#this is so very very webgott

[cirr0stratus]

no more sex scenes in movies i want to see more of whatever the fuck was going on between these two https://youtu.be/JX8qy8lFdVE?si=9--bO9ZhgHGWpQGB

[kbsd]

and what if easy company were all vampires? what then?

[babe-heffron]

another thing about that scene is that skinny is being protected by randlemartin's aura once again to prepare him for the further trials and tribulations of webgott...

[lildrogon]

♤ Out of Touch - Daryl Hall & John Oates ♤

[krakerjaksstuff]

in your opinion, what is their love language :3

See, my first instinct is to go with quality time but that’s because I always go for quality time. To me, quality time is the foundation of love. If you don’t enjoy spending your time in the presence of a person you love, what’s the point? Having fun together and joking around and just being happy because wow! You have managed to find a person who makes your day brighten just because they are them? Loving someone without liking them is something that I loatheeeee (as you already know) so quality time>>>>>

Plus webgott spending time with each other makes me !!!!!!! cuz THEY ARE ATTACHED TO THE HIP OKAY. In my canon, they are off being domestic and after work, you cannot separate the two. Either they’re arguing about something profoundly stupid, fucking, or being soft together like Webster reading aloud his novel while Lieb lays on his chest and makes so much fun of the book. Yes, I did take this concept from @softguarnere’s post because it has wormed into my brain and won’t leave. Even when they’re not talking and they’re doing their own little thing, they still want to be in the other’s presence because why wouldn’t they? To hear the other’s soft breathing and rustling of pages turning, both novels and comic books alike, it is an anchor to this world of peace for them both.

To sum things up: quality time superiority

[terresdebrume]

I started writing this at work because I didn't get any prompt for my flash fic drive yesterday but I still wanted to do a little something, and this is what came out. On the upside, it's longer than my usual flash ficlets so. Yay for my first completed Webgott work :P

Bedtime Stories

They're in bed, settled in for an early evening with the blankets high under their chins. David is half draped over Joe's chest, because he likes having his head in the crook of Joe's neck and also because Joe likes the extra warmth—it's toasty, like this, and David has sweat gliding down his neck, but he enjoys this too much to let it go. Spending their winter evenings like this—him, finishing the day's crosswords in the San Francisco Chronicles, listening to Joe's heartbeat while Joe's fingers run through his hair and make an absolute nest out of it, the latest best seller in his free hand to keep the memories of Bastogne he rarely talks about at bay—very few things in the world compare to this. David will take all the sweat in the world and then some to keep this. He's comfortable, and warm, and beloved, and he's inches from sleep when he feels Joe's breathing speed up.

David looks up, frowning, but Joe's face doesn't look the way he does when the ghosts of the war catch up with him. He is frowning though, shoulders tensing under David's cheek, and David puts his pencil down, reaching up to cup Joe's cheek in his hand. Joe, his eyes still fixed on the book, doesn't pay attention to him until David starts fiddling with the branches of his reading glasses. He takes the kind of deep breath that comes after losing oneself between the pages of a good book, the release of deep focus and tension melting him further against the headboard.

"Am I bothering you, your highness?" He asks, and David puts on the haughtiest air he can muster:

"Yes, as a matter of fact. It's quite the racket in there. Good scene?"

Joe hums, contemplating, and twists until he can land a kiss in the palm of David's hand. He stays there for a moment or two, quiet enough that David wonders if maybe he's gotten lost in thoughts, until he says:

"I'd say efficient, more than good. I don't know that I like it."

David makes a questioning noise. He hasn't followed the plot of Joe's book very closely—Joe started it while David was rushing to meet three separate deadlines and had no mind to remember the details of some rich excentric man's birthday plans. Worse: the book is apparently the sequel to a children's story that David hasn't read, and overall seemed to expect its readers to care quite a bit more about genealogy than David is prepared to. He does nod when Joe asks if he remembers what happened last.

"They're at the inn now, right? With the uh. Ranger man."

Joe snorts, and David has known and loved him long enough by now to hear the implied 'literature studies and that's how you describe a plot. Pathetic.' A few years ago, David would have taken offense at that, but he's too comfortable for bickering tonight, so instead he makes a conceding hum and tilts his head up until Joe rolls his eyes and kisses him.

"Read it to me?" He asks after they pull apart some time later.

"'As they prepared for sleep in the inn at Bree, darkness lay on Buckland. A mist strayed in the dells and along the riverbank. The house at Crickhollow stood silent. Fatty Bolger opened the door cautiously and peered out.'"

Joe has a good reading voice, despite his protests. It's not the kind of voice they'd pick for the job on the radio, but the way he puts gravitas into the narration would put George Luz and his impressions to shame. It's easy for David to relax back down against him and try to imagine what a character named Fatty Bolger might look like.

"'A feeling of fear had been growing on him all day,'" Joe continues, "'and he was unable to rest or go to bed. There was a brooding threat, in the breathless night air. As he stared out into the gloom, a black shadow moved under the trees.'"

David's heart beat picks up just as Joe's does, his spine stiffening with the memory of countless guard rotations—the fight against exhaustion, the knowledge that in the dark every shadow could spell his death. The terror shooting through him with every crack of a branch or rustle of a leaf.

"'The gate seemed to open of its own accord, and close again without a sound,'" Joe continues, his free hand moving from David's head down to his shoulder. "'Terror seized him. He shrank back, and for a moment he stood trembling in the hall... then he shut and locked he door.'"

David's hand abandons its position on Joe's cheek and goes to grip Joe's hand instead. There is a tremor in his knees: the dull shock of landing on damp grass in the night, machine guns roaring in the distance—the rush of getting the 'chute off, pulling his rifle into position. Staring frantically into the pitch darkness of Normandy and desperately resisting the urge to shoot at the first thing that moves.

"'The night deepened,'" Joe continues, the rhythm of his ribcage against David's back speeding up again, his voice growing more tense by the second. "'There came the soft sound of horses led with stealth along the lane. Outside the gate, they stopped, and three black figures entered, like shades of night creeping across the ground. One went to the door.'"

Another night, another building to clear. Rushing to the door, trying to think about what to do—grenade, wait, rush in—rather than what could be waiting there.

"'One to the corner of the house on either side, and there they stood, as still as the shadows of stone while the night went slowly on. The house and the quiet trees seemed to be waiting breathlessly.'"

The dissonance between the quiet and the fear. The knowledge that peace was still there, just out of reach behind gossamer curtains.

"'There was a faint stir in the leaves, and a cock crowed far away. The cold hour before dawn was passing.'"

Waiting in a ditch, with dozens of better armed men a scant few feet away from realizing they could hose the lot of them down in less than a minute. Dreading the only orders Winters could possibly give in that situation, and knowing there would be nothing for it but to execute them anyway.

"'The figure by the door moved. In the dark without a moon or stars, a drawn blade gleamed, as if a chill light had been unsheathed. There was a blow—'"

Something knocks against the front door, and David jumps so hard his head collides with Joe's chin, whose yelp echoes in the little bedroom. They sit together for a moment, the fingers of their clasped hands tight around each other as they slow their breathing down as best as they can. There's another knock, and this time David only flinches before he straightens up. He glances at Joe behind him and finds him pale and drawn, the familiar furrow of his anger cutting deep between his eyebrows as he grips David's hand tighter than ever.

"I'll get it," David says as their landlady starts calling for them at the door.

He brings Joe's hand to his lips and presses a kiss on the back of it, just so he can remind himself where he is—where they are—before he makes his way through the tiny apartment, vaguely combing through his hair until he opens the door. Mrs. Obradovic startles, and immediately falls into a concerned frown:

"Is everything alright my dear? You look like you've seen a ghost!"

The truth of it is both much sillier and infinitely more serious than Mrs. Obradovic thinks, but David doesn't feel up to baring his soul to his octogenarian proprietor, no matter how kindly she is, so he makes himself laugh.

"I almost thought I did. How may I help you?"

She points down to a small bag on the floor.

"Josep finally came home with the coal," she says, still visibly concerned. "I'd have waited until tomorrow, but I know your Joe doesn't do well with the cold."

"Thank you, Mrs. Obradovic," David says, sincere through the headiness of calming down after an abrupt fright. "You're an angel."

"Nonsense, nonsense. Now, you boys have a good night, and let me know if you need anything else, yes?"

"We will. Thank you again," David says, and finds himself giving her a warmer smile than he normally does, touched by her continued concern over Joe's well being.

He closes the door behind her, locks it, and deals with the coal before he makes his way back to the bedroom, dusting his hands off as he walks. The book is back on Joe's bedside table when he enters, red eye staring at David from the wide black circle on the cover, and the spindly red runes almost feel like they're about to start moving. On the bed, Joe is no longer as pale as the novel's cover, which David decides to take as a good sign as he crawls up onto Joe's lap and takes his face between his hands.

"So," he says, pressing his forehead against Joe's and taking deep breaths to calm himself down. "I see what you meant by efficient."

"Yeah."

There is a brief silence, and then Joe sighs and goes soft between David's palms, pliant like he is after nightmares finally let go of him, usually several hours past dawn. David draws him in and nuzzles his nose, dipping in to plant little kisses on Joe's cheeks. On his hips, he feels Joe's fingers tighten again, almost to the point of bruising, until Joe's arms wrap around his waist and pull him in tight.

"Fuck," Joe says eventually, the slip into German more familiar now that David finally convinced him there was no reason to punish himself for what the Nazis did. "Fuck, it's just a fucking book."

"Well, at least you're not the one who nearly broke his lover's nose over it."

That startles a laugh out of Joe, and he tilts his head up to kiss David's lips. They don't kiss like that often—usually, Joe prefers to tug David downward to negate their height difference. But David likes it when he gets to kiss Joe from above, likes the opportunity to cradle his face with his hands, the excuse to treat Joe like the precious thing he is without being accused of thinking he's fragile. They lose themselves in the kiss for several long minutes, and by the end David is almost back to the the mellow state he was in before they started reading.

"Right," Joe says, picking up the book from the bedside table and tossing it to the other end of the room, "Goodbye, Tolkien."

"I don't know," David says, eyes drawn to where the first few letters of 'Fellowship' shimmer in the dim light of Joe's bedside lamp, "I'm intrigued now."

"Intrigued?" Joe repeats, incredulous. "You nearly shat yourself."

"Yeah, well, so did you," David shoots back, soothing the sting with a kiss on Joe's nose. "What can I say, I'm braver about fiction than reality."

"Like I didn't know that," Joe scoffs, and David rolls his eyes.

"I'm serious, Liebling. I'm going to read it."

"Right."

"Just...maybe not at night," David admits, and Joe's face goes from gently mocking to purely fond as he squeezes his arms around David's waist.

"Don't worry," he says, visibly going for a joking tone, "I'll hug you better if you scare yourself."

Joke's on him, though, because that's exactly what David was angling for.

ETA: Cleaned up (and longer!) Version now available on AO3!

[lewis-winters]

nobody talks about how Joe was literally divorced with a son by the time he joined up!!

does anybody have any thoughts about webgott’s age difference. NOT in an age gap discourse way… I do not care. But I don’t really see it explored in fics much so I’m like… what are we thinking about it. I’m all ears

[a-gassy-antelope]

B.O.B SHIPS AND SHOWERTIME

-Winnix: Dick is a morning shower-er after his morning workout. Lew wakes up roughly around the time Dick is done showering. They don't shower together but about 40% of the time there is a morning fuck just before Dick gets out and Lew begins his shower routine.

- Baberoe: Gene always showers after his shift at the hospital with all the lights off, in complete silence. Babe is a morning shower person and blasts music. They rarely shower together and if they do, it's adorable cuddle time. Occasionally a shower fuck.

-LuzToye: they shower together regularly, it's not a sexy thing it's just their routine. Probably night time shower-ers. A great place and time to discuss the day and their plans. Although they can be disgustingly cutesy and cuddly.

-Webgott: Web is a very thorough bather, especially considering his body hair. He washes between his toes, scrapes under his nails, shampoos twice. Lieb is the type to have expensive products for his hair but at the same time doesn't think he needs to scrub his legs or feet. They used to shower together (which usually lead to fucking) until one day Lieb was brushing his teeth in the shower and spat his toothpaste out onto Webs feet and didn't understand why Web was upset. Lieb is not allowed in the shower with Web anymore. He sticks his head into the curtain like a dog begging to be let inside.

-Harry and Kitty: Harry washes Kitty's hair and gives a full scalp massage. She is spoiled and knows it and deserves to be. After they have children, Harry knows that's Kitty's time to herself without being nagged, so he never comments on the fact that she uses all the hot water. He showers with cold water.

-Muck and Malarkey: they're disgustingly sweet. Also often fuck in the shower. But it's a gamble to see if one of them farts and ruins the whole ordeal.

- Speirton: They fuck nasty in that shower. Until the water goes cold.

[shelyue99]

From Eion Bailey’s interview with Ross Owen Show

Eion’s take on Webster: Webster is stuck between two worlds. He wanted to be a regular guy. He didn’t like college men, the privileged did not have to fight, but the poor and the social-economically repressed were the ones to be shipped out to fight. He didn’t think it’s right so he dropped out Harvard to fight with them. But at the same time he was not accepted in the way he hoped. People still looked at him as the privileged Harvard college boy. So the whole war he was looking for acceptance and he was feeling isolated. He wanted people to give him credits.

Eion Bailey liked to challenge Dale Dye and they had an antagonistic relationship at the bootcamp, but ultimately they found respect in each other.

He loved the bootcamp because he could experience military without really being in the military and exposing his life to danger (this sounds so Webster)

He and Matthew Settle (Speirs) burned the paratrooper boots the last day when they wrapped up the shooting. He kept the jacket and the helmet from the set.

Eion’s grandfathers were both pilots during WWII. One is with the Air Force and flew with Flying Tiger, the other is in the navy and fought in the pacific.

Eion didn’t know any other actors before the bootcamp. He is close with Matthew Settle, Richard Speight Jr, Scott Grimes, Damian Lewis to a degree, and Ross McCall.

On how Eion and Ross McCall worked out their characters. Eion said he and Ross had an easy rapport. it’s like Liebgott and Webster had a good rapport but in a strange way, it’s combative. They test each other but have mutual respect. They are from different worlds but see eye to eye. Liebgott saw in Webster on the surface that he is a highbrow intellectual, but actually he is honest, truthful, authentic, and for the cause. (This part is so Webgott)

Tom Hardy is a replacement and when he arrived, the other guys were already very close. They told Tom Hardy you are gonna be messed with. When Tom hardy arrived at his hotel room, it was already trashed, all the sheets, blankets were thrown out from the window. There were pillow cases in the toilet so it couldn’t flush (This occured during the shooting in Switzerland)

Eion Bailey said he was worried before the USO tour because he was afraid he would be perceived as the “phony actor” and not the real deal, but they were very well received. The military channel there has been playing BoB on loop.

[evidenceof]

how do you do the coloring in your gifs? it's so pretty 🥰

this is such a huge compliment. thank you!! i'm glad you think so, considering this is my first whack at ~seriously doing it. coloring is my favorite step! i’ll be as helpful as i can, but if you find any of the tips too vague, feel free to dm me!

we’ll be using this webgott gif set you indicated as the guide! here are the before and after samples of the gifs so you see what we'll be tryna achieve from base to final frames:

for the steps, ill go over several things: a. Why I do this step: a.k.a. what i’m trying to achieve with each adjustment layer b. How I do this step: how i personally adjust the settings c. Before and after samples of the colors so you can see the progress after each of my steps

onward

this is my first time typing down a tutorial so please be kind. i am (very) new to all of this and most of what i learned, i’ve learned from reading a bunch of tutorials on here (that i’ll credit down below), and watching too many youtube videos on color adjusting digital images, and coloring old wwii photographs.

this answer will be focused on just how i personally color, but i’ve linked some guides for creating base gifs that i also studied.

! before anything else !

i use photoshop to create and color my gifs and mpv to capture my screencaps from my files. also this ISN’T the ONLY WAY and the BEST WAY to color. this is just how i personally go mad on photoshop. <3 

Coloring tutorials that have been super helpful in getting me on track:

dicom gifs - not technically a coloring tutorial, but this is how i import my scripts on to photoshop.the process feels smoother for me (no need to reverse the frames etc. and the resolution always looks and feels better when i'm done with them)

general coloring + hi res gifs - great place to start with tips on what files to use for maximum crispness

masking layers -  for when you only want to apply an adjustment layer to a specific part of your gif, great for skin tones!

STEP ZERO: know what you like

This sounds very “ok captain obvious” but i do think it’s such a vital part of the process. the technical stuff gets very tedious, very quickly. and if you don’t know what colors draw you in, what colors you’re trying to lift and see in your gifs, you’re going to be tinkering around with the settings for longer than you’d like. so have references ready, if that’s your jam.

and with that, i'd like to show you some examples of colors that i gravitate towards that greatly influence how i color my gifs. i'm a huge 40s technicolor girl, 35mm 60s film girl (see ernst lubitsch, powell and pressberger, jacques rivette, agnes varda). and because i’m coloring a piece of media set in WWII, 1940s, i like studying the colored photographs (think winnix chair photo in color).

so am always looking to punch up my reds and greens, deepen and add browns, saturate skin tones so there's warmth there, while grays/shadows tend to veer towards a cooler tone. 

sorry for the thick paragraphs under this but i think it’s very crucial! once you’ve got that down pat, or at least have some handy references with you, it’ll be less of a pain to go through the next steps.

My process/sequence of adjustment layers

Base DICOM Script → Curves → Levels (optional for me) → Color Balance →  Color Fill Layer → Hue and Saturation → Selective Color

What that looks like on Photoshop:

STEP 1: DICOM BASE SCRIPT

Why I do this step: These are your frames! This is also the part where you adjust the sharpness of the gif so you don’t get a blurry image after cropping it down to tumblr dimensions.

How I do this step: I use actions for my DICOM script. I used to do it manually but now I use this Good Good Action Scripts by Redbelles. Cuts down the time, arranges them in the timeline for me. And as I’ve mentioned, it just feels better for me.

If you’re using pngs/screencaps as your base script, you can follow the instructions here instead.

This is also the part where you can adjust you can play back the gif and see if you’re happy with the positioning of your crop. Your timeline will look something like this.

STEP 2: CURVES LAYER 

Why I do this step: i’m concerned with getting what i just label as "true color." you'll notice that with band of brothers especially, the more you look at the scenes, the more you'll just how a) yellow the daylight scenes are, b) how blue gray and nothing else the darker scenes are, c) the lighting can get muddy. 

personally, when I adjust curves, my goal is to try to get the image as neutral as possible, which then allows me to inject as much color as you see fit. So think of it as eliminating as much of the coloring the editors of the show placed into the scene, so that you end up what is essentially a blank canvas.

How I adjust my Curves Layer: I pick the high, mid, and low lights of the scene. This video goes into that in depth. But you can also just choose the auto options if you’re just, like me, concerned with getting the image as neutral as possible. For a while I did in manually to understand what it was meant to do. But if you want to do it easily do the following steps.

> Auto adjust - by clicking the hamburger icon/ the three lines on top.

> You can choose between “Enhance per Channel Contrast” or “Find Dark or Light Colors”. Make you you tick on the “Snap Channel Midtones” to get the most neutral image. The tool bar should look like this:

Let’s compare the frames with and without the Curve adjustment layer:

Great! We’ve gotten rid of some of the darker overlays on both their faces, see more contrast between the foreground and the background. This gives us a better base image to color in for the next steps.

STEP 3: COLOR BALANCE LAYER

Why I do this step: To me this is like underpainting but not really? It feels like that though.What it helps me do is to adjust the hue/dominant colors of the highlights, midpoints, and shadows. so let's say even at it's most "neutral" state, I still find the image too yellow or too red. At this point of the process, I’ll add more cyan. if i want the yellow to adjust into an orange/brown area, I add in a bit more magenta and adjust the greens. it's here where i decide if i want the shadows to lean more towards a cooler tone or a warmer tone. It helps you make these crucial adjustments before you go in with the Hue and Saturation layer. (This is where you knowing what colors you like, comes in immediately!)

How I do this Step:

> Add a Color Balance Layer

> Adjust the three points: I’ll exaggerate the Color Balance adjustment so you can see what points are being targeted by each hue adjustment and where you can add those colors under this step. The tones do bleed into each other, so adjust sparingly if you’re not going for a complete wash of color.

Midtones: Let’s you adjust the “middle” areas, i.e. some of the biggest chunks of the frame. See Web’s entire face, the gray wall in the back ground, his ODs

Shadows: Let’s you adjust the darkest parts of the frame. See his hair, the barrel of the M1, the darkest parts of his glove. 

Highlights: Let’s you adjust the colors of the the brightest parts of the photo. For this frame it’s Web’s forehead, and the very tips of his fingers.

Let’s compare the frames: With the Curve adjustment vs. Adding the Color Balance

You’ll notice that I’ve only nudged the tones a little bit here. The accompanying gif (Liebgott’s) has greener overtones, and I wanted to balance some of that hue in this set. 

Highlights: Wanted more brown tones. Nudged the arrows to add more red, green and justtt a small bit of blue.

Midtones: Nudged the arrows to have a touch more red and a touch more yellow to make the skin tone lean to a warmer hue.

Shadows: Needed this to be cooler so I nudged the arrows to give it a bit more Cyan, while still adding just a hint of yellow. Together they make the image a tinge more green.

Once I’m happy with this, I move on to the next step. You can go back to this step, of course! If you want to make adjustments after you’ve applied the next layers. <3 

STEP 4: LEVELS LAYER

Why I do this step: I use this in place of a Brightness and Contrast layer or Exposure Layer. This is where I reintroduce shadows and points of light. Here I can choose to add a bit more depth, or to reveal more of the shadowed points of the image. I don’t always move this around, and this is an optional step for me, but I did it for this gif set.

How I do this Step:

> Add Levels layer

> Adjust midpoint arrow to the right or left - this can lift any shadows if you move it towards the left, and deepen any shadows if you move it towards the right.

> Adjust the highlights arrow to the right - Optional as well. If you want to introduce/emphasize the brightness in the image, make the high points even whiter, you can slide this more to the left.

> ****I don’t adjust the bottom slider. This adds a “fade” into your image. If you want lesser contrast, and more of that flat quality, you can move this around but I barely touch this.

Let’s compare the frames: With previous adjustments vs. Adding the Levels Layer

Here, I deepened the contrast and shadows, I wanted more black in Web’s hair, and to give more depth to his ODs and gloves. The shadows also help define their features more prominently, better outline for both their eyes and nose. For Lieb, I lifted the shadows a bit to show more of his face, and see more of the redness of his lips that I love.

STEP 4: HUE AND SATURATION LAYER

Why I do this step: You’ve prepped your canvas! This is where everything’s sort of breathed into life. Spoiler alert, if you’re coloring Band of Brothers specifically, you’ll be moving the red and yellow a LOT, and rarely any of the other color layers since they are… non-existent in most frames. Here is where I give the skin more color, differentiate the shades of olive and green that’s prominent given that they’re soldiers. This is also where you’ll see the blue/green eyes pop out if the frame permits (Web, Winters, Bull, and Randleman’s eyes tend to reveal some blues and greens every now and then!)

Hue Area: Mixes your chosen color and adds more magenta or yellow.

Saturation Area: Dulls or Saturates said hues. 

If you move your arrow towards the extreme left, you get a dull green, if you move it to the right, you get highlighter green.

How I do this Step:

> Add Hue and Saturation Layer

> Open the drop down - I try not to move the ‘Master’ area because it washes the entire gif with hue and color. I’m only targeting specific areas and colors.

> Adjust Reds - I tend to make my reds lean more towards magenta. To do this I drag the arrow towards the left and inject some more magenta into the mix, not too much that they look sunburnt (though sometimes that’s inevitable. I’ll show you how to fix it later on!). I saturate the red a lot. As I’ve said, I love red lmfao. So I want that to be lifted in the image.

> Adjust Yellows - I also want my yellows to be a bit more orange in darker scenes where they’re seen mostly on skin. So I move the arrow again to the left.

> Adjust Greens - There’s green here huzzah! I wanted to lift the color a bit more from his uniform, make it more olive than a dark gray/brown, so I added more yellow by moving the arrow to the right and upping the saturation.

*Tip: If you’re unsure about which color you’re adjusting, you can take the dropper tool on the screenshot, click on the area of the frame you want to fix up, and it will register the prominent color.

Let’s compare the frames: With previous adjustments vs. Adding the Hue and Saturation Layer:

You’ll notice there’s a lot more pink on their faces, some reds on Web's fingertips, and a brighter, more prominent red on Lieb's lips. The color of their ODs is a bit more true to its name of olive drab now! The contrast of the added color to Web's skin also makes his eye color pop out more. Their skin looks alive! Yay!

STEP 5: SELECTIVE COLOR LAYER

Why I do this step: I think of this as finishing touches. Sometimes I find that I want to adjust the reds, yellows, etc. more specifically and I can mix in more color to get it to the exact tone I want. This is where I can do that. Selective color lets you add or remove more cyan, magenta, and yellow tones from your hues.

How I do this Step:

> Add Selective Color Layer

> Open the drop down and choose which hue you’ll be adjusting

> Adjust the colors accordingly- I don’t use it in this specific gif, so here’s a different one of Harry in Carentan. I adjusted the reds and yellows to have more cyan (moving arrow to on the Cyan scale to the left), making the red more purple, and the yellow more green. It’s VERRRY subtle, but it matters greatly to me lmfao. 

STEP 6: COLOR FILL LAYER

Why I do this step:  I really... love browns and warmer skin tones, even if they're right smack in the middle of Bastogne (lawl sorry!!!!!). band of brother's footage in particular, if i only adjust the skin tone at the hue and saturation level, there will be parts of the skin that register as white or gray (i.e. technically not hues) and not "red" or "yellow", what that means is, even if you adjust the saturation and hue and amp it up to the highest level those patches of white and gray will remain white and gray and you'll be left with patchy soldier skin. sure, it's realistic but i want warm skin! 

How I do this step:

> Add Color Fill Layer: Click the Circle symbol that's half white, half black. Select "Solid Color"

> Choose a color: I gravitate towards a light brown or a light orange. Click okay and don’t panic when your entire image is covered by a solid block of color.

> Play with Blend Mode and Opacity: I usually use Linear/Color Burn which allows me to see warmer colors overall but especially, and most importantly for me, their skin. The end result is giving them the TINIEST bit of a tan but also introducing more natural color against the grays and whites that register. Less patchy skin on you WWII vet!

You can tinker with the opacity and blend modes to see which looks best for you.

Let’s go back to Web and compare the frames: With previous adjustments vs. Adding the Color Fill Layer:

Tada!

Now all that's left is to transform them back into frames on the Timeline (see linked tutorials above!) and save.

And that’s more or less how I color my gifs! I tinker a lot with the layers after. Sometimes you need to see it all together and then make the adjustments after. I do more of some steps, and less of some depending on the frames and the scenes.

Having a good grasp of color language helps a lot and it’s something you do end up learning while making gifs or just looking at images/media whose colors call to you.

Sort of as an end note/exercise, you can see what it is about the color and lighting of The Pacific that draws you in, and amplify that in your gifs. Perhaps you’re drawn to the orange of the sun, or the bright almost jewel green of the tropical foliage. Maybe you’re really into the browns and the dusty scenes. It all helps you pick out what you want to ramp up and tone down in the colors.

I hope this was… even a tiny bit helpful. Again, feel free to DM me or hit me up on Discord if you want some clarifications/if you need help WHILE you’re making the gifs. Happy to help! <3 

[warcorrespondence]

Art heists! Handcuffs! Bank robberies! Sexy grifting! It must be The Take by distractionpie

fandom: Band of Brothers

pairing: Webgott

Mature, 92,861 words

I'll be honest, it took me a hot sec to get going on this, and this read was actually my second try. The reason for this (that Liebgott is an unreliable narrator) ended up being my very favorite thing about the fic.

When I say unreliable narrator, I don't mean shocktwist nothing happened the way he said it did. I mean he says (and believes he means) one thing, but really he's full of shit. Lieb is just not the most self-aware person in the world, and he lies to himself constantly - and the author does an excellent job of letting the reader in on how he actually feels. So when Lieb irritatedly decides that he absolutely has to do this one con and the only way it can possibly work is if he calls ugh the last person he wants to call, fucking Webster, Jesus Christ - we get to cackle because Sure, Jan.

The cons are clever but not overly complicated - the fic remains believable, like okay, distracting that one guard and doing bleeepity blooop technical talk to the security system, aaaaaaand painting liberated! It works. And there are delightful turns of phrase, including x villainous character "toting Webster around every party, subjecting him to self-congratulatory speeches like Webster was a flesh light for his ego."

Joe slept late the next morning, late enough that as soon as he glanced at the alarm clock he decided to just wait to go out for lunch instead of worrying about breakfast, but first he turned the TV on, flipping through the channels. Whoever had been watching it last had been watching the weather, but like he gave a shit; next were some Spanish soap-opera reruns, but romance languages had never been his strength; the news, usually depressing, but- wait! He turned the volume up just in time to hear the newscaster announce: "Just days after the Los Angeles SeaWorld center won the court case against animal rights campaigners allowing them to continue keeping great white sharks in captivity, their complete collection of sharks, comprising of over a dozen specimens of five different subspecies, has vanished overnight. The criminals have also caused thousands of dollars’ worth of damage to the aquarium premises and now empty tanks-" For a split second, Joe thought, surely not? But then he remembered just who he was dealing with and pulled out his phone. Did I just help you with a SHARK heist????

[ww2yaoi]

Listen I want to be into Webgott because I see all your hype and I’m like obviously it’s great and every time I try I’m like , “eh” about it, like what am I missiiiiing why can’t I get into thiiiiis?

So like. What’s the thing. I think maybe I have a hard time because they’re not bffs but they also aren’t exactly like mortal enemies and I’m having trouble figuring out what the vibe should be.

So anyways if you’ve got something to pitch me the sale I’m all ears.

I won't pitch to you because if something doesn't click, it doesn't click and with ships I feel like you either get it or you don’t, so I'm not gonna try and convince you because I honestly feel like that’s a waste of everyone’s time and would be a lot of effort on my end and like why do I give a fuck if you don’t like it (to be brutally honest). However, I can explain what I do like about it. This is going to be kind of rambly and fractured but whatever.

I guess first and foremost I see them both as very interesting characters in their own right. Joe and Web both hate the Germans, but they joined the war for different reasons. Web wanted to write about it, considering himself a kind of warrior poet. He wanted to be on the ground and experience the war as it happened, in all its honest brutality. He comes from a fairly wealthy family, and goes to an Ivy League school, yet he forwent becoming an officer to be a lowly private and sleep in holes. That’s weird. He’s a bit bizarre for doing that.

Joe, in the show at least, is Jewish. So this is personal to him. He’s fighting because he has to fight, because someone has to kill these Nazis and he’s very much willing to do that. He’s a good soldier for the most part, he doesn’t answer to authority all that well and he’s bloodthirsty to a detriment at times, but he’s extremely loyal to his friends and protective of the group.

Arguably, Web is not that good of a soldier. He doesn’t volunteer for anything. He didn’t break out of the hospital to rejoin his friends. He’s kind of a loner, scribbling in his notebook. He’s intellectual and pretentious and he gets bullied for it. All this culminates in his and Joe’s fraught relationship in The Last Patrol which is kind of the crux of the whole ship. Joe sees the worst in Web, but Web eventually proves himself and is accepted back into the group by Joe. I don’t want to explain the whole episode, you get the point.

All this to say, they’re very different people, of different social strata, and they never would’ve looked twice at each other had the war not happened, which is kind of the hidden beauty of these worldwide conflicts if there is any. The mass mobilization of millions of people under the umbrella of one cause has a sort of equalizing effect where different social groups come together. Joe and Web literally come from opposite coasts. The symbolism is pretty obvious and poignant to me.

Anyways, I guess what appeals to me about Webgott is their similarities and differences and how these dichotomies produce a dynamic with a lot of potential for understanding and misunderstanding. You’re right that they’re not exactly friends and they’re not exactly enemies, but while this seems to put you off this is the whole appeal to me. They exist in this liminal space where they’re constantly feeling each other out and fighting to understand each other and correcting their assumptions of each other. It’s not easy, but there’s a draw there because they’re so inexplicable to one another. They’re mirrors to each other in a lot of ways. They’re both their own people. They both have this complex capacity for love and violence. I see them both as very passionate individuals with a lot of inner turmoil, and I think they could find love and comfort in each other if only they could break down each other’s walls or be brave enough to lower them themselves.

Ships should have conflict to be interesting. There should be some sort of barrier to having the perfect relationship or else the whole objective of storytelling and narrative is a pointless exercise. That gives people something to write about and chew on. And I think with Webgott there’s a lot to chew on.

[reallylilyreally]

The Man on the Mountain

A little something I wrote last year (here on AO3) about that Webgott scene in Points... Working doc title was "Skinny was there too, morons".

If you look at it closely, this isn't actually just Leibgott's story, or Webster's. No one seems to realise that.

Once upon a time, three men drove a truck up a hill to kill a bad man.

Joseph Liebgott is there because Captain Speirs wants to give him something nice to do. David Webster is there because Leibgott is a codependent sadomasochist. Skinny doesn't really know why he's there. Probably because Shifty is home free and Hoobler is dead.

It's been a while, and the loss of the boys in Bastogne still doesn't feel real, mostly because he wasn't there when it happened. Somewhere, way deep down, he thinks Hoob and Muck and Penkala are all just off the line, riding out the war in a hospital somewhere with Joe and Bill.

He doesn't look at it too closely, because he knows better. Just like he knows better than to look too closely at why he's here, because deep down he knows Shifty isn't home free at all. Speirs gave Joe carte blanche, and Leibgott tapped Skinny because he knows he'll fall in line. Unlike David. It's ridiculous that Web's even here. Who do they think they're kidding?

The drive up the mountain is beautiful, all hills and fields, just like every other bit of Austria he's been in so far, and it would have been a very enjoyable experience if it hadn't been from the incessant bickering from the passengers. Joe, all biting caged fury and the latent rage that's been simmering hopeless, reckless, dangerous since Lansberg, the fragility to him that's had Speirs keeping him close, on a tight leash, safe, quiet. Until now. Joe vs David, who is watchful and careful and utterly incapable of keeping his mouth shut. Joe's got his orders and is happy to follow them. Webster, with all the reticence of a man who was not at Foy, regards orders from Speirs to be inherently worth questioning, and wants to know if Winters knows.

Skinny is fully aware that Major Winters has no idea about any of this, that Speirs got this intelligence off someone who isn't Captain Nixon, and has given it to Joe because he thinks it will help.

It becomes very obvious very quickly that this isn't going to help. Joe kicks the door to the chalet down and storms in like he's clearing buildings, like he's assaulting a position, even though he's got nothing on his six but Skinny and Web. Skinny covers him, can't not cover him, but Webster is radiating discontent and reticence. He's ethically opposed to killing Nazis while they eat breakfast, apparently, and no amount of "Speirs said so" is enough to override it. The Nazi is unarmed, and so Skinny leaves Joe to it. He's not any help. Joe doesn't want help.

Webster is sulking outside, smoking a cigarette, and Skinny is suddenly fucking sick of the pair of them. They're this close to the end, this far through an unmitigated pile of utter fucking shit and the pair of them are acting like one told the other he's not invited to the party. It's exhausting, and Skinny was tired enough already.

There's a shot, just after Skinny starts his valiant attempt at bringing Web in line, and the Nazi runs out of the house bleeding but obviously not dead. Joe's behind him, Web standing there fucking useless with his mouth open like he's never seen combat. Joe is basically foaming at the mouth as he shouts at Webster. Webster won't shoot the man.  Joe can't shoot the man. Skinny just wants to go home.

He shoots the Nazi right between the shoulderblades, a perfect shot. As good as Shifty, if Shifty was here. Better than Hoobler, if he hadn't killed himself.

They get back in the truck and dead down the mountain, the two of them so caught in their rage they don't even speak to him. Speirs asks Joe how it went and Joe says "it got done" and Skinny wonders to himself how he could have killed a man in cold blood, in front of two witnesses, and have absolutely no one seem to notice that he'd even been there.

[bandofbrothas]

intro 🪖

hello! my name is Michael, I am male and not very experienced with tumblr :”)

i am a Band of Brothers blog and will most likely never post about anything else. i enjoy and endorse RPF (real person fiction), so if you don’t like that maybe steer away from my posts.

my favorite characters / ships are ❤️LIEBGOTT!!❤️, winters, bull, doc roe, skip, LOTSSSS more and Winnix is my OTP:) i also enjoy webgott and speirton!

REPLY TO BE MUTUALS! 🪖🫀⭐️

[lamialamia]

linh my linh my linh! for the hbowar ask game, l, q, u, w, x, z!

thank you so much!

l. would you say the hbo war fandom is more or less hectic than your previous/other ones?

less hectic. I don't wanna show my hide here but my main fandom before HBOWar is Dota 2 Esport. Oh boi. It was a toxic cesspool of gamerdom™️I'm glad I left it behind.

q. acknowledge something nice about your least favorite of the hbo war shows.

I can and I would. MOTA's music and sound mixing is amazing. The title theme really goes above and beyond and absolutely needs to win an award or two.

u. acknowledge a flaw in your favorite of the hbo war shows.

TP has no flaw! /j

I think while there is some obvious flaw with TP, for instance its pacing issue. But another lesser problem it has is how unbalance Basilone's storyline is. Speilberg and Hank really can't make these war show without some mythical hero-ism. No offense to the real life Basilone who I know is a really cool dude, but this storyline imo lacks the depth that Leckie's and Sledge's have.

w. what's an hbo war url that you like/would change to? if you have an hbo war url, why did you choose it?

i don't have an HBOWar url 😔 But if I don, I wanna have the eugenebsledge url

x. choose one screencap of any of the shows that you would frame and put on the wall.

z. tag some of your favorite artists/writers/editors in the fandom and give them a compliment.

aaahhh okay imma try to be cool.

@bitch-butter webgott extraordinaire. I love love your realistic yet riveting portrayal of the up and down in relationships (both romantic and platonic) and how messy people can be. Your OCs are fantastic. And your deconstruction of typical Omegaverse tropes in 'everybody wants to rule the world' is the first i've ever seen and so well-done it should be setting the new standard for this AU.

@ep6bastogne listen to me. you have a very distinct voice, you are meticulous in your detail. and you have so much passion for writing it shows in any of your project

@avonne-writes you have a very gentle yet devastating prose. Your world-building has a unique quality: its depth peaks through every ordinary detail and make me want to know more about everything. I love all your works. You never miss.

@gorgeousundertow the first thing that come to my mind is your research and how much you have fun with real life details. And you are so so good at the ✨yearning✨ you can teach a class on that xD

@thewayisset I LOVE YOUR ART. You deserve to have your own gallery, that's all <3333 I feel like I suck at analysing art so I can only give you a lot of heart ❤️‍🔥❤️‍🔥❤️‍🔥

@screwby again. what can i say. your works are spectacular! Especially your watercolor!!! ❤️‍🔥❤️‍🔥❤️‍🔥❤️‍🔥

@cinnamonrollsledge i already screamed and shouted in your inbox but I need to say it into the world how much i love your edits!!! I love the TP ep 6+White gif set you made wowza that is talent

@antigonenikk devastating edits. hits everytime. and I'm loving all your fics too, you are really good at poking at the pain and angst but keep it in-character. That Sledgefu/Mr.robot fusion fic lives in my mind rent-free 🗣️🗣️🗣️

@almost-a-class-act queen of banter in her fics, you are very insightful and I love your perspective on both the historical side of things and also the fandom side of things <3

@getmean one of the biggest inspiration for my own writing. i don't know what more can I say beside, you are the GOAT. And unlike sport commentators, I really mean it.

okay that is a lot of people. I will stop now.

[euph0riacc]

Do you have any more Say It verse snippets? 🤭🫣

Love your work!

Hi! I’m so glad you loved Say It, I enjoyed writing it so so much.

In terms of more content for the say it universe, there’s a lot planned.

first of all will be Say it 2, which will follow Ev Blakely and Ron Speirs through their life after the war ( with many guest appearances from our favorite characters of course.)

There’s at least 2 Bucky/Buck one shots/ mini fics planned still, perhaps more depending on if ideas come to me

I also have a Murph/ Don Malarkey fic that I am SO desperate to write.

There might be an obligatory webgott fic somewhere in here too, though this is the most hazy out of all the fic ideas.

I’m not expecting anyone to actually read Say it 2, especially since it’s a ship I’ve pulled out of my ass and a crazy 4am conversation between me and friends. But it’s become a secret little passion project of mine and I think it would eat me up if I didn’t share it, even if it’s only so that @swifty-fox and @reallylilyreally can read it on AO3 instead of my disorganised docs.

Below is a snipped from Say it 2! Let me know if you want more: :)

“You came,” Speirs looks caught off guard, like he hadn’t really thought Ev would come.

“You invited me,” Ev says, just to make the Captain twitch. He pushes past Speirs and makes his way into the hallway, duffel clutched tightly in his fist for all that he exuded calm.

Speirs grumbles from behind him. “You invited yourself.”

“Same thing.” Ev hears the lock snick behind him and he turns then, knowing that they’re safely behind the privacy of the front door, the rest of the street and Speirs’ neighbors kept firmly out. He lights a cigarette, the first one since he left the house last night, and feels the rush of nicotine hit his system with the first inhale. It washes over him in a wave, sweeping away the dregs of exhaustion that stubbornly linger.

He burns through half of his cigarette before Speirs takes it from him; wedges it between his teeth and makes his way into the kitchen with Ev on the back of his heels.

The apartment is small, compact even for one man alone, and yet Speirs has still managed to make it look practically empty. There’s very little furniture apart from the bare necessities; a rickety table with one crooked leg, two equally crooked chairs, a desk and a single lamp with no lampshade, only a flickering bulb. Ev switches it off, the sunlight streaming through the open window is enough.

This is worse than I thought, Ev thinks, feeling a little over his head now that he’s here. What exactly had he intended to do when he booked his flight? What had he heard in the Captain's voice that had made him fly to the otherside of the country to see him? He isn’t sure.

He watches Speirs’ back as he makes two cups of coffee on the stove, only hesitating for a moment before he drops his duffel by the door and makes his way over. He has no chance of startling him, with the floorboards creaking as they do.

Ev doesn’t touch, can’t admit to himself that that is what he came for. He just wants a look, a proper look, at his face, as if to prove to himself that he can. That he can look Speirs in the eye and say yep, I checked, he’s fine, no need to worry! I’m going to go and spend the rest of my leave doing renovations on a house that doesn’t need it.

That isn’t what happens.