likely to get more usable shots as opposed to doing the half-press to focus method. It’s way more efficient!

AI Servo - this allows your camera to focus and track moving objects much better!

High frames per second (FPS) bursts - if your camera can only take 3 shots per second, versus action bodies that can do 10, 12, 14 per second, that’s a lot of missed opportunity. My camera does 10 which I’m happy with.

Shutter speed - this is probably one of the most important factors. When I’m shooting action, I never want to drop below 1/1000 of a second. 1/2000 is even better. On extremely bright days, I’ve done 1/8000 but most of the time I’m hovering around 1/2000.

Editing wise, I highly recommend watching YouTube walkthroughs! One of my favorite channels is YuriFineArt — it helped me learn a lot of neat tricks in Lightroom. If you need photoshop tutorials, he has some good ones too!

Hope that helps!

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bookmawkish · 6 years ago

Text

Just a patient, part 5

Part 1 | Part 2 | Part 3 | Part 4 | Part 5

All my fanfictions (includes more Loki)

Tag list for Loki fics: @only-kneel-before-loki @ohhhmyloki @1800-fight-me@tarynkauai @rainhowling @hanasonly @dean-the-trickster @nikora3010@skip-the-static @sailor-moons-butt @clockworkherondale @oatballsoffury @artbysteph87 @smginger1131

If you want on or off the tag list, just say! Hope I didn’t miss anyone!

It’s always been a dream of yours to touch a tiger.

You were eight. You first saw tigers on TV. Huge cats, almost the size of horses to your mind, striped like bars of sunlight. You almost couldn’t conceive of something so big, when “cat” to you was something you could pick up and hold in your arms. When you were ten and saw your first real tiger at the Cincinnati Zoo, passing inches away from you behind the barrier, you could practically feel the smooth, flat hide, the almost-bristle of that close-lying fur. The hot, animal stink suffusing the air around you. You wanted to touch that pacing tiger more than anything else in the world, even though you knew that it could take your arm off with barely a thought. The call of the void is strong, as you have learnt in your adult life. That thing which pulls at us when we stand at the edge of the precipice, telling us against all sense to throw ourselves off. The dark tug of desire to simply pull a trigger, throw a punch, when the anger is high and the provocation almost (but not quite) too great. The void is in all of us, and even at ten years old you’d felt its teeth, as sharp and lethal as the teeth of that zoo tiger.

Later you went to the snake house, and met real horror for the first time. You didn’t want to meet the blank, staring beaded eyes, see the aching expandable jaws. The relentless undulation of the lemon python in particular had put your teeth on edge, as if it were under your skin, constantly moving and bulging, back and forth in the dim light. That pallid snake had never left you, those jewelled eyes, that sense of completely alien perception. If the tiger was your dream, these circling, muscular forms were your nightmare. You’d moved through the musty, bitter-scented gloom as quickly as you could, and out again into the air, the sun.

But it had been a good day, all in all. Your father had bought you a plush tiger at the gift shop, and, clutching it that night, you had dreamt happily of the day when you would finally bury your hand in that real mane, feel the bristle of whiskers, because surely that day would come. It had to come. Tigers had prowled your dreams, and even now, when you think of your father, you think of that long-ago tiger and how sure you‘d been that one day you‘d have that raw feline power under your palm.

You flatten your hand, moving from just fingertips to laying the whole length of your hand against his face.

Loki does not feel like your dream of a tiger.

Loki feels like your nightmares of snakes.

His skin is clammy and hot and coated with a patina of dirt so it feels grainy, scaled, under your fingers. The sense of barely contained energy, that continual muscled motion that had looked so unpleasant in the python is right there, in the working of his jaw and the unbearable straining movement of his head. When you touch him your first instinct is revulsion at the way he feels, as if you’ve put your hand into a nest of hidden horrors. The memory of the acrid scent of the snakehouse fills your mind and your nose, a smell you’d thought long-forgotten.

But something stops you from pulling your hand away, and that something is the fact that only this morning, when you’d pulled out of sleep Loki had once again been lying at your side, breathing harshly, shuddering and registering on even your half-awake senses as wounded, exhausted, broken.

You are asked sometimes if you treat the enemy. Like it’s even a consideration, when your unit is sent out, like you get to choose. Sure, to a certain point of view it seems oxymoronic. At your side in the field, your fellow agents are shooting down the foe, but once they’re down, if they’re alive, you’re there. And you’ll do your best to save them.

Whenever you’re asked this question, you tend to tailor your answer to your audience. There are some people who are never going to be impressed to hear that you treat the bad guy no differently than the good guy, once he’s down and leaking his guts out on the floor. Triage is for everyone. Whoever’s dying first gets treated first. And yes, if asked, you’ll give accounts of times you’ve been attacked and abused by the dying enemy you’re trying your best to save. Some people’s principles are greater and stronger than the value they place on their lives. Fanaticism in particular is so strong you could use it to build a wall around the world.

You’ve treated fanatics. Possession by principle. Their bodies puppeteered by words, thoughts and empty promises. They’re the ones that have stayed with you. Because sometimes - and yes, it’s been more than once - you’ve seen them at the very end. When the possession of principle finally cedes to the fears of the body, and you see in their eyes the doubt, then the dawning knowledge that this is wrong, wrong after all -

And then they die.

Possession is a terrible thing, and you can end up dying from it.

And this is why your hand stays put on Loki’s face, and no matter how much he snaps and snarls and throws his body about in the restraints, you stay. Because he’s alive and he’s not in control, and as your patient the only ethical thing to do is take that control for him. Treat him. Bring him back from the void that’s calling to him.

Or at very least, to make your voice call louder.

Your name doesn’t do it.

Your touch doesn’t do it.

Loki is a beast, a creature of madness, a thing driven by some terrible greater purpose without form. You speak to him, your hand upon him, feeling the terrible heat boiling off him through your skin.

Your voice doesn’t do it. He struggles there in his restraints, bound up tight, limbs held back in an unnatural spasm. It must be so uncomfortable.

And suddenly, with a lurch of vertigo in your stomach, the memory of a memory of the dream -

- the keeper had taken the lemon python from its glass tank and the coils had poured in a relaxed, sick tangle out over her hands like spilt intestines -

- you know what you need to do.

“Banner,” you croak, as Loki spits and writhes in his bonds. “I need him - I need the ties slackened. I need him to be able to lie down.”

Now it’s their turn to be hesitant. They don’t want to do it. They have your sympathy, because you don’t really want to do it either. But as soon as the understanding had dawned, you’d felt rested and relieved for the first time in weeks, as if your body itself knew what was needed. There is absolutely nothing else to be done, and so the cell is full of people once more, trying to make this whole incredibly unsafe situation as safe as possible.

Bruce Banner now seems to have that furrow of worry engraved permanently between his eyes: you’re honestly humbled by his depth of caring for someone he barely knows beyond a name. He even comes the closest to you (and you haven’t moved from Loki, not an inch, even though he is growling constantly now, a rumble of furious sound, eyes darting violently at each agent in turn) and crouches down.

“Are you - are you sure?” he asks, for the third time.

You want to say something cliché. Throw a little bravado in. Like “Sure I’m sure.” or “I’ve never been less sure of anything in my life, but I’m doing it anyway.” But you’re honestly just so fucking tired and the instinct that drove you to give the order feels like the promise of rest. So you just nod. Again. And Bruce closes his eyes briefly, as if in pain.

“Okay,” he says. You only realise then that they’ve been waiting on him, that he’s the one in charge right now, when he gives the nod, and an agent in full riot gear - where the hell is your riot gear? - hands you a switch-release. “You press that, he gets enough slack to lie full on the floor if he wants to. That’s also enough slack for him to tear your throat out. Just so you know.”

Oh, you know.

“Press it again, they’ll tighten up, he’ll be less able to move. Not completely unable. Just…less.”

Bruce stands up. You realise that the room has emptied around you. You and he, and the snarling creature, are the only ones here.

“I’d suggest you press it twice in very quick succession,” he says, and then leaves quickly, as if it hurts too much to look at you anymore.

The door has scarcely closed behind him when you press the button. You’ve never been one for putting off inevitable danger. Procrastination in war loses lives. Needless tension costs you calm. Lost calm costs you ability. Your thumb presses down firmly, in a deliberate motion that anyone who isn’t you might mistake for balls of steel.

The world contracts. You breathe in. You breathe out. The room seems obscenely quiet and still for the length of that one breath.

Loki lurches forward, carried by the momentum of his own struggling to tear you apart, and sprawls full length on the floor. He’s still hogtied close enough to save you from being instantly attacked, and even without being able to see him you can almost feel the will of Bruce Banner, desperate for you to press down again on the button, make yourself safe.

But you don’t. It’s only clear to you now that you never intended to, that this was never your body’s plan. Instead, you carefully lower yourself down next to Loki’s thrashing, snakish form, and gradually get lower until you are lying on your side, facing him, your faces less than a couple of feet apart. His expression is awful, virulent, quite mad. At this distance you can see the flush of every broken blood vessel in his eyes.

And then, just as deliberately, you turn your back to him, rolling onto your other side. And gracelessly, shuffling on the unforgiving floor, you manoeuvre yourself backwards, ignoring the terrible snarling, ignoring everything except the tiny voice of that instinct inside you that is saying, against all sense, it’ll be ok, we can rest -

Contact.

Your back fetches up against Loki’s chest, the deep rumble of his growling humming through you, the shivering tenseness of his every muscle enough to make you vibrate right along with him.

In and out, the push of a half-ruined ribcage against your back.

You forget how to breathe in the same moment that Loki remembers. He draws breath in with a whooping, broken sound, as if he’s just come up from almost-drowning, and the noise is instantly recognisable. Dark hair spills over your shoulder, brushes your face, as his head falls forward in exhaustion.

This is your dream. This is where you have needed to be since Stark Tower.

#loki #Loki Laufeyson #loki fanfiction #fanfic #MCU #Avengers #bruce banner #shield agent reader #reader insert #loki x reader #medic!reader #loki/reader #reader #just a patient

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kelvinjesuthasan · 3 years ago

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NUTRITION BLOG #2 RECIPE

INGREDIENTS

You will have to forgive my measurements. This is a salad I make a good amount, I mostly eyeball and taste test things so measurements may not be the most exact.

-1/4 of a medium sized cabbage, shredded - 1-2 medium sized carrots grated (I just run my peeler across them) -2-3 stalks of green onion, sliced thinly -1/2 cup of cilantro -1 cup of quinoa cooked to package instructions Peanut dressing -1/2 cup of smooth/creamy peanut butter, warm -1 1/2 tablespoon of soy sauce -1 1/2 tablespoon of honey -1 tablespoon of apple cider vinegar -1 teaspoon of olive oil - juice of one lime -1 teaspoon of grated ginger -your choice of spice, I did 1 small green chili, red pepper flakes also works -black pepper to taste

INSTRUCTIONS

-Cook you quinoa to package instructions. In the meantime shred up your cabbage, peel and shred your carrots however you wish. Mince up your green onions and cilantro for the salad and your ginger and chilies (if you’re using them for the dressing). After everything is minced up I just keep it in a bowl while I prep the dressing. - To prep the dressing make sure your peanut butter isn't super cold otherwise it will be impossible to mix. Combine the peanut butter and soy sauce and whisk until it is well combined and smooth. After this add the rest of your ingredients; ginger, chili, black pepper, lime juice, oil, vinegar and honey. Once again whisk this until its smooth - Once everything is prepared combine everything in a bowl; the vegetables, some of your dressing and the quinoa. I recommend adjusting the amount of dressing to taste, start off with a little and add until you like the taste. I like to finish with some more lime juice to make it feel fresher.

This is a modified version of a salad recipe I make a bit. it’s a good fridge cleaner, which is incredibly useful for a home cook. You could realistically add so many other things to this salad and it would be really good. Green beans, any peas or corn that you may have. I’ve added red onions both raw and pickled and that turned out nice. The salad looks a lot prettier if you use fresher cabbage or purple cabbage. So in terms of finding ingredients I don't believe it’s too hard. It’s also not that challenging of a recipe. The only real challenge this can present I feel is if you try mixing cold peanut butter into the dressing, which just results in you mashing the peanut butter. I don’t think I would make the recipe again like this. I thought the quinoa would only to add to the dish, but it was honestly pretty distracting for me. I really like the crunch and freshness of this salad and while the quinoa when chilled doesn’t take away from that freshness the small, grainy mouthfeel was not it for me. I enjoy quinoa salads but this idea wasn’t it for me

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asfeedin · 5 years ago

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The Cameras We Love With Stunning JPEG Images

If you like to shoot for the JPEG and want a camera that will let you back away from photo editing, these are the cameras worth a look.

We recently posted an opinion piece about why you should shoot for the JPEG instead of the RAW. RAW files certainly have their place, and they can allow all manner of edits during post-processing, but not all photographers want to spend countless hours behind their computers: they’d much rather be out shooting. After all, this is what we love to do more than anything. If you’re a photographer who wants to break free from the rigors of editing images, and you just want to shoot and enjoy the images you create, the cameras we rounded up after the break are the ones you need to take a closer look at.

There is no don’t about it; when it comes to getting the absolute most out of your images, editing the RAW files your camera produces is the way to go. Having complete control over your images is great, but it can also be incredibly time-consuming. Unless I am shooting for a client, I find myself aiming to shoot for the JPEG more often than not these days. It’s such a nice feeling to know I don’t have to edit pics every time I take my camera out. Image processors inside modern cameras are incredibly powerful: they can work wonders with your images. When you also consider the film simulations and art filters many manufacturers now include in their cameras, it makes even more sense to have fun with the JPEGS your camera can produce.

A straight, out-of-camera JPEG from the Canon EOS M6 II

All of the cameras we have listed below can produce outstanding JPEGS. You can pick these cameras up, shoot to your heart’s content, and then instantly share your images without having to transfer files to your computer to tweak a myriad of settings. It’s quite liberating. If you want to shoot for the JPEG, check out the cameras below.

Shoot for the JPEG With Fujifilm’s X Pro 3

When it comes to cameras that produce mind-blowing JPEGS, the Fujifilm X-Pro 3 tops the list. This beautiful, 26.1 megapixel, rangefinder-style camera is packed with gorgeous film simulations that can give your images a unique look right out of the camera. You can mimic some of Fujifilm’s emulsions (Provia, Acros, Velvia, Classic Chrome and more) right out of the box, which means you will love the images it produces and you’ll never have to step near a computer for photo editing if you don’t wish to. Here are the pros and cons from our full review:

Pros

Superia is beautiful (Classic neg)

We love the lack of a major screen

Autofocus can be fine-tuned for different situations

Everyone loves the look of Classic neg

You can push the shadows for forever and get details – the highlights not as much, but they’re still there

The screen helps you stay focused and aware

USB C charging ensures that you can keep using the camera

Video features deliver pretty video

Arguably, you don’t need to edit the RAW files because the JPEGs let you do so much

For street and documentary shooting, the hidden screen will keep you in the zone when shooting

Face detection is fantastic when not trying to track erratic movements

Acros and clarity enhancements are going to make you fall in love with Fujifilm all over again

The Chrome effect for skies is subtle and very nice

Autofocus is fantastic for events and most professional work

Fujifilm’s collection of small primes pair wonderfully with this camera

The best camera to embrace high ISO noise on the market

Using the OVF will prolong battery life at the expense of slower autofocus

This is less of a street camera than a documentary and event shooter’s camera

Multiple exposure mode is a very welcome addition

Very good battery life

Cons

Has problems keeping subjects in focus when they’re continuously moving

When you need the screen, it’s a bit of an annoyance; like when photographing a portrait subject in motion

This camera desperately needed Blackout Free EVF shooting

Touchscreen menu navigation should be on this camera

Autofocus needs improvements

Enhancing the clarity makes the camera take extra time to render the image

The battery life in long term use is about on par with the new Sony Z batteries

For street shooting, the wide and tracking AF area still lets you select a zone, but it shouldn’t. This can throw off shooting in real-life street situations

Shooting from the hip? You may accidentally hit the function button and not the shutter release

Exposure dial needs a locking mechanism

Multiple Exposure mode saves the final images only as JPEGs

Buy now: $1,729

Shoot for the JPEG With the Olympus OMD E-M1 III

Like Fujifilm, Olympus has been bundling unique and creative filters into their cameras for many years. The JPEGS from the E-M1 III are always fantastic, but they can be even better when used in conjunction with filters such as Monochrome, Vintage, Pop Art, Grainy Film, Pinhole, Diorama, and more. We called the E-M1 III a travelers gem, so if you want a camera that can come along with you on your travels and produce images that don’t need to be touched, check out the Olympus E-M1 III. Here are the pros and cons from our full review:

Pros

Feels nice when shooting for a long time

We like the shutter sound

Good continuous autofocus which does tracking

The processor is fantastic

The art filters continue to make Olympus unique amongst other camera brands. Shooting surfers with the cross-process and the vintage filter was so fun. Same with grainy black and white.

Live composite is so incredibly pleasant, along with Starry AF

It survived sand and saltwater

Continuous AF+Tracking works well with wide angles

The custom shooting mode switch on the back is something every adventure brand should have

This is the foundation for an Olympus camera we’d want to bring with us everywhere

Handheld high res shot continues to be one of the best things ever

Face detection works on monkeys

Cons

Battery life in the heat and the cold

C-AF + Tracking is useless with telephoto lenses

Why no touchscreen menus?

Olympus’s menu system continues to give headaches

Some of the parts seem very dated

A top screen LCD could have made shooting easier

Why couldn’t it have Dual UHS-II Card slots?

Above ISO 1600, you really need the art filters to take the most advantage of the otherwise too-grainy sensor

Could really use no blackout in the EVF

We couldn’t find spot metering AF linked to the face (or at least it didn’t work for us)

Buy now: $1,799

Shoot for the JPEG With the Ricoh GR III

In our review, we said that the JPEG images that came from the Ricoh GR III were so good that the option to be able to shoot in DNG simply wasn’t needed. The color profile simulations that can be used to enhance your images are simply fantastic, and we were overjoyed with the results out of the box. If you want a pocket-friendly APS-C camera that’s perfect for street photography with its 28mm f2.8 lens, the GR III is the way to go. Here are the pros and cons from our full review:

Pros

We are smitten with the JPEGs and the color profile simulations

Snap focus is nice

Sharp image quality

The small size of the camera

Good battery life if you leave the screen off

USB charging

Touchscreen

Image stabilization is nice

Cons

We don’t really care for the RAW files. You may as well just embrace the flaws of the otherwise unique image quality.

Autofocus is very slow: I’m not even sure why it’s there to begin with.

No weather sealing is a big problem.

This camera desperately needed a faster aperture lens. Otherwise, the sensor should have started at ISO 200.

Deep menus

No pop-up flash

Lots of folks have been having issues with firmware updates

Buy now: $899.95

Captured with the affordable Leica TL2

Pro Tip: When you shoot for the JPEG, the files your camera produces will be much smaller in size when compared to RAW files, but don’t get lulled into a false sense of security because you can still fill an SD card up quite quickly with JPEG images. Always make sure that you have plenty of spare SD cards in your camera bag or on your person so that you always have more storage space for when you max out a card, or if one becomes corrupted.

Shoot for the JPEG With Canon’s EOS M6 Mk II

The Canon EOS M6 II stole our JPEG loving heart when we reviewed it at the end of 2019. We love the form factor, the 32.5 megapixel sensor is the largest available in any APS-C platform, and it is capable of greatness. Couple it with the image processor that turns out clean, colorful JPEG images that are full of detail, and you have a winner on your hands. Every image in our review was a JPEG straight from the camera: that’s how much we loved the output from the Canon M6 II. Here are the pros and cons from our full review:

Pros

Beautiful colors

The sound of the shutter will appeal to long-time photographers

It feels like a solid, impressive camera

Canon’s implementation of the Touch and Drag AF system is the best it’s ever been with the Canon EOS M6 Mk II

Pretty stellar battery life

You’ve got more megapickles than you need. U DONT NEED MOAR MEGAPICKLES!!!!

Cons

We really wish it were weather sealed

An integrated viewfinder would have put this over the top

Buy now: $849

Shoot for the JPEG With the Olympus OMD EM5 Mark III

You can expect the same great quality JPEG images from the Olympus E-M5 III as you can from the company’s E-M1 III and E-M1 II thanks to the same sensor, and inclusion of all of the great art filters. The biggest difference is that the E-M5 III is smaller, lighter, and quite a bit cheaper. We loved the gorgeous retro styling of the Olympus E-M5 III, we lauded the weather sealing, and of course, we loved the images it could produce. If you want a Mirrorless camera that has a small form factor and that can pump out great images when you shoot for the JPEG, the E-M5 III might be for you. Here are the pros and cons from our full review:

Pros

Beautiful retro styling

Excellent image quality

Robust weather sealing

Reliable image stabilization

Accurate autofocus

Compact form factor

Built-in Live Composite and 50 MP High Resolution shooting modes are highly effective

Cons

Form factor can be too compact for some

Plasticky build quality

Single UHS-II SD Card slot

Lacks dedicated joystick

Poor battery life

Convoluted menu systems

Buy now: $999

Shoot for the JPEG With the Leica TL2

When we first got our hands on the Leica TL2, we weren’t quite sure what to make of it, but soon we found out that this little gem of a camera was very good. While we weren’t blown away with the versatility of the RAW files, we loved the JPEGS that this 24.3 Megapixel APS-C Leica produced. The build quality is excellent as you would expect, and it can fire of 7fps with the mechanical shutter and 20fps with the electronic shutter. Pair this camera up with some great L mount glass, get the exposure right in-camera, and enjoy the results that the JPEGS will give you. It’s that simple. Here are the pros and cons from our full review:

Pros

Super solid build quality

Nice, big screen

Simple touchscreen interface, but can get complicated depending on how you configure it

Feels better in the hand than you’d think

Good image quality

Fantastic battery life

Cons

Autofocus is fast, but not fast enough for something like street photography

Buy now: $1,699

Shoot for the JPEG With Fujifilm’s X-T30

It would be remiss of us to forget about the little Fujifilm that could; the Fujifilm X-T30. This camera is small in size, but it packs a big punch. The little brother to the X-T3 features the same 26.1 Megapixel X-Trans sensor as the X-T3 and the X-Pro 3, and it features all of those glorious Fujifilm simulations as well. Shoot for the JPEG and X-T30 will allow you to back away from the computer and spend more time out shooting, which is what we all want to do. Here are the pros and cons from our full review:

Pros

Solid construction that we’ve come to expect and love about Fujifilm cameras

Compact

Lightweight

Almost everything that made the X-T3 such a hit

Cons

Lacks in-body image stabilization and weather sealing

Rear touchscreen-only tilts up and down

Perhaps a tad too compact

The new joystick is awkwardly placed on the rear of the camera body

Unremarkable battery life

Buy now: $899

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Tags: Cameras, Images, JPEG, LOVE, stunning

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fuckinnproblems · 7 years ago

Photo

These pictures were taken exactly 1 year and 3 days ago. I love these pictures. I feel like we look so young, which is interesting because we really don’t look that much different. But what I really adore about this photo set is the energy. There’s a MASSIVE flirtatious vibe in that tiny room and I think these grainy pictures capture it. We were CLEARLY flirting at this point…it wasn’t really a secret and it was only a matter of time before we actually acted on those feelings. I LOVE the raw emotions captured. These pictures mark a beginning, in a sense. I love the innocence and the excitement of a brewing crush that is apparent.

So here we are! I still have that strong crush and we’re still flirtatious! A year later…not much is different, yet a lot is. We have had quite the year. Truly. We’ve had the good, the bad, the ugly, all of the above. But we’ve also had the less familiar ones. We’ve had the passion, the beauty, the rawness, the happiness, the silliness. You’ve shown me that there is so much more than “goods and bads”. You’ve proved to me that it is completely possible to create something so incredible that is seems unfathomable. You’ve taught me that it’s actually quite simple, and you’ve made it so easy.

Hunter, baby… this year has been wild, to say the least. But overall it has still been one of the best I have ever had, and I know for fact that a good reason for that is because of you. You make me want to be the best person, and not just to you, but to everyone. You make me brave. You make me strong. You make me smart. You are my entire world. I cannot even imagine going through these days without you by my side.

I’ve already begun my month of reflection but sweet girl, if I can say anything about 2017, it is that I am thankful. I am thankful that I got to start the year by your side and end it by your side. I never thought that would happen, yet here we are. I am thankful for you. I am thankful for starting over and new beginnings and second chances and faith. I am thankful for what 2017 has done. And I look forward to what 2018 brings us.

I love you to the stars and back, babe. Don’t ever forget.

#HN #I love you #and i’m sorry #2017

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tekamedia · 5 years ago

Text

Former 'Apprentice' contestant fires back at celebs for SoulCycle boycotts: 'I'm going in there in my MAGA ...

New Post has been published on https://newsprofixpro.com/tekamedia/2019/08/09/former-apprentice-contestant-fires-back-at-celebs-for-soulcycle-boycotts-im-going-in-there-in-my-maga/

Former 'Apprentice' contestant fires back at celebs for SoulCycle boycotts: 'I'm going in there in my MAGA ...

Attorney and political analyst Erin Elmore fired back at Hollywood stars who called for a boycott of SoulCycle and Equinox after the owner of the companies announced plans to host a Trump fundraiser. In Fox Nation’s latest episode of “UN-PC,” Elmore, who is … Read More

Buy Now

Price: $129.99

Item specifics

Condition:

Used: An item that has been used previously. The item may have some signs of cosmetic wear, but is fully

Weight: 22 Oz. Type: Digital SLR Features: Auto Focus Connectivity: USB Color:

Black

Megapixels: 12.3MP Series: Nikon D MPN:

25446

Brand:

Nikon

Battery Type: Lithium-Ion Model:

Nikon D90

UPC:

0018208254460

About this product

Product Information Discover the world of photography with the Nikon D Digital SLR Camera. This DSLR camera has 12.3-megapixel resolution, which reduces graininess for added clarity. A USB port is featured in the camera, giving you the ability to transfer your content to other devices and show off your vacation photos to friends and family. Relive incredible moments from all of your special occasions using this Nikon D Digital SLR Camera. Product Identifiers Brand Nikon MPN 25446 UPC 0018208254460 Model D90 eBay Product ID (ePID) 100100682 Product Key Features Features Auto Focus Color Black Series Nikon D Battery Type Lithium-Ion Type Digital SLR Connectivity USB Megapixels 12.3MP Dimensions Weight 22 Oz. Width 5.2in. Height 4.1in. Depth 3in. Additional Product Features Light Sensitivity MAX 6400 Viewfinder Magnification 0.94x MAX Video Resolution 1280×720 Optical Viewfinder Type Fixed Eye-Level Pentaprism Exposure Compensation ±5 Ev Range, in 1, 1/2 or 1/3 Ev Steps Min Shutter SPEED 30 Sec Sensor Size 15.8×23.6mm Red-Eye Reduction Yes Light Sensitivity Iso 100-6400 Exposure Metering Center-Weighted, 3d Color Matrix II, SPOT Exposure Modes Bulb, Manual, Shutter-Priority, I-TTL Program Flash, Automatic, Program, Aperture-Priority Battery Form Factor Manufacturer Specific Digital Video Format Avi, Motion JPEG MAX Shutter SPEED 1/4000 Sec Lens for Sd Body only Additional Features USB, Autofocus, Hdmi White Balance Colour Temperature Adjust, Daylight / Sunny (Preset), Presets, Manual, Fluorescent (Preset), Auto, Flash (Preset), Shade (Preset), Automatic, Custom, Sunset (Preset), Incandescent (Preset) Focal Length Equivalent to 35mm Camera 27-300mm Special Effects Monochrome, Neutral, Custom Effect, Landscape, Vivid Audio, Portrait Supported Flash Memory SDHC Card, SD Card, SDXC Memory Card, SDHC Memory Card, Eye-Fi SD Card, SD Memory Card Flash Type Pop-Up Flash Min Operating Temperature 0°C Auto Focus Type TTL Phase Detection Viewfinder Type Optical (Through-The-Lens), Optical Exterior Color Black Exposure Range Ev 0-20 (Iso 100) Dioptric Correction Range -2 to +1 Continuous Shooting SPEED 4.5fps Still Image Format Nef (Raw), Dpof, JPEG, Dcf 2.0, Raw + JPEG, Exif 2.21, Raw Image Sensor Resolution 12.3MP Operating System Supported Microsoft Windows XP, Microsoft Windows Vista, Apple Mac Os X, Apple Mac Os X 10, Microsoft Windows 2000, Microsoft Windows ME, Microsoft Windows 98SE Face Detection Yes Camera Type Digital SLR Display Type LCD Sensor Type Cmos Screen Size 3.0″.0″In. Shooting Programs Landscape, Night Portrait, Close-Up, Portrait Mode MAX Operating Temperature 40°C Camera Flash Features Slow Sync, Af Illuminator, Auto Flash, Red-Eye Reduction Flash, Rear Sync Flash, Manual, Front Sync Flash, Fill-In Flash Display Rotation Built-In Viewfinder-Field Coverage 96% Screen Details LCD Display-Tft Active Matrix-3″-Color Shooting Modes Frame Movie Mode Flash Modes Rear Curtain Sync, Slow Synchro, Red-Eye Reduction Display Size 3in. Expansion Slot 1X SD Memory Card Video Captûre Avi-320 X 216-24fps, Avi-640 X 424-24fps, Avi-1280 X 720-24fps Connector Types 1X USB, 1X Hdmi, 1X Composite Video Output, 1X Hawaii-SPEED USB Microphone Type Microphone-Built-In Microphone Operation Mode mono Focus Adjustment Manual Focus, Manual, Automatic, Autofocus & Manual Focus

$129.99 End Date: Monday Sep-9-2019 7:43:22 PDT Buy It Now for only: $129.99 Buy It Now | Add to watch list

Buy Now

Price: $47.55

Item specifics

Condition:

New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is

Brand:

Nintendo

Design/Finish: Plain Model:

Nintendo NES Classic Edition

Type: Home Console A/V Output(s): HDMI Hard Drive Capacity: 512MB Platform: Nintendo NES Classic Edition MPN:

CLVSNESA

Color:

Gray

UPC:

0004549659002

About this product

Product Information The Nintendo NES Classic Edition video game console, released by Nintendo in 2016, is a miniaturized version of the groundbreaking NES from 1985. The console offers hours of fun and entertainment containing 30 of the retro games including Super Mario Bros, Megaman, Metroid, and Castlevania. This video game console is portable and easy to use. The redesigned miniature version of the NES offers an HDMI port and different display modes to choose from. It is available in matte white. Product Identifiers Brand Nintendo MPN CLVSNESA GTIN 0045496590024, 0004549659002 UPC 0045496590024, 0004549659002 Model Nintendo NES Classic Edition eBay Product ID (ePID) 224836664 Product Key Features A/V Output(s) HDMI Platform Nintendo NES Classic Edition Color Gray Design/Finish Plain Type Home Console Hard Drive Capacity 512MB Additional Product Features Product Name Nintendo Entertainment System Console Color White Product Line Nintendo Entertainment System Region Code NTSC Edition Nes Classic Edition

$47.55 End Date: Sunday Sep-1-2019 23:00:00 PDT Buy It Now for only: $47.55 Buy It Now | Add to watch list

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awesomefxtrade · 5 years ago

Text

A heat wave is turning Greenland’s ice to slush. That's bad news.

New Post has been published on https://newsprofixpro.com/newsbrief/2019/08/05/a-heat-wave-is-turning-greenlands-ice-to-slush-thats-bad-news/

A heat wave is turning Greenland’s ice to slush. That's bad news.

A heat wave is turning Greenland’s ice to slush. That’s bad news. Read More

Buy Now

Price: $159.00

Item specifics

Condition: Used :

An item that has been used previously. The item may have some signs of cosmetic wear, but is fully operational and functions as intended. This item may be a floor model or store return that has been used. See the seller’s listing for full details and description of any imperfections. See all condition definitions– opens in a new window or tab

Seller Notes: “Excellent”

Weight: 22 Oz. Connectivity: USB Features: Auto Focus Megapixels: 12.3MP Color:

Black

MPN:

25446

Series: Nikon D Brand:

Nikon

Modified Item: No Battery Type: Lithium-Ion Custom Bundle: No Type: Digital SLR Non-Domestic Product: No UPC:

0018208254460

About this product

$159.00 End Date: Tuesday Sep-3-2019 17:39:16 PDT Buy It Now for only: $159.00 Buy It Now | Add to watch list

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nightmareonfilmstreet · 7 years ago

Text

Interview: FLESH OF THE VOID'S James Quinn

New Post has been published on https://www.nofspodcast.com/interview-flesh-voids-james-quinn/

Interview: FLESH OF THE VOID'S James Quinn

This is not a film. It’s not there to entertain. It’s not there to make you feel good. It is in its very core a psychological experiment. -Director James Quinn

2017’s Flesh of the Void is a terribly disturbing experimental horror feature about what it could feel like if death truly were the most horrible thing one could ever experience. Nightmare on Film Street reached out to the film’s director, James Quinn, about his choices for creating the film along with some of the intense criticisms that followed.

NOFS: What lead you to create ‘Flesh of the Void’?

JQ: The idea for Flesh of the Void came to me completely out of nowhere, actually. It all started with the video from ‘The Ring‘. Personally, horror films never really scared or severely unsettled me. Even the hardcore ones. They excite me, and I love them, but in the end, they’re just films. At one point, the tape from ‘The Ring’ was mentioned in regards to my last film, The Law of Sodom, somebody said it reminded him of it. After that, I went on YouTube and watched the tape again. I had already seen it of course but wanted to watch it again, out of context. And it blew me away. There was just something incredibly dreadful about it, and I felt like if I wouldn’t have known it’s part of a narrative feature, it would have genuinely kept me from sleeping. It made me think, why exactly? I watched some insanely creepy deep web videos after that and came to the conclusion that the simple fact of not having the slightest bit of an idea what exactly it is that you’re watching, and knowing almost nothing about how it was created play a major role in why it’s so unsettling. That, paired with the fact that all you’re seeing seems to be a compilation of things humans deeply, horribly despise or fear. This was insanely fascinating to me, and at one point I just thought: “What if someone would actually make an entire feature like this?”. The funny thing is, the project was still supposed to be a short film at first, we were planning it to be about eight minutes long. After I realized the endless possibilities I had with it, it went on and on, until we decided it should definitely become a feature.

NOFS: Is there an over-arching message within the film?

JQ: For me, yes. I created the film with a very certain theme and thought behind it. The thing is, I will never, ever tell anybody what exactly the film means to me personally. It is such a grotesque, surreal piece of work, open to many interpretations, and I believe it is important for people to decide for themselves what the meaning and message behind it are, or if there is any at all for them. This enables everybody to have a completely different experience, to maybe see everything in a whole other way than everybody else. This is something that has always fascinated me with experimental films. The sheer endless possibilities of creating one’s own world inside a finished work of art. It is the very reason that got me into making films.

Still from Flesh of the Void

NOFS: How does ‘Flesh of the Void’ differ from past projects?

JQ: There are some similarities to my past projects in some scenes, but overall, this one is quite different. I like to always incorporate trademark elements, which I definitely did in Flesh of the Void, but generally, it differs vastly to what I’ve done up until now. It is black and white and grainy, and presented in the 4:3 aspect ratio, just like my recent short The Law of Sodom, in this case though, the visuals are completely unique, since it was shot on actual film. Not only that, I experimented heavily with expired Super 8 stock, which I developed myself, and purposely treated very carelessly, so it would get scratched and dirty. It’s not only visually different though, but also in terms of content. Some of my other films were already quite incoherent, but this film tops that. I wanted to make something completely disorienting, so some of the scenes are just single shots, there are subliminal images popping up all the time, and I extensively used the element of long single shots, making some scenes very long. The thing that I would say differs most to my other projects is that up until now, I always tried to make the films enjoyable in at least some way, and, while still being disturbing, make them actually entertaining. That was not the case this time. I wanted to make something that actually hurts, that makes you feel uncomfortable and uneasy, and completely ignored all rules I’ve ever learned about how to make a film entertaining to its audience. I don’t want to entertain in this case. I want to put people’s brains on fire.

Still from Flesh of the Void

NOFS: Why the use of Super 8 film?

JQ: Flesh of the Void was shot on three different types of film. Old, expired Super 8, which I developed myself, and experimented with visually, new, modern Super 8 stock, which was professionally developed, and 16mm. After I had developed the concept of the film a bit further, it was clear pretty early on that I couldn’t pull this off with digital cameras. You can always alter digital footage in post, make it look more rough and dirty, but nothing comes close to the feel and look of the actual film. At one point, I just bought dozens of stone old Kodachrome cartridges on eBay and started experimenting with it. The chemicals to develop this type of film don’t exist anymore, so I figured out my own way of developing it, which turned out to give it an intensely raw, and brutally grainy look. This was used to create the first third of the film. In the second third, it switches to new, modern Super 8 stock. I wanted the visuals to get clearer the further the film progresses. Normal Super 8 still had enough grain for me for it to feel intensely raw. The grain was actually accentuated in post. The last third was entirely shot on 16mm. The grain was still accentuated, so it also looks very grimy, but it’s a lot finer, which was ideal for the scenes we wanted to shoot for this part of the film. In the end, all the parts seamlessly add up, and the visuals of the film progress as it moves along. This was carefully done and has a subtle psychological effect. Which is the reason we shot on film. It would have been impossible to achieve all that digitally.

NOFS: How long has it taken to film/edit the film?

JQ: It was all one large process. We didn’t shoot the entire film at once to then go into post production, we always shot junks of it, which was then put together, to see how it adds up. It was only until that point that I actually started writing what would come next. This enabled me to go into completely different directions if something felt off. In total, this took about six months of work, excluding the experimenting I had to do with the expired Super 8 stock, which took another month right before.

NOFS: What was the budget of the film?

JQ: This is tough to answer. Because to be honest, I don’t know. Nobody wants to fund films like these, especially here in Austria, so I had to finance it myself. As the film was shot and edited in junks, I just lost track of it all at some point, and frankly, I stopped caring. I needed to finish the film, no matter what, so I always found a way to finance what was needed, even if it meant selling personal belongings. I do know that the last third cost around 10 000 since we shot it mostly in one shoot that lasted for a couple of days, and it drained me financially. Other than, I’m afraid I can’t really say much.

Still from Flesh of the Void

NOFS: How do you respond to the strong criticisms against your film’s imagery and use of grotesque horror?

JQ: I personally don’t mind that a lot of people can’t really get into things like these, or even hate them. It’s a heavily experimental, grotesque and violent film, which is easy to tell even from just the trailers, and with all forms of art that dare to go a bit further, that dare to move way beyond people’s comfort zone, it’s bound to polarize. One thing that does annoy me is that people can’t stop categorizing things. “This film is a Begotten rip off”, is what I’ve heard a lot. Which is strange to me, since none of them have seen the final film yet. In general, I just ignore all the negativity. It’s a fact that strong criticism like in this case is present every time someone makes something this bizarre, and since most of the hate seems to come from people who’d rather watch the new Transformers movie and cheer towards infantile use of brain-dead action, often even seeming to lack the most basic grammar skills (which I seriously noticed very intensely among our haters), I really don’t mind, since that’s an audience I don’t want to speak to anyway. Another factor is that the negative feedback almost never consisted of constructive criticism so far, but mundane statements without arguments. Which doesn’t bother me in the slightest in regards to my work. On a purely intellectual level, it does somewhat concern me though, since it speaks volumes about our society.

NOFS: When is the planned release of the film?

JQ: At the moment, it’s planned to show it at festivals first, with a DVD and possible Blu Ray release after. I’m also thinking about Vimeo on Demand, but have not come to a conclusion regarding that. I’m still talking to distributors. We have already found someone for a European release, but are still looking for someone in the U.S. In case anybody might be able to help us out here, you can contact [email protected]. Once everything is certain, we will announce it all on our social media platforms, and our homepage, sodomchimera.com. For now, we’re focusing on screening the film in front of live audiences first. The world premiere is taking place at Nightmares Film Festival in Columbus, Ohio, which runs from October 19-22.

NOFS: Where can we find/purchase the film upon its release?

JQ: Like I said, we’re still working on everything, but it will be possible to order the DVD online. For anyone who wants to stay updated and not miss news about the release: You can subscribe to our newsletter at sodomchimera.com, you’ll then receive an email every time we post updates.

NOFS: Are there any things you’d like to disclose about the film?

JQ: If there’s one thing I’d like to specifically say about Flesh of the Void, it is the following: This is not a film. It’s not there to entertain. It’s not there to make you feel good. It is at its very core a psychological experiment. When I started going public with it, I had a very certain task in mind that I was trying to achieve. Something that would give me a lot of insight on modern audiences, and even has quite some social relevance. At this point, I can’t reveal what the exact goal of the experiment was, I can say though that it was massively successful to a degree that stuns me since the film is not even out yet. I might reveal everything at some point in the future, but that’s still open to decide for me, and depends on a few critical factors. To the people who are going to watch the film: Keep in mind what I just said while sitting through it. It’s not made for you to have fun. Which doesn’t mean you can’t like it though, at all. I’m very happy about people appreciating the provocative, the experimental. That said, I’m ridiculously curious about how people will actually react to the full film. It’s a lot of controversial material for the fact that it’s just 76 minutes long.

Please note that this trailer is not safe for work and features disturbing imagery along with grotesque horror.

youtube

#art film #art house #experimental #Flesh of the Void #horror #indie horror #james quinn #new horror #Sodom and Chimera #underground

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jesica-blog · 5 years ago

Text

How to Remove Facial Hair Naturally

1. Green gram + rose water

Substance dyes may demonstrate to be unsafe for your face and stringing is an agonizing technique. In the event that you have fine hairs all over that you need to expel, this face pack is the ideal cure.

Ingredients:

• 2 tablespoons of green gram flour

• 1-2 tablespoons of rose water

• 1 tablespoon of lemon juice

Readiness:

· Place green gram flour and rose water in a bowl and mix them well.

�� Add lemon juice to the paste and then mix the ingredients once again.

Usage:

· Apply the paste on the affected areas of your skin.

· Let it sit there for about 20-25 minutes or until it’s completely dry.

· Rub the mask off with your fingers.

Repeat: 3-4 times a week.

Results: Green gram flour has great exfoliating properties and when coupled with rose water, it helps inhibit hair growth.

Suitable for: all skin types

2. Onion + basil

A fixing which is dependably in your kitchen stock, onions work incredibly well in helping you dispose of those undesirable facial hair when blended well with basil leaves. The trap, in any case, is to discover the slim straightforward films of onion skin that lies between onion layers.

Ingredients:

· 2 medium-sized onions

· 10-12 basil leaves

Readiness:

· Find the thin, transparent membranes of skin between the layers of an onion.

· Crush the membranes with basil leaves to make a paste.

Usage:

• Apply the glue on undesirable hair and leave it there for around 20-25 minutes.

• Wash it off with warm water.

Repeat: 3-4 times a week for 1-2 months.

Results: Onion is entirely helpful for you as it encourages hair development. Be that as it may, when utilized alongside basil, it gives the invert impact and causes you dispose of undesirable facial hair.

Suitable for: all skin type

3. Lavender oil + tea tree oil

An intriguing 2013 examination found that lavender and tea tree oils could possibly be compelling in diminishing mellow instances of "hirsutism," which is a state of undesirable male-design hair development in ladies.

Ingredients:

· 1 teaspoon of lavender oil

· 4-6 drops of tea-tree oil

Readiness:

Mix lavender oil with tea-tree oil in a bowl.

Usage:

Apply the mixture of oils on the facial hair with a cotton ball.

Repeat: 2-3 times a day for at least 3 months.

Results: Lavender and tea tree oil have anti-androgenic properties that help in removing unwanted hair.

Suitable for: oily and acne-prone skin types

4. Honey + sugar

Discard your parlor based compound blanching routine for this customary trap to dispose of overabundance facial development. Sugar when warmed adheres to the hair, and after it dries, you can rip the hair off (as you pull the veil) making no harm the skin, Sugar just adheres to your hair and not the skin. Lemon, then again, fills in as a characteristic blanching operator and dyes the remainder of the hair while lightning the skin tone

This regular wax is far less risky to your skin than the concoction based ones. Additionally, the saturating properties for nectar reestablishes the water maintenance in your skin and invigorates sunburn creation.

Ingredients:

· 1 tablespoon of honey

· 2 tablespoons of sugar

· 1 tablespoon of water

Readiness:

• Put the sugar into a bowl and add nectar and water to it.

• Spot the blend in the microwave for around 30 seconds until the sugar breaks up and blends with the fluids.

Usage:

• Apply the glue to the pieces of your face with undesirable hair.

• Spot a segment of fabric over the connected blend and let it cool for a few seconds.

• Force the strip the other way wherein your hair is developing.

Repeat: as often as needed.

Results: This peel-off mask removes all unwanted hair instantly and perfectly exfoliates dead skin cells.

Suitable for: all skin types

5. Oatmeal + banana

Oatmeal is a delicate peeling operator, and can enable you to clean away the fine hair that develops on your face. If your skin is dry, banana is a standout amongst the best fixings that can be used for evacuating hair for you. Banana leaves your skin delicate and supple. However, just banana isn't sufficient for evacuating hair. You have to blend it with something which is somewhat unpleasant on skin to shed it. Be that as it may, this unpleasantness ought Not hurt your fragile skin. Oats is the ideal thing to use at that point. It is likewise an incredible characteristic chemical for skin.

Ingredients:

· 2 tablespoons of oatmeal

· 1 ripe banana

Readiness:

· Take a banana and mash it to make a paste.

· Blend the oatmeal and the mashed banana in a bowl.

Usage:

• Apply a liberal measure of the glue on the ideal regions and rub it in a round movement.

• Give the glue a chance to sit for 15-20 minutes and afterward wash it off with virus water.

Repeat: 1-2 times a week.

Results: Oatmeal has a grainy texture which makes it a good exfoliating agent for facial skin.

Suitable for: all skin types

6. Gelatin + milk

Gelatin is an extremely helpful item for skin just as hair. It contains a great deal of protein and aides in skin revival. The Gelatin cover made the skin tight and evacuates every one of the zits, whiteheads and opened my pores too.

Ingredients:

· 1 tablespoon of unflavored gelatin powder

· 3 tablespoons of whole milk

· A few drops of lemon juice

Readiness:

· In a bowl, mix gelatin with milk and lemon juice.

· Heat the mixture in the microwave for 15-20 seconds.

Usage:

• After you expel the blend from the microwave, let it chill for a couple of moments, at that point apply it legitimately to your face.

• Give the cover a chance to sit all over for 5 minutes, at that point strip it off with your fingers.

Repeat: as often as needed.

Results: The mask is extremely sticky and is able to peel off all the unwanted hairs instantly. It can also help you to get rid of blackheads and dead skin cells.

Suitable for: all skin types aside from delicate and skin break out inclined ones

7.Egg + cornstarch

The unnecessary facial hair development can be enormously shortened by this egg cover. In addition to the fact that it is sticky, which makes the cover adhere to all your facial hair and help you strip the overabundance development off once it is dry, yet additionally feeds your skin. Eggs are brimming with protein, which injects the collagen sponsor your skin needs in the wake of a difficult day.

Ingredients:

· 1 egg

· 1/2 tablespoon of cornstarch

· 1 tablespoon of sugar

Readiness:

· Crack an egg and put the white from it into a bowl.

· Add sugar and cornstarch to it and stir the ingredients well to make a smooth paste.

Usage:

· Apply the paste to your face and let it dry for about 20-25 minutes.

· Once the paste is hard enough, grab it and rip it off.

Repeat: 2-3 times a week.

Results: Egg whites strongly stick to your facial hairs and plucks them as perfectly as store-bought wax.

Suitable for: all skin types except acne-prone and sensitive ones

8.Potato + lentil

Apart from removing unwanted hair, potatoes have several other skin benefits too. The catecholase component of potatoes helps lighten and brighten your skin.

Ingredients:

· 1 cup of yellow lentils

· 1 potato

· 1 tablespoon of fresh lemon juice

· 1 tablespoon of honey

Readiness:

• Soak the lentils in water overnight.

• Toward the beginning of the day, run the doused lentils through a sustenance processor to smash them into a thick glue.

• Strip the potato and run it through the sustenance processor too.

• Take a sifter and pass the squashed potato through it to separate however much potato squeeze as could be expected.

• Blend the potato juice with the lentil glue, and add nectar and lemon juice to the blend.

Usage:

· Apply the paste to the affected areas and let it sit for 20-30 minutes.

· Once the mask is fully dry, remove it with your fingers. The paste will fall off, taking your unwanted hair with it.

Repeat: 1-2 times a week.

Results: Dried lentils make it simpler for your hair to be hauled out while potatoes have regular dying properties that help your residual hairs and make them less unmistakable.

Suitable for: all skin types, but if you have dry skin, don’t forget to use moisturizer after applying the mask.

9.Papaya + turmeric

The star bio-dynamic chemical found in papaya called 'papain', extends the hair follicle which hinders the overabundance hair development on your skin. Papaya likewise helps normally peeling the skin, by expelling the dead cells. The conventional solution for greater part of skin issues turmeric further sheds and light up the skin.

Ingredients:

· 1 raw papaya

· 1/2 teaspoon of turmeric powder

Readiness:

· Peel the papaya and cut it into little pieces.

· Mash the pieces to make a paste.

· Mix the papaya paste with turmeric powder.

Usage:

· Apply the paste to the parts of your face with unwanted hair.

· Massage your skin gently at first and then let the mask sit for 15-20 minutes.

· Wash it off with warm water.

Repeat: 2 times a week

Results: Papain, an enzyme found in raw papaya, disintegrates the cuticle of human hair and causes it to fall out naturally.

Suitable for: all skin types

10. Turmeric and Milk

Ingredients:

· Rice flour

· Turmeric powder

· Milk

Readiness:

· Mix all the ingredients together.

· If required, add water.

Usage: Apply the mask over the area of unwanted hair and let it dry. Wash it off with warm water. You can apply this every day.

Results: The coarseness of the rice flour rubs against the skin and evacuates hair. The milk saturates it, and the turmeric goes about as a clean.

Suitable for: Good for dry and normal skin types.

Be patient when trying out home remedies as most of them usually take a longer time to show results.

Have a steam bath before using any of the remedies in order to open up your skin’s pores.

After doing the treatment, wash your face properly to keep your skin clean and neat.

Drink a lot of water just as foods grown from the ground juices to remain hydrated and get all the fundamental nutrients for your skin.

To adjust your hormones and lessen the development of undesirable hair, adhere to a solid eating routine and exercise consistently.

In the event that you experience strange hair development alongside the presence of certain strong highlights like diminished bosom measure, an extending of your voice or expanded bulk, counsel your specialist.

What strategies do you more often than not use to evacuate pointless facial hair? Offer your plans in the remarks!

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