Free Reverse Image Search

Reverse image search on desktop. Reverse image search on the desktop is possible and can be done using different free tools available online. We will take a look at some of the most popular tools out there. After we conclude by making a comparison to see which outperforms the other. The major search engines almost all have reverse image search now. Reverse Image Search - Search by Image, Reverse Photo Lookup A lot of people are interested in similar image search for either personal or professional use. Whether your objective is to obtain higher resolution images or to find an image source, Reverse Image Search is the tool that can help you. Reverse Image Search is a kind of online search in which you use an image as a query to find relevant images or information about that picture. With search by image, you can quickly discover visually similar images from the internet and acquire relevant information about a picture including objects or places in it. Download Reverse Image Search App: (Free, in-app purhcases) Add-ons / Extensions for Prominent Browsers. Google Reverse Image Search ; It allows you to search relative images from the large database of Google Images. It’s quite useful as an add-on as it saves your significant amount of time. Reverse Image Search is an image retrieval query technique based on content. CBIR (content based image retrieval) system is given a sample or query image. Then, the search is centered upon that sample image and formulates a search query, in relation to data retrieval. ... You can use our free reverse photo lookup tool to find out the location ... About the reverse image search tool. This tool saves time when you are doing a reverse image search. It creates links to the most popular reverse photo search engines: Google, Bing, Yandex, Tineye, Baidu, and Sogou. We also support specialized searches like anime and manga search engines and KarmaDecay for Reddit. You can also find similar images to the one you are searching for in the most ... Hence, we have a list of the best free ways to reverse image search. Using free online websites. We use online websites for literally anything today, so it Google that we would have the best of websites for doing reverse image search as well. Here, we have listed a few of them in which you check and choose the one that works out best for you. Reverse Image Search is the quickest & accurate web-based tool that is used to perform a photo search online. You can search by image, by keyword, or by the URL of the image to find similar images, memes, profile pictures, and wallpapers along with their location and ownership information. Search by Image - Reverse Image Search Engine is used to search similar images or photos from internet by using reverse search engine. Free Publisher: Enzocode Technologies Downloads: 4 Reverse Image Search Search by image and find where that image appears online. How to use TinEye. TinEye Alerts tracks where your images appear online. Learn more about TinEye Alerts. We are experts in computer vision. Easily integrate search by image functionality with your applications.

Confusing Perspectives

2014.06.28 06:29 Confusing Perspectives

The place for puzzling perspectives, confusing angles, and missing context. Please read the rules to gain context on what we do here, and enjoy!
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2012.08.03 04:17 weaselstomp r/Cutouts

Transparent cutouts for your photoshop creations.
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2014.02.27 13:18 TheNewHero Japanese Domestic Cars Porn

This is a subreddit to capture the beauty of the 90's JDM era. Feel free to upload modern JDM cars if you will as well though! However, the 90's era was a golden era for JDM cars and an era to be treasured, so let us feast our eyes on JDM goodness!
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2020.09.30 13:49 Mostass How do you tell if someone is a catfish?

So I matched with a pretty cute chick, only one photo but had a regular conversation with her. I asked her out tonight and she said she can't, asked if she's free tomorrow and got her number.
Added her to whatsapp and she has no picture and no date when the account was created in her info tab. I thought this was a bit fishy and I did a reverse image search, found no matches.
This feels a bit weird, never had this kind of feeling before about a tinder profile.
If she's still down to go out tomorrow I guess I'll just go ahead and meet her in a busy public place, I guess worst that can happen is that she's not as attractive as the girl in the pic, or it's actually a dude.
Any thoughts?
submitted by Mostass to Tinder [link] [comments]


2020.09.30 00:00 Ken_the_Andal Manifest Humanity: Part 141

“Wow. It’s been weeks and the system is telling me it’s only mapped three percent of your neural processes.”
Artethsus was still suspended in a large, sealed room with what he knew to be automated firearms aimed at him from above. Presently the room was devoid of humans except for one. Jin Zhao, he said his name was. In an odd sort of fashion, Artethsus had grown fond of him. He carried himself with an air of determined and innocent curiosity, devoid of any indications of aggression, greed or selfishness. Indeed, Artethsus could sense this contrast to the general human disposition shortly after his consciousness returned to his Frame. Through observation and deduction, Artethsus knew this Jin Zhao had become focused on communicating with him, prioritizing it over other objectives, even to the disagreement of his peers.
He had succeeded in rather short order, developing a system that transcribed what Artethsus said, translating it on a suspended holographic screen into human language and vice versa. Despite what Artethsus had done – or at least what his Frame had done prior to his consciousness separation – the human displayed no fear or timidity at all. Although that may well have been due to the constraints Artethsus had been placed in, he believed the constraints had little to do with it, for the human was so consumed by his curiosity and drive to learn that it was perhaps overriding his instincts for self-preservation. Regardless, Artethsus appreciated his demeanor and enjoyed their interactions on the rare occasions Jin Zhao had the laboratory to himself.
“I mean, the system was taking forever before your, uh…incident, but now…does it have even more information to process?”
He was studying a screen as he spoke, his back to Artethsus. His voice was soft and he tended to speak rapidly, not wanting to waste time with words that could be better spent on something else. He turned to face Artethsus.
“How do your people remedy any injuries? Head-related ones, I mean. Obviously I’m not sure if it’d be correct to call them brain injuries, but surely your people are capable of suffering something similar to them.”
Artethsus read the screen as it translated.
“I know not of the specifics,” he replied. “We are monitored for organic consciousness deterioration by a sophisticated AI, but should there be an unrelated complication regarding our minds, those are handled by specially trained indviduals we call Saepos.”
To Artethsus’ surprise, it was not the mention of the Saepos that captured the human’s curiosity. Instead, he realized just how little they had managed to learn and glean from studying him – a surprise given their species ability to learn, engineer and reverse engineer with blinding speed and efficiency.
“Organic consciousness deterioration?” He repeated. “You mean death?”
“In essence, yes.”
“So you’re not immortal?”
“No.”
The human raised his eyebrows and rubbed his chin. Artethsus suspected he was endeavoring to mask the significance of this revelation. Were the humans studying him under the presumption that he was immortal so that they might attain it for themselves? All this time Artethsus assumed that they must have already learned Uladians were not immortal despite their significantly increased lifespan.
The human crawled out of the deep pits of his thoughts. “So what’s this organic consciousness deterioration, exactly?”
Had Artethsus a proper face or mouth, he would probably smile. He had no expectation of ever seeing the Bastion again or indeed anything other than that which revolved around this star. Though he would not otherwise so easily and willingly answer these questions, entertaining the intellectual curiosity of this particular human was the only thing from which he could derive any joy.
“As you might know, our organic consciousnesses are anchored by a plethora of artificial assist mechanisms. One might think of these assists as miniscule, individual artificial intelligence units, each with simple, single functions that in total operate to provide what is necessary for our organic consciousnesses to not only continue functioning, but to still be considered sapient, capable of problem solving, high thought, all without losing our sense of self – our memory, identity. Inevitably, however, our organic consciousness does deteriorate. It is slow and takes many, many Cycles, but as yet we have discovered no way to stop it completely. One the ratio of organic consciousness processes dips below that of the artificial assist mechanisms, we are terminated.”
“Why?”
“Because without the organic consciousness to anchor the artificial cognitive systems, what is left of the mind loses itself – goes rogue – and is prone to sudden, irrational violence. It is incapable of reconciling its own existence and cannot comprehend that which we might consider basic. It is unable to control or moderate its own strength. It cannot socialize and indeed becomes confused at the sight of other living things.”
Artethsus was not sure if the human was aware of the awestruck look on his face. Artethsus had apparently struck him with an explanation so fascinating that it sapped him of all words. The human then looked up at him.
“Wait, that sounds like what happened after your, uh, outburst.”
“As I have said, that was not me.”
“Right, but it sounds like what you just described to me. Are you deteriorating that rapidly? From what you said, it does not sound like one can recover once the ratio has dipped.”
“That is not what happened. I know not what happened to me,” Artethsus lied. As much as he enjoyed his time with this Jin Zhao, there were still some things he would not dare reveal. Should he confess that he had purposefully inserted himself into the humans’ own star-spanning information network, they would have reason to believe he might still present a threat – might still retain hostile intentions despite his current predicament.
Now that he was back in his Frame, he was able to absorb and process the experience. Indeed, his mind felt strangely heavier. He believed he may have brought some of that information with him and given the scope of its totality, even bringing only a small fraction meant an abundance. Jin Zhao was right and he did not yet know it. Whatever systems they were using to map his neural processes were slower precisely because his mind had returned to his artificial body with so much more.
That human network possessed an odd sort of beauty in its sheer chaos. Artethsus had never seen anything like it and were he to attempt to convey it to anyone in the Coalition, he would be unable to describe the contradiction that it was. It was free yet aimless, disorganized yet legible. Were Uladian consciousnesses to inhabit such a network during Organic Consciousness Assessment Diagnostics, none would return to their Frames with any degree of sanity.
But the way in which the humans relied on and utilized such a seemingly primitive and disordered network earned Artethsus’ admiration. Primitive in his perception though it might be, the humans understood it in a way only they could and took full advantage of it in a way anyone else would. They did not need to revolutionize the way their interstellar information network functioned. It served its purpose. It made sense to them. Where Artethsus saw chaos and madness, the humans saw order and logic.
It was representative of the greater perceptions between humanity and the Coalition, he realized. In humanity the Coalition saw only the same type of chaos and madness Artethsus saw in their information network, but within themselves humans saw only what they had always known. To them, it was not chaos or madness for how could things so intrinsic to their instincts and history as a species be considered as such? If it were so, how could it be that they still live? How could it be that they still thrive?
It was strange to consider and, perhaps, another reason to fear them. They were incapable of recognizing chaos and madness, yet this ignorance was a gift from which they could derive great strength. Whereas the species of the Coalition would see such things and seek to fix them, improve them, remedy them, the humans would see it and only wonder how they could make it work to their advantage in its current state and if improving it, only exacerbating the chaos in doing so, still blind to it, still seeing a pattern invisible to all other eyes.
Still, in this Jin Zhao, Artethsus saw something recognizable – saw a mind that perceived to some degree like his own. It was a mind perpetually working to make sense of what it did not know or understand and would never cease even in the face of failure.
“I’d like to examine what happened, then,” the human said.
“Pointless, it would be,” Artethsus insisted. He did not know if the humans would ever be able to discover what he had done, but given what he knew about them, he would rather not risk it. He spoke in half-truths containing new pieces of information to aid his dissuasions. “There are still plenty of anomalies regarding our mind functions that we do not fully understand. Instead, we relegate those analyses and solutions to hyper-advanced artificial intelligence systems.”
Again a look of infant-like awe and wonder glinted in the human’s eyes. Artethsus needed no prodding to understand that elaboration was desired.
“It is how we determine the aforementioned organic consciousness to artificial assist ratio,” he explained. “Only these advanced artificial intelligence systems specifically designed for those purposes are capable of accurately determining the ratio and identifying and diagnosing any potential anomalies with regard to the artificial aspects. We call it Minthurva. The Saepos study the organic aspects.”
“I’m surprised I haven’t inquired yet, but given that your people do eventually die, how old are you?” The human’s eyes shifted from awe to anxious anticipation. Artethsus detected an increase in heartrate.
“Twenty-three Cycles,” he answered.
“Cycles…Cycles…” the human repeated. He walked briskly to a holographic screen, a typing mechanism beneath it. “If I remember correctly, someone in astrolinguistics developed a system to roughly equate our measurements of time about two years ago. Twenty-three Cycles…”
“My god!” His voice was struck with gleeful shock. “You’re twenty-three hundred years old!”
Artethsus then realized the slight mistake he made in his answer and corrected it. “Closer to twenty-eight Cycles, actually,” he said. “I have been in my Frame for twenty-three Cycles. Often my people forget to tack on our age prior to our initial Frame installation.”
“Twenty-eight hundred years old! Incredible! How long do your people generally live before they must submit to, um, termination?”
“Forty to forty-eight Cycles,” Artethsus said. “I believe the longest any Uladian lived before termination was necessary was fifty-three Cycles.”
“And how long do the other species usually live?”
“On average, I would venture to say no more than twelve to fifteen Cycles. They are generally considered elderly once they have aged ten Cycles.”
“Remarkable,” Jin Zhao mused. “Your people live so much longer. Does this not inspire jealously?”
In a more casual setting in which Artethsus was not a prisoner being analyzed and studied like an experiment, he would have laughed at the question. It was a logical inquiry, certainly, yet it made him truly realize just how much context the humans lacked concerning the many interweaving contexts of life within the Coalition.
“In the small-minded, perhaps,” he said. “But we are the envy of no one. Our long lives are viewed in the prism of our inevitable extinction. I believe very few, if any, would trade a longer but still mortal life at the cost of oncoming, unavoidable, total extinction.”
“Not so amongst my people, I’m afraid,” said the human. The bluntness of his response and the honesty in his voice took Artethsus by surprise after reading the words. Apparently they did, in fact, have much upon which they could agree. “I’m sure there are many in this solar system who would gladly trade the future of our people for a lifetime that could last four millennia. Greed – it is a powerful, terrible thing.”
Perhaps some of these humans would do very well in the Coalition, after all. I hope he is not the only one of such disposition.
“You know,” the human continued, “it seems every day something happens or something is discovered that completely reshapes the way we view…well, everything. Biological consciousnesses in artificial bodies, smaller Hyperdrive Cores, living, breathing gods…I fear it’s made some people numb to just how staggering these things are, but to me, it is positively thrilling.”
Gods.
“Gods?” Artethsus repeated, carefully studying the human. “What is this you speak of?”
The human read the screen and smiled, shaking his head. “Forgive me. I was only using the common description. People are calling her a god – or goddess, more accurately – but I’m sure those of us with more level heads know she is no god and is merely a type of life form we’ve yet discovered, though I admit she is quite impressive.”
Artethsus contemplated the answer, scanning what he retained from the human information network, searching the microcosm of the digital universe stowed away in his mind.
“You might say that is why it’s just been you and I in here so often recently,” he continued. “First, my people were assigned to go assist Dr. Higgins on developing smaller Hyperdrive Cores. Now they’re all scrambling for assignments on any and every project related to this goddess. No offense, but it seems you’re much less impressive by comparison.”
The human chuckled and returned to studying the assortment of screens around him. Artethsus hardly heard him. What life form could be considered a god? What did these humans now have or know that the Coalition did not?
He continued scanning that alien-borne chaos tucked in some deep recess in his thoughts, disarray surrounded by structure – contained by it. He searched for something familiar – something which he might recognize to find a place to anchor himself amongst the pathways of madness.
Indeed, he found it, for the anchor pertained to himself. There was a report, then many reports, relating to Artethsus, though the reports did not know it. They spoke of the incident he had caused – the mothership he had attempted to control on his own and the humans he had almost killed in the process. They spoke of their rescuer and Artethsus knew this rescuer was what must have caused his ejection from the mothership’s vast systems.
The Fire-Eyed Goddess.
Still he traversed the information roads designed by some pure manifestation of lunacy, finding more. There were images, recorded clips…indeed, she was real.
“Studying Solnet, are you?”
Artethsus pulled himself from the depths to see Jin Zhao staring at him, a smirk on his face.
“Solnet?”
“Ah, well, our network of information exchange. Has it provided you any insight to our people?”
Artethsus was reeling from the question, the words coming at him repeatedly, each one striking with a powerful blunt force. Jin Zhao closed his eyes and sighed.
“Yes, I knew,” he said. “At least, I suspected it strongly. You inserted yourself into Solnet – that’s what happened to you.”
Still Artethsus did not respond, probing to see if this was a bluff – merely a guess he was attempting to get Artethsus to confirm through faux confidence.
“It’s okay,” he said, chuckling. “Trust me, if this was some great affront or considered a big risk, well, we wouldn’t be here by now. Interesting that no word has come back to me about it. I know for a fact the Admiral was made aware of it. I was certain – unfortunately certain – that soon some team of military officials would barge in here and end the whole project, but it never happened. I guess no one believed it, or agreed with my suspicions. In any case, I’ve made sure to detach you for a persistent connection to Solnet. You’re only connected to these local, hardwired systems, all designed to study you. But I suspect you’ve retained some of what you learned whilst in that network, hm?”
Artethsus was on the verge of acknowledging the truth – shocked that he did not even consider the possibility the humans were aware of his actions and were only choosing to withhold the fact of their knowledge.
“And don’t worry,” the human continued. “I won’t ask about the whole incident with the mothership. If that was you, well, consider yourself lucky no one else seems suspicious.”
The human then shifted the conversation, so unperturbed by what Artethsus had done that he began to wonder if this particular human was simply naïve outside the scope of his academic intellect. He read one of the several screens and rubbed his chin, typing a command as a ray of blue light scanned Artethsus top to bottom.
“One thing I’ve wondered,” he said, “and one thing I’m surprised the military didn’t want us to prioritize is what exactly your body is made of. This data suggests a substance completely unknown to us. It has no similarities to anything such as steel or metal or even carbon fiber or graphene. It is thin in its composition yet is remarkably, unbelievably strong.”
The human turned his eyes to Artethsus expectantly, raising his eyebrows.
“It is a substance you will not find, most like,” he answered. “It is called mithriom.”
“Myth…ree…um,” the human repeated, supposedly stumbling over the pronunciation as the screen translated the word into the relative letters and syllables in his native tongue.
“It has only ever been discovered in our solar system,” Artethsus elaborated. “Not even the Coalition has found it elsewhere in the galaxy. Its rarity is unparalleled in this way and we guard it diligently. It is difficult to mine and even more difficult to refine, thus we relegate its use to craft some number of our Frames to make our bodies as durable as possible.”
“It must be beyond durable,” the human remarked. “If you can dispatch Knights and survive direct hits from railguns, I imagine nothing can kill you.”
Curious as to the inaction of Jin Zhao’s superiors, Artethsus redirected the conversation.
“Do you truly believe your superiors are not troubled by what I did?”
The human shrugged. “I’m guessing they didn’t find it credible, and if they did, you’re back in your body and cut off from our network, so the threat has been taken care of regardless. Plus, the Admiral has more important things to concern himself with right now.”
“And what is that?”
“An attack to end this war, I hear, one way or another.”
Now Artethsus wondered how such an honest intellect perceived the odds of success in such an attack. Was this human as confident as the rest of his people presumably were when it came to matters of war?
“Do you believe you will succeed?”
Again the human shrugged and flashed an unconcerned smile. “Honestly, I have no idea. Maybe, maybe not. All I choose to focus on is learning what I can while I’m in this life. Whether we win or whether your people come to end us, I will be here, either studying you or something else. I think the common sentiment is that we’ll win with the goddess on our side, but who knows.”
Artethsus found more admiration for the human. This was the type of leader humanity needed long, long ago to set them down a different path. Alas, it was beyond too late for any such change.
“This goddess will fight with you?”
“That is what she said, apparently.”
“And this does not concern you?”
“I don’t think it matters if it does.”
“If this goddess is indeed so supreme,” Artethsus said, “you should not trust her. We in the Coalition would do no such thing were we in that position. It risks subjecting civilization to the whims of a being far above those who follow it.”
“I mean, I don’t disagree, but I don’t have any say in the matter.”
Artethsus fell silent as Jin Zhao made another round of studying the screens, noting observations on a device in the crook of his arm. If the humans were planning an attack with a godlike being on their side, perhaps they would carry an advantage the Coalition could not anticipate or prepare for even if they knew. For the first time Artethsus felt a spectral fear in his nonexistent organs that the humans had good reason to be confident in their odds of victory. And here he was, restrained to a wall, unable to do anything about it.
Or so the humans thought. He was not so disconnected from their network as this Jin Zhao claimed for they still did not know how the Uladian mind operated – what it could do in and out of its Frame. He was no fool. Though his Frame may have been disconnected from any direct connection to the network, there was doubtless some far-flung access point to that network via the machines dedicated to analyzing him. Even if they themselves were on a closed network, there had to be some obscure connection. Artethsus would find it. If the humans still had yet to launch their attack, perhaps he could stop it. Their vessels still had to be in their star system. He could make it so they would never leave. Perhaps then the galaxy would see if one godlike being could win an entire war on its own. Their greatest mistake would be not giving due attention to one of the smartest among them and the warning he proffered.
He observed Jin Zhao again, pleasantly recording data, a small, satisfied smile imprinted on his face. At the very least, Artethsus would not subject him to the possible threat soon to come.
“I advise you leave this place,” he said plainly.
The human looked up, the smile quickly morphing into a confused frown, brow furrowed and eyes narrowed.
“Excuse me?”
“You have heard what I said. I wish no harm to come to you.”
“What are you talking about?”
Artethsus would speak no further, nor would he return to his Frame again. He would die in some turbulent lacuna amidst the boundless digital reaches of data and information. It was a death in which he would find peace and satisfaction.
He felt himself recede from his body and hurtle through a narrow tunnel that lacked sense and direction for he could not tell if he was moving forward or up or down – only that he was moving. He then found himself in a contained void with vast spaces between relatively little information. There he moved or flew or swam, knowing not if he would ever find the doorway he sought for even if it were somewhere to be found, it did not mean he would ever find it. He was racing against the kindly Jin Zhao, for surely he had already fled the room in fear his Frame would again attack or lash out at random and was now doing what he could to ensure Artethsus was indeed severed from their information network. The importance of the moment was doubtless overwhelming for the human – a disaster approaching mankind’s ultimate effort to end the war that only he could stop.
A growing panic was swirling. Perhaps Artethsus had again underestimated the humans – assumed a mistake or oversight was made that the humans had already accounted for – closed every possible door left ajar. He settled himself into a local information system, stretching out across data regarding himself. Yes, he could see this data was being transmitted to another unit or node outside the room. He followed the stream to find yet another contained void – larger, but with even more space and even less data to fill it. Even so, Artethsus found his escape. The ratio of data to available space – of information the void which it inhabited – made it easy to spot. A security check – defense mechanism, perhaps – cross-communicating with a larger security program outside the node. Again Artethsus followed this stream.
Upon reaching its end, he found himself once more in the anarchic information realm, except now it seemed less incomprehensible. He had a familiarity he did not previously have – a familiarity he could utilize and take advantage of. He would become a god of this realm, even if only temporarily so, and do here what the human goddess could do outside of it.
It was war, and Artethsus would die fighting.
submitted by Ken_the_Andal to KenWrites [link] [comments]


2020.09.29 20:31 Subtlegi {NF] A Technical Investigation of Citizen Kane

I wrote this some time back as a term paper for a College Film Class. The reference pics have been removed to save space
A Technical Investigation of Citizen Kane
It’s Not All Black and White
📷 Citizen Kane is considered perhaps the best film ever produced. What does it contain that so many of others missed? I believe it is the imagination and technical expertise of Orson Welles and Greg Toland’s talent cocktail that forged this memorable work. To the right, notice both men on the floor setting up a low angle shot. Welles did very little alone, he was intelligent enough to use “OPB” other people’s brains. The screenplay alone does not stand up well against many other “Great Films,” it is the audio/visual experience created by the use of great techniques in lighting, photography and sound recording which make this film a masterpiece.
Over a period of twenty-five years, I have acquired a great deal of knowledge and experience in the Visual Arts. During this time I worked professionally in film, sound, and video while also enjoying the wonderful art of amateur black and white photography. My resume’ qualifies me to present a case for my thesis and in doing so I will cite technical information which is a part of my knowledge base. This combined with my research, meld into a comprehensive report on the behind the scenes wizardry of an ultra talented group of filmmakers.
📷Like most humans, I experience film through my eyes and ears, always looking deeper, beyond the dialog alone, into the complete experience. Although I hear the famous word “Rosebud” spoken by Kane, it is the atmosphere of the room, and the close up of his mouth, which amplifies the moment.
📷 Orson Welles wrote, directed, and acted in many productions of which Citizen Kane, being his best known, is the film he’ll be remembered. The following is a sampling of other productions Welles wrote, directed and more, except for this first two, written by William Shakespeare. MACBETH, described by Welles as "a violently sketched charcoal drawing of a great play," The magnificent photography by John L. Russel (Psycho) Directed by Orson Welles, and acted by Welles, Jeanette Nolan, DanO'Herlihy, Roddy McDowall, 1948. OTHELLO (production spanned three years) it won the Grand Prize at Cannes. Directed by Orson Welles, With: Welles, Suzanne Cloutier, Micheàl MacLiammoir, Robert Coote, 1952, THE LADY FROM SHANGHAI, Rita Hayworth plays a sultry wife, and includes the legendary hall-of-mirrors shootout finale. Directed and written by Orson Welles, 1947. THE MAGNIFICENT AMBERSONS, Directed and written by Orson Welles, 1942. TOUCH OF EVIL, Directed and written by Orson Welles, With: Heston, Welles, Janet Leigh, Joseph Calleia, Akim Tamiroff, Dietrich, Mercedes McCambridge, Dennis Weaver, 1958 (Starlight News).
After reading the above, it is impossible to overlook Welles as the original film multi-tasker. This man did it all. As a fine actor, writer, and director, it can be argued Welles has a bit of a control issue, but perhaps when you’re as talented as he, it’s not to unusual to not want to place your work or self in another’s hands.
The conductor of light, director of photography Greg Toland was hired from Samuel Goldwym Studios at $700.00 per week (Carringer 69). While at Goldwyn Studios Toland became regarded as one of the most creative cinematographer of the 1930.
His ‘acknowledged brilliance,’ as “American Cinematographer” magazine argued in 1942, placed him in the most nearly ideal position any Director of Photography has since the halcyon days when D.W. Griffith and Billy Blitzer were between them creating the basic techniques of the screen (American Cinematographer).
These accolades and of course the films themselves placed Toland in a position of power when negotiating with producers. Here are some items he requested and received from the producers of Citizen Kane. “RKO was obliged to employ Toland’s regular crew and rent his camera equipment from Goldwyn” (Carringer 69). He demanded these guarantees as an artist, for he had personalized his equipment, his brush, so to speak, to accommodate the style in which he shot. The crew consisting of grips, camera assistants, and gaffes were all a part of Toland’s creative bag of tricks that worked together as a one organism to accomplish the monumental task of producing a film of this caliber. Above all Toland insisted on creative control. This he had become accustomed to at Goldwyn Studios. After much success in his early career, Toland remarked, "I want to work with someone who's never made a movie. That's the only way to learn anything from someone who doesn't known anything”(Walling). He got his chance in 1941 with Citizen Kane on Orson Welles first movie. This team of Toland, and Welles became a creative partnership unsurpassed in movie making history.
There is light and the absence of light, there is shadow, created by infringing on the path of a light. These elements are the two ends of the visual spectrum. White (light), Black (shadow) and by the expected use of them, every lighting situation (in B/W) can be resolved. Mind pictures like these become possible in the right hands. Powerful light driven through small spaces cut like knives on the floor and walls. Soft light pushed through a window or down a hall washes the area like a softly driven snow. The power of this technique is obvious in the shot captured of the Walter Thatcher Library. (right) Nothing is resolved here (can be seen clearly), but it’s not the dialog or the face of the actors the filmmakers are interested in, but the mood set by the absence of light and the rod of
light coming from above. Reminiscent of a spiritual setting, the beam of light representing the entrance of the Almighty into the room.
Film is the medium that followed and in some ways took the place of paint, brush, and canvas, first with the snapshot, followed by moving pictures. In 1940 film had its limitations, even today it’s requires an informed photographer to photograph in a variety of settings with equally satisfactory results. Much of what makes an artist great is the length to which they are able to stretch the medium in which they work. This is where Welles and Toland excelled; they stretched the ability of the camera and film to lengths never before attained.
The tone of Citizen Kane is created with light, shadow, and darkness. Photography and light go hand in hand, in fact photography, as we know it, cannot exist without a light source. The way a scene is lit directly affects the resulting print. Film stocks of the late thirties, early forties were “slow” meaning the amount of exposure time (to light) with respect to the quality and resolution of the resulting print is high (long). A “fast” film with a speed of 800ASA or higher can capture an image indoors without a flash or extra lighting in a normally lit room. In 1940 a 100ASA film was considered fast, this film used in daylight would be capable of good exposure, but anything less than daylight would require lights, for a stills, a flash, for moving pictures, stage/motion picture lighting …Big, Hot, sometime noisy lights.
The film used to shoot Citizen Kane was Kodak Super XX, 100ASA which was an “off the shelf” product, that fortunately for Toland had just recently been released. Double X was “Four Times Faster” than its immediate predecessor. Without this timely release Citizen Kane may never have been made. The other variable is the amount of light needed and available, and how much one chooses to expose the film. Exposure time and aperture settings are two variables that determine, to a great extent, whether a scene will appear as bright as a 📷sunny day or full of shadows with the blackest blacks, but only grayish whites. Proper contrast presents itself as balanced if upon examination the black & white negative it exhibits the two extremes represented on the gray scale, black and white. This bias manifests in a photo that is too dark or too light and lacks contrast.
The manipulation of exposure can be seen and studied early in this film. In the scene shot in the projection room, Toland under exposed the film by not using an “average” light setting, (balanced) instead he resolved the streams of light pouring from the projection windows and placed the actors in the shadows. There is nothing wrong with this; in fact, it is exactly what they wanted. The average person taking snapshots of their children would not appreciate their photos turning out in this fashion, but the professional is an artist, and artists create moods and settings with the tools of their art. In film, what we don’t see sometimes makes the shot
📷 “Camera derives from the Latin word for room or chamber. The camera pre-dates film. The Camera Obscura or “Dark Room,” occasionally seen at scenic locations was, in its original form, a pinhole camera.
The “pinhole’ in the roof could scan the countryside by means of a rotating mirror. The image was focused on a white table in the center if the room and viewed by observers inside the “camera” (Di Guilio).
📷”The Mitchell Camera Corporation began in 1919 as a camera repair and modification shop in Hollywood, as The National Motion Picture Repair Company (Roberts 141). The film was shot with Mitchell BNC cameras (BNC stands for Blimped News reel Camera). The BNC was introduced in 1934 and the first two cameras were sold to Goldwyn Studios in 1934 and 1935. "The first important picture on which they were used was Citizen Kane" (Roberts148) In 1934, this camera made the recording of sound for film feasible. At around 35 dB, the NC was quiet enough for unblimped use in exterior sound filming, as long as the microphone was not near the camera. Later that year the BNC was introduced, the B stood for Blimped. The Blimp is a sound proof housing which surrounded the camera bringing the sound level to a very quiet 21dB! To the average person these numbers mean nothing, even with an explanation of these levels may continue to seem irrelevant. But, take it from a man who spent years on sound stages, in recordings and television studios, the difference is huge; 35dB “decibels” is the sound level in an average home, 21dB is the sound level of a whisper, or rustling leaves. These are logarithmic numbers and the difference is demonstrated by taking the next step up. 70dB is the sound level of freeway traffic and of a vacuum cleaner. The change the “blimped” camera had on motion pictures is immense! (Noise)
The camera’s angle and length of lens create perspective. A long lens creates a voyeuristic feel as if looking in from afar a good example being Hitchock’s Rear Window. A short or wide lens brings the viewer into the scene. Angles are simple to understand.
📷
Considered how you appear to a small child from its playpen? Put yourself in the it’s place, think of its perspective “low” looking up, “wide” larger than life, and somewhat distorted view. This is not a pleasant picture. The baby looking up sees a huge, distorted thing; fortunately babies are innocent and cannot put the ominous nature of their vulnerable scene in perspective. Conversely, the perspective of an adult looking down at a child is like a king from his throne, a feeling of power, not vulnerability. Perspective makes the difference. Even in a situation where those involved are adults as in a courtroom setting, perspective plays a role. In a courtroom, the judge sits up high upon their judgement seat, which forces the defendant to look up. The judge appears large and powerful, while the defendant feels small, powerless, and vulnerable. Above, strong and in control, below, weak and suppliant. Orson, digs holes (right) in floors, through walls, and flies his cameras in the air shooting from different angles, creating different perspectives. A film shot at one level is flat, without flavor and as bland as an unseasoned potato.
📷 Next we explore the topic of “depth of field” (the distance from the object nearest to the camera and the farthest that are in continuous focus) also know as “Deep Focus” The first notable example is from the footage shot in the parlor of Mrs. Kane’s boarding house. In the foreground, mother, father, and Mr.Thatcher
discuss the boy’s future while in the background young Kane is seen through the window, all in perfect focus. Another example is the scene where Kane and his wife are sitting at either end of a long dining table in the huge Xanadu, big headed Kane intimidating and distorted (not out of focus) in the foreground, his bored wife, small and insignificant in the distance, both presented in sharp detail.
📷This next frame combines two techniques, “tight composition,” and “deep focus.” Tight composition meaning a quantity of images in a relatively small frame, and deep focus, all the images in frame are in focus. The scene is when Kane walks in on Susan’s singing lesson only to hear “the Maestro,” frustrated and disgusted with Susan’s ineptness, screaming a laundry list of insults at her. Bad timing. Kane in anger reprimands “the Maestro.”
After a few critical viewings, and a quick look at my camera’s dept of field indicator, I estimate the field covered in “the Maestro” frame was approximately 18 inches to 30 feet. Probably an 18mm or 25mm lens was used which has great depth of field when stopped down to F/11 or F/16, these two numbers are aperture setting or f-stops, indicate the size of the hole the camera looks through. The larger the number the smaller the hole, and the great dept of field.
A standard photographers table supplies the following values: for an 18.5mm lens at F/8: 1' 6" to Infinity and for 25mm: 2’ 9" to Infinity. To shoot at these apertures, a 100 ASA film requires 1280-foot candles of light, which is quite high by today’s standards. (A foot-candle is equal to the light ‘one candle’ would illuminate a surface at the distance of one foot.)
The definition of Deep Focus is applicable as a frame of reference in defining Shallow Focus, in which one part of the screen is in focus and the rest blurred, thus directing the viewer's attention to the key element of the action. This was a useful technique, but not an innovation in the1930s, having been used since the early days of film, although much of it’s use was dictated by the limitations of the cameras and films of the time.
An unknown Internet author describes a fancy focus technique.
📷Toland found that extra means were needed to maintain sharpness in certain extremely deep shots. Split-focus lenses and carefully controlled double exposures sometimes turned the trick, but were difficult to set up. One example is in the sequence in which Kane's wife attempts suicide: a glass, spoon and medicine bottle in sharp focus dominate the foreground; the bed is in the middle ground; and figures enter the door in the background. Here the foreground was lighted and photographed first, with the rest of the scene in darkness. Then the foreground was silhouetted and the background was lighted and shot in focus on the same film. (Sharp Practice)
Film is the medium that in some ways followed and took the place of paint, brush, and canvas. First came the snapshot, followed by moving pictures. To this day film has limitations, but in 1940, they were manifold. Much of what makes an artist great is the length to which they stretch the medium in which they work. This is where Welles and Toland excelled; they stretched the ability of camera, film, and light to lengths never before attained.
📷Before the making of Citizen Kane sound stages and film sets were open ceiling. A lot went on just above the frame, all of it unseemly, and needed to be hid, things such as; microphones, (big ugly microphones on booms with cables hanging) and other equipment that hung from the usually high ceiling sets. This open ceiling arrangement prohibited the camera from tilting (a vertical pan) any higher than the top of a room’s wall. Toland and Welles had no desire to repeat the same old shots seen hundreds of times before. They figured a way to work around this problem. They created ceilings with muslin, now microphones and the like were hidden above this “new ceiling.” This permitted Toland to shoot from the floor, (right) actually from a hole in the floor without thought of running out of wall. Note all that ceiling showing.
📷This took the bit from Toland’s mouth, freeing him to point the camera wherever his heart desired. The frame pictured to the left is an extraordinary example for three innovations are demonstrated in one shot: covered ceilings, a low angled perspective and deep focus. Fantastic!
Who says you have to be high tech to be innovative? Artists dislike restraints, when set free, they fly high. Freedom brought us this wonderful film.
The sound on Citizen Kane encompasses dialog, sound effects, and the musical score. In reverse order, Bernard Herrman scored the film, and later went on to compose the music for other great movies, including Psycho and Taxi Driver (who can forget that sax?). Welles brought with him from radio a keen ear and an understanding of sound effects. These effects augmented the film, but were not overpowering as in some films today. One example of his subtle usage is noted by Robert Carringer. “. . . such as the typewriter heard in extreme close-up when Kane is finishing the opera review and the musical accompaniment to the light bulb that dims to signal the faltering of Susan’s singing career”(100). I’ve recorded many sound tracks for video and television and I don’t envy the task assigned to the engineers in charge of this film. Even when recording a simple spot, I used more and better equipment than the entire sound crew of Citizen Kane.
In their process . .
. . . there are two separate and distinct sound operations, each presided over by a different sound engineer. One engineer is in charge of the sound recorded during the production. His chief assistant is the operator of the boom – a microphone slung from a long metal rod and suspended above the actors’ heads (Carringer 102).
Considering the task of a “boom operator” under ordinary circumstances was difficult, on Welles’ set there were times it must have been close to impossible. Because of the muslin ceilings the operator had a much more difficult time properly placing the microphones above the actors.
Once recorded, then it went into post production, and into the hands of James G. Stewart, a sound contractor who work on some of the most famous theaters in America, including Radio City Music Hall, before moving to California and joining RKO. He was in charge of post production, in those days called “rerecording,” today mixing and overdubs.
📷In the late thirties one could not go to a local sound store and buy whatever your budget allowed, these sound engineers, were just that, “engineers,” and if they needed something they’d design and build it. The crude two-man mixing console shown here is a “one off,” built for RKO under Stewart’s direction. Prior to this point in the process, the audio is dry (no effects, or processing) it’s during the “re-recording” process that echo, reverb, effects, and overdubs are inserted and mixed. Sound persons rarely get much glory, but without them, the public might still be watching silent films (Carringer 102-3).
In closing, Citizen Kane is a technical milestone in movie making, although I find the screenplay depressing. This tale of a boy removed from his family, given an education and all the money he could ever need (so one would think). Who grows into an idealistic, generous, and kind man, who had plans to change the world, but instead the world changed him, and for that, he hates the world and himself in return. The final scene, reveals his true heart, one, once so soft, now, hardened and broke. Calling to the heavens, spoke his final word “Rosebud” the name of a sleigh he once owned, so long ago, before fate stepped in and killed the boy. When Kane spoke, “Rosebud” he was not only calling out the name of a child’s toy, no, he was calling out to the life he left behind which contained that sleigh. The life he never had the chance to live.
📷📷📷📷📷”Rosebud” “Rosebud” “Rosebud” “Rosebud” “Rosebud”
Sources Cited
American Cinematographer, “Greg Toland.” 1942. http://www.cinematographer.com (1999)
Carringer, Robert. The Making of Citizen Kane. University of California Press, Berkeley
  1. 69, 100, 103-04.
Di Giulo, Edmund. “An Historical Survey of the Professional Motion-Picture Camera.”
SMPTE Journal, NY, 1967
Forzano’s Studio Stock “Gray Scale Chart” NY, 1979.
Noise Levels In Decibels. “The Sound Level Chart”
http://www.temple.edu/CEPT/temp/dcblevel.html (Nov. 2000)
Roberts, Laurence. “The Mitchell Camera: The Machine and Its Makers”
SMPTE Journal, NY. Oct. 1981: 141, 147, 148.
Star Light News. “Orson Wells.” http://starlightnews.cjb.net/orson.htm (Nov. 2000)
The British Film Institute “Gregg Toland -Sharp Practice”
http://www.bfi.org.uk/sightandsound/archive/innovators/toland.html (Oct.2000)
Time Life “Citizen Kane Cinematography Notes”
http://www.pathfinder.com/photo/essay/kane/toland.htm (Oct. 2000)
Images: Peter Stackpole, LIFE, Welles and Toland on floor, 1.
RKO Radio Picture**:** Projection Room, 4. Mother in the Boarding House, Kane outside, 7. Tight Composition, 8. Low Ceilings, 10. Low Angle, 10.
Walling, Christopher “Cinematographer Gregg Toland”
http://www.christopherwalling.com/Pages/S&L~GreggToland.html (Nov. 2000)
Wilgus, Jack and Beverly. “A Search for Camera Obscura.” The Magic Mirror of Life.
http://brightbytes.com/cosite/what.html (Nov. 2000)
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2020.09.29 07:35 Thagnoth Scarves Oriental Landscapes, Buildings, Trees; Trying To Find Source Company/Very Similar Items

Scarves Oriental Landscapes, Buildings, Trees; Trying To Find Source Company/Very Similar Items

Blue
Pink
(And there is also an orange sunset-y, maybe hilly version whose image is nowhere to be found, unsure if there are more variations)
I bought these from eBay in January-ish 2018, found tiny versions of images from the email receipt. I reverse image searched through as many things as I could find, and TinEye found bigger versions of the image (which are the ones shown above) from www.made-in-china.com with "Wholesale Polyester Printed Scarf" as the search term, but I was unable to find if the listing still existed there after searching through several pages.
The eBay listings for each named them "Women Scarf Lady Long Colors Silk Soft Wrap Shawl Scarve Free Shipping" (Pink), "Fashion Women Colorful Scarf Lady Long Colors Silk Soft Wrap Shawl Scarve New" (Orange), and "Women Colorful Scarf Lady Long Colors Silk Soft Wrap Shawl Scarve Free Shipping" (Blue). The original images on eBay are missing, as the seller, "disha.patani", deactivated their account or something.
Tiny label tags on the side say "100%SILK" on one side and the symbols for Hand Wash, Do Not Bleach, Iron Low Temperature, letter P in a circle, and "MADE IN CHINA" on the other, along with a rather large fabric stick-on rectangular tag that was black and said the brand name in gold cursive text; I really wish I had saved the tags or something but I took them off and either put them somewhere random or discarded them.
Similar to this, but sticky on one end (NOTE: THIS IS NOT THE BRAND NAME for the scarves I'm looking for)
Not sure what other info would be useful (as you can see I tried to cram as much info in anyway just in case), so just comment to ask for any extra details.
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2020.09.28 07:21 cutelilfoxy Advice please!!

Ok so on SeekingArrangement this guy messaged me...like super young(25) really attractive and said he was interested. And he had a lengthy bio and went into really deep details of what he wanted and stuff so I was like ok he's probably a real dude. He was also Facebook, Instagram, and picture verified. The pictures looked legit too...not like some screenshot or a picture of a computer screen. So I gave him my snap and we started talking there. We barely text like 3-4 times a day. And his allowance is crazy high like 2k-5k every 2 weeks. He sent a video of himself to me on snap and he looked like his pictures. So I'm like pretty convinced he's not a catfish. But I reverse image searched him and found his Instagram...he's like a celebrity sorta. He has like over a million followers. So I started digging into and found that some of the info doesn't match up. So I started doubting him so I asked for a personal video from him and he got really offended and defensive. Idk if he's a scammer or not bc scammers ask for money but he's not asking for money. But I can't be sure that he's legit either... Like he's asked for pictures and stuff so I'm thinking is he like gonna sell my pics? But that doesn't totally make sense bc porn is free so idk how much you could make out of that. And he's asked for videos and pics of random stuff that's not like really sexual also so I'm just confused...and today he asked me to a get a sex toy but he's not going to pay for it...i can't figure this dude out so I just want another opinion. Has anyone else experienced something like this??
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2020.09.28 03:40 Subtlegi Citizen Kane

Citizen Kane
This was my term paper for a college film class I took some years back. I did much research, spoke with Kodak, a cameraman from the shoot, as well as being a camera buff and videographer. I took out the all of photos referenced to save space here, but if anyone likes it and wants the complete piece I'd be happy to send it to you, just let me know. gabriel
https://preview.redd.it/v6p9ng6tlsp51.jpg?width=1790&format=pjpg&auto=webp&s=b6458662ef0ad0112d6a5dfcbc362e7f631e45f6
A Technical Investigation of Citizen Kane
It’s Not All Black and White
📷 Citizen Kane is considered perhaps the best film ever produced. What does it contain that so many of others missed? I believe it is the imagination and technical expertise of Orson Welles and Greg Toland’s talent cocktail that forged this memorable work. To the right, notice both men on the floor setting up a low angle shot. Welles did very little alone, he was intelligent enough to use “OPB” other people’s brains. The screenplay alone does not stand up well against many other “Great Films,” it is the audio/visual experience created by the use of great techniques in lighting, photography and sound recording which make this film a masterpiece.
Over a period of twenty-five years, I have acquired a great deal of knowledge and experience in the Visual Arts. During this time I worked professionally in film, sound, and video while also enjoying the wonderful art of amateur black and white photography. My resume’ qualifies me to present a case for my thesis and in doing so I will cite technical information which is a part of my knowledge base. This combined with my research, meld into a comprehensive report on the behind the scenes wizardry of an ultra talented group of filmmakers.
📷Like most humans, I experience film through my eyes and ears, always looking deeper, beyond the dialog alone, into the complete experience. Although I hear the famous word “Rosebud” spoken by Kane, it is the atmosphere of the room, and the close up of his mouth, which amplifies the moment.
📷 Orson Welles wrote, directed, and acted in many productions of which Citizen Kane, being his best known, is the film he’ll be remembered. The following is a sampling of other productions Welles wrote, directed and more, except for this first two, written by William Shakespeare. MACBETH, described by Welles as "a violently sketched charcoal drawing of a great play," The magnificent photography by John L. Russel (Psycho) Directed by Orson Welles, and acted by Welles, Jeanette Nolan, DanO'Herlihy, Roddy McDowall, 1948. OTHELLO (production spanned three years) it won the Grand Prize at Cannes. Directed by Orson Welles, With: Welles, Suzanne Cloutier, Micheàl MacLiammoir, Robert Coote, 1952, THE LADY FROM SHANGHAI, Rita Hayworth plays a sultry wife, and includes the legendary hall-of-mirrors shootout finale. Directed and written by Orson Welles, 1947. THE MAGNIFICENT AMBERSONS, Directed and written by Orson Welles, 1942. TOUCH OF EVIL, Directed and written by Orson Welles, With: Heston, Welles, Janet Leigh, Joseph Calleia, Akim Tamiroff, Dietrich, Mercedes McCambridge, Dennis Weaver, 1958 (Starlight News).
After reading the above, it is impossible to overlook Welles as the original film multi-tasker. This man did it all. As a fine actor, writer, and director, it can be argued Welles has a bit of a control issue, but perhaps when you’re as talented as he, it’s not to unusual to not want to place your work or self in another’s hands.
The conductor of light, director of photography Greg Toland was hired from Samuel Goldwym Studios at $700.00 per week (Carringer 69). While at Goldwyn Studios Toland became regarded as one of the most creative cinematographer of the 1930.
His ‘acknowledged brilliance,’ as “American Cinematographer” magazine argued in 1942, placed him in the most nearly ideal position any Director of Photography has since the halcyon days when D.W. Griffith and Billy Blitzer were between them creating the basic techniques of the screen (American Cinematographer).
These accolades and of course the films themselves placed Toland in a position of power when negotiating with producers. Here are some items he requested and received from the producers of Citizen Kane. “RKO was obliged to employ Toland’s regular crew and rent his camera equipment from Goldwyn” (Carringer 69). He demanded these guarantees as an artist, for he had personalized his equipment, his brush, so to speak, to accommodate the style in which he shot. The crew consisting of grips, camera assistants, and gaffes were all a part of Toland’s creative bag of tricks that worked together as a one organism to accomplish the monumental task of producing a film of this caliber. Above all Toland insisted on creative control. This he had become accustomed to at Goldwyn Studios. After much success in his early career, Toland remarked, "I want to work with someone who's never made a movie. That's the only way to learn anything from someone who doesn't known anything”(Walling). He got his chance in 1941 with Citizen Kane on Orson Welles first movie. This team of Toland, and Welles became a creative partnership unsurpassed in movie making history.
There is light and the absence of light, there is shadow, created by infringing on the path of a light. These elements are the two ends of the visual spectrum. White (light), Black (shadow) and by the expected use of them, every lighting situation (in B/W) can be resolved. Mind pictures like these become possible in the right hands. Powerful light driven through small spaces cut like knives on the floor and walls. Soft light pushed through a window or down a hall washes the area like a softly driven snow. The power of this technique is obvious in the shot captured of the Walter Thatcher Library. (right) Nothing is resolved here (can be seen clearly), but it’s not the dialog or the face of the actors the filmmakers are interested in, but the mood set by the absence of light and the rod of light coming from above. Reminiscent of a spiritual setting, the beam of light representing the entrance of the Almighty into the room.
Film is the medium that followed and in some ways took the place of paint, brush, and canvas, first with the snapshot, followed by moving pictures. In 1940 film had its limitations, even today it’s requires an informed photographer to photograph in a variety of settings with equally satisfactory results. Much of what makes an artist great is the length to which they are able to stretch the medium in which they work. This is where Welles and Toland excelled; they stretched the ability of the camera and film to lengths never before attained.
The tone of Citizen Kane is created with light, shadow, and darkness. Photography and light go hand in hand, in fact photography, as we know it, cannot exist without a light source. The way a scene is lit directly affects the resulting print. Film stocks of the late thirties, early forties were “slow” meaning the amount of exposure time (to light) with respect to the quality and resolution of the resulting print is high (long). A “fast” film with a speed of 800ASA or higher can capture an image indoors without a flash or extra lighting in a normally lit room. In 1940 a 100ASA film was considered fast, this film used in daylight would be capable of good exposure, but anything less than daylight would require lights, for a stills, a flash, for moving pictures, stage/motion picture lighting …Big, Hot, sometime noisy lights.
The film used to shoot Citizen Kane was Kodak Super XX, 100ASA which was an “off the shelf” product, that fortunately for Toland had just recently been released. Double X was “Four Times Faster” than its immediate predecessor. Without this timely release Citizen Kane may never have been made. The other variable is the amount of light needed and available, and how much one chooses to expose the film. Exposure time and aperture settings are two variables that determine, to a great extent, whether a scene will appear as bright as a 📷sunny day or full of shadows with the blackest blacks, but only grayish whites. Proper contrast presents itself as balanced if upon examination the black & white negative it exhibits the two extremes represented on the gray scale, black and white. This bias manifests in a photo that is too dark or too light and lacks contrast.
The manipulation of exposure can be seen and studied early in this film. In the scene shot in the projection room, Toland under exposed the film by not using an “average” light setting, (balanced) instead he resolved the streams of light pouring from the projection windows and placed the actors in the shadows. There is nothing wrong with this; in fact, it is exactly what they wanted. The average person taking snapshots of their children would not appreciate their photos turning out in this fashion, but the professional is an artist, and artists create moods and settings with the tools of their art. In film, what we don’t see sometimes makes the shot.
📷 “Camera derives from the Latin word for room or chamber. The camera pre-dates film. The Camera Obscura or “Dark Room,” occasionally seen at scenic locations was, in its original form, a pinhole camera.
The “pinhole’ in the roof could scan the countryside by means of a rotating mirror. The image was focused on a white table in the center if the room and viewed by observers inside the “camera” (Di Guilio).
📷”The Mitchell Camera Corporation began in 1919 as a camera repair and modification shop in Hollywood, as The National Motion Picture Repair Company (Roberts 141). The film was shot with Mitchell BNC cameras (BNC stands for Blimped News reel Camera). The BNC was introduced in 1934 and the first two cameras were sold to Goldwyn Studios in 1934 and 1935. "The first important picture on which they were used was Citizen Kane" (Roberts148) In 1934, this camera made the recording of sound for film feasible. At around 35 dB, the NC was quiet enough for unblimped use in exterior sound filming, as long as the microphone was not near the camera. Later that year the BNC was introduced, the B stood for Blimped. The Blimp is a sound proof housing which surrounded the camera bringing the sound level to a very quiet 21dB! To the average person these numbers mean nothing, even with an explanation of these levels may continue to seem irrelevant. But, take it from a man who spent years on sound stages, in recordings and television studios, the difference is huge; 35dB “decibels” is the sound level in an average home, 21dB is the sound level of a whisper, or rustling leaves. These are logarithmic numbers and the difference is demonstrated by taking the next step up. 70dB is the sound level of freeway traffic and of a vacuum cleaner. The change the “blimped” camera had on motion pictures is immense! (Noise)
The camera’s angle and length of lens create perspective. A long lens creates a voyeuristic feel as if looking in from afar a good example being Hitchock’s Rear Window. A short or wide lens brings the viewer into the scene. Angles are simple to understand.
Considered how you appear to a small child from its playpen? Put yourself in the it’s place, think of its perspective “low” looking up, “wide” larger than life, and somewhat distorted view. This is not a pleasant picture. The baby looking up sees a huge, distorted thing; fortunately babies are innocent and cannot put the ominous nature of their vulnerable scene in perspective. Conversely, the perspective of an adult looking down at a child is like a king from his throne, a feeling of power, not vulnerability. Perspective makes the difference. Even in a situation where those involved are adults as in a courtroom setting, perspective plays a role. In a courtroom, the judge sits up high upon their judgement seat, which forces the defendant to look up. The judge appears large and powerful, while the defendant feels small, powerless, and vulnerable. Above, strong and in control, below, weak and suppliant. Orson, digs holes (right) in floors, through walls, and flies his cameras in the air shooting from different angles, creating different perspectives. A film shot at one level is flat, without flavor and as bland as an unseasoned potato.
📷 Next we explore the topic of “depth of field” (the distance from the object nearest to the camera and the farthest that are in continuous focus) also know as “Deep Focus” The first notable example is from the footage shot in the parlor of Mrs. Kane’s boarding house. In the foreground, mother, father, and Mr.Thatcher
discuss the boy’s future while in the background young Kane is seen through the window, all in perfect focus. Another example is the scene where Kane and his wife are sitting at either end of a long dining table in the huge Xanadu, bigheaded Kane intimidating and distorted (not out of focus) in the foreground, his bored wife, small and insignificant in the distance, both presented in sharp detail.
📷This next frame combines two techniques, “tight composition,” and “deep focus.” Tight composition meaning a quantity of images in a relatively small frame, and deep focus, all the images in frame are in focus. The scene is when Kane walks in on Susan’s singing lesson only to hear “the Maestro,” frustrated and disgusted with Susan’s ineptness, screaming a laundry list of insults at her. Bad timing. Kane in anger reprimands “the Maestro.”
After a few critical viewings, and a quick look at my camera’s dept of field indicator, I estimate the field covered in “the Maestro” frame was approximately 18 inches to 30 feet. Probably an 18mm or 25mm lens was used which has great depth of field when stopped down to F/11 or F/16, these two numbers are aperture setting or f-stops, indicate the size of the hole the camera looks through. The larger the number the smaller the hole, and the great dept of field.
A standard photographers table supplies the following values: for an 18.5mm lens at F/8: 1' 6" to Infinity and for 25mm: 2’ 9" to Infinity. To shoot at these apertures, a 100 ASA film requires 1280-foot candles of light, which is quite high by today’s standards. (A foot-candle is equal to the light ‘one candle’ would illuminate a surface at the distance of one foot.)
The definition of Deep Focus is applicable as a frame of reference in defining Shallow Focus, in which one part of the screen is in focus and the rest blurred, thus directing the viewer's attention to the key element of the action. This was a useful technique, but not an innovation in the1930s, having been used since the early days of film, although much of it’s use was dictated by the limitations of the cameras and films of the time.
An unknown Internet author describes a fancy focus technique.
📷Toland found that extra means were needed to maintain sharpness in certain extremely deep shots. Split-focus lenses and carefully controlled double exposures sometimes turned the trick, but were difficult to set up. One example is in the sequence in which Kane's wife attempts suicide: a glass, spoon and medicine bottle in sharp focus dominate the foreground; the bed is in the middle ground; and figures enter the door in the background. Here the foreground was lighted and photographed first, with the rest of the scene in darkness. Then the foreground was silhouetted and the background was lighted and shot in focus on the same film. (Sharp Practice)
Film is the medium that in some ways followed and took the place of paint, brush, and canvas. First came the snapshot, followed by moving pictures. To this day film has limitations, but in 1940, they were manifold. Much of what makes an artist great is the length to which they stretch the medium in which they work. This is where Welles and Toland excelled; they stretched the ability of camera, film, and light to lengths never before attained.
📷Before the making of Citizen Kane sound stages and film sets were open ceiling. A lot went on just above the frame, all of it unseemly, and needed to be hid, things such as; microphones, (big ugly microphones on booms with cables hanging) and other equipment that hung from the usually high ceiling sets. This open ceiling arrangement prohibited the camera from tilting (a vertical pan) any higher than the top of a room’s wall. Toland and Welles had no desire to repeat the same old shots seen hundreds of times before. They figured a way to work around this problem. They created ceilings with muslin, now microphones and the like were hidden above this “new ceiling.” This permitted Toland to shoot from the floor, (right) actually from a hole in the floor without thought of running out of wall. Note all that ceiling showing.
📷This took the bit from Toland’s mouth, freeing him to point the camera wherever his heart desired. The frame pictured to the left is an extraordinary example for three innovations are demonstrated in one shot: covered ceilings, a low angled perspective and deep focus. Fantastic!
Who says you have to be high tech to be innovative? Artists dislike restraints, when set free, they fly high. Freedom brought us this wonderful film.
The sound on Citizen Kane encompasses dialog, sound effects, and the musical score. In reverse order, Bernard Herrman scored the film, and later went on to compose the music for other great movies, including Psycho and Taxi Driver (who can forget that sax?). Welles brought with him from radio a keen ear and an understanding of sound effects. These effects augmented the film, but were not overpowering as in some films today. One example of his subtle usage is noted by Robert Carringer. “. . . such as the typewriter heard in extreme close-up when Kane is finishing the opera review and the musical accompaniment to the light bulb that dims to signal the faltering of Susan’s singing career”(100). I’ve recorded many sound tracks for video and television and I don’t envy the task assigned to the engineers in charge of this film. Even when recording a simple spot, I used more and better equipment than the entire sound crew of Citizen Kane.
In their process . .
. . . there are two separate and distinct sound operations, each presided over by a different sound engineer. One engineer is in charge of the sound recorded during the production. His chief assistant is the operator of the boom – a microphone slung from a long metal rod and suspended above the actors’ heads (Carringer 102).
Considering the task of a “boom operator” under ordinary circumstances was difficult, on Welles’ set there were times it must have been close to impossible. Because of the muslin ceilings the operator had a much more difficult time properly placing the microphones above the actors.
Once recorded, then it went into post production, and into the hands of James G. Stewart, a sound contractor who work on some of the most famous theaters in America, including Radio City Music Hall, before moving to California and joining RKO. He was in charge of postproduction, in those days called “rerecording,” today mixing and overdubs.
📷In the late thirties one could not go to a local sound store and buy whatever your budget allowed, these sound engineers, were just that, “engineers,” and if they needed something they’d design and build it. The crude two-man mixing console shown here is a “one off,” built for RKO under Stewart’s direction. Prior to this point in the process, the audio is dry (no effects, or processing) it’s during the “rerecording” process that echo, reverb, effects, and overdubs are inserted and mixed. Sound persons rarely get much glory, but without them, the public might still be watching silent films (Carringer 102-3).
In closing, Citizen Kane is a technical milestone in movie making, although I find the screenplay depressing. This tale of a boy removed from his family, given an education and all the money he could ever need (so one would think). Who grows into an idealistic, generous, and kind man, who had plans to change the world, but instead the world changed him, and for that, he hates the world and himself in return. The final scene, reveals his true heart, one, once so soft, now, hardened and broke. Calling to the heavens, spoke his final word “Rosebud” the name of a sleigh he once owned, so long ago, before fate stepped in and killed the boy. When Kane spoke, “Rosebud” he was not only calling out the name of a child’s toy, no, he was calling out to the life he left behind which contained that sleigh. The life he never had the chance to live.
📷📷📷📷📷”Rosebud” “Rosebud” “Rosebud” “Rosebud” “Rosebud”
Sources Cited
American Cinematographer, “Greg Toland.” 1942. http://www.cinematographer.com (1999)
Carringer, Robert. The Making of Citizen Kane. University of California Press, Berkeley
  1. 69, 100, 103-04.
Di Giulo, Edmund. “An Historical Survey of the Professional Motion-Picture Camera.”
SMPTE Journal, NY, 1967
Forzano’s Studio Stock “Gray Scale Chart” NY, 1979.
Noise Levels In Decibels. “The Sound Level Chart”
http://www.temple.edu/CEPT/temp/dcblevel.html (Nov. 2000)
Roberts, Laurence. “The Mitchell Camera: The Machine and Its Makers”
SMPTE Journal, NY. Oct. 1981: 141, 147, 148.
Star Light News. “Orson Wells.” http://starlightnews.cjb.net/orson.htm (Nov. 2000)
The British Film Institute “Gregg Toland -Sharp Practice”
http://www.bfi.org.uk/sightandsound/archive/innovators/toland.html (Oct.2000)
Time Life “Citizen Kane Cinematography Notes”
http://www.pathfinder.com/photo/essay/kane/toland.htm (Oct. 2000)
Images: Peter Stackpole, LIFE, Welles and Toland on floor, 1.
RKO Radio Picture: Projection Room, 4. Mother in the Boarding House, Kane outside, 7. Tight Composition, 8. Low Ceilings, 10. Low Angle, 10.
Walling, Christopher “Cinematographer Gregg Toland”
http://www.christopherwalling.com/Pages/S&L\~GreggToland.html (Nov. 2000)
Wilgus, Jack and Beverly. “A Search for Camera Obscura.” The Magic Mirror of Life.
http://brightbytes.com/cosite/what.html (Nov. 2000)
submitted by Subtlegi to classicfilms [link] [comments]


2020.09.27 22:17 swedishplayer97 Analyzing the leaked spacecraft and why it belongs in a hard sci-fi universe

I'm a pretty big fan of hard sci-fi and seeing the supposedly leaked spacecraft made me squeal like a schoolgirl. I just adore the design so much. This is the spacecraft in case you haven't seen it. I hope the leak is true because by golly that is a gorgeous spacecraft. I thought I'd analyze all its elements. Now I'm just an amateur so if any real spacecraft experts have any pointers feel free to note them.
1: First, let's start at the bow/front. It looks to me like a docking hatch, with two suspension fenders for docking with another spacecraft. The two fenders have two axles that go into the craft, and two more designed to flex and absorb the force of the impact.
2: Now, the cockpit. Immediately surrounding the windows there appears to be black panels similar to the Space Shuttle's thermal protection panels, indicating this spacecraft might be capable of atmospheric entry, but it doesn't appear to be that aerodynamic. However, the fuselage surrounding the cockpit appears more rounded than the rest of the craft, which leads me to believe it might be capable of disconnecting to form a seperate atmospheric entry vehicle.
3: The thrusters on the closest "wing" seem to be able to change their vector, as some are pointed outwards while those behind them are pointed longitudinally with the craft. The other side of the wing has what appear to be RCS thrusters to decelerate the spacecraft at high speeds.
4: If we look at the section below the tanks labeled "B Tank", there appears to be another hatch of some kind. The section below it gives me two theories; either it folds up to provide armor of some kind, or it along with the section the tanks are attached to may rotate, to provide centrifugal gravity. The bottom section also has what appears to be a small hatch in the middle, which leads me to believe some form of habitation module could be attached to it. The two tanks also appears to be attached and not directly part of the ship.
5: The tanks themselves indicate this ship is not originally designed for long-distance travel, and it requires additional, external fuel tanks for longer journeys. The struts marked with black-and-yellow caution lines indicate the tanks are externally attached.
6: The main engine thrusters in the aft have 2 or 3 smaller thrusters on top with one larger thruster below. The orange arrow symbols indicate direction off thrust.
All these points indicate to me that if this leak is true and this spacecraft is in the game, Starfield leans toward a more harder scfi-fi universe than its contemporaries. It also leads credence to the leak being real, because reverse image search turned up nothing and this is an incredibly detailed 3D model for someone to make as a prank.
EDIT: Here is a more detailed picture with references.
submitted by swedishplayer97 to Starfield [link] [comments]


2020.09.27 20:02 94067 Our rules have been revised!

Hello Terrarians! We have updated and made some mostly minor revisions to our reddit's rules. Importantly, we've changed Rule 6 entirely. You can find the highlights below:

Rule 1: Only Terraria Related Content: Pictures of real-life things or things from other games that resemble things found in Terraria are subject to moderator discretion

Rule 2: English language only

Rule 3: No bad behaviour

Rule 4: Mark Spoilers

Rule 6: Failure to provide proper attribution

Rule 7: No begging, trading, or baiting for copies of the game.

Rule 8: No Low quality/effort submissions

Rule 11: No piracy links or requests

If anything is unclear, feel free to ask us for clarification in the comments!
submitted by 94067 to Terraria [link] [comments]


2020.09.27 19:34 LouMing Find Laura: a Season 3 scene-by-scene analysis 2J

Previous Posts:
Finding Laura: Part 1: 1A1B1C1D1E1F1G1H1I1J1K1L1M1N
Finding Laura Sidebar: FWWM & TMP: Mr.. Mibbler’s Complaint A
Finding Laura: A Visual Abstraction A
Finding Laura: Part 2: 2A2B2C2D2E2F2G2H2I

Find Laura: a Season 3 scene-by-scene analysis 2J


Falling Faster and Faster

So as quickly as the Good Cooper slammed through the Star field into the glass box, he is back to falling through space. His current situation having been seemingly described during an early scene in FWWM where Laura is at Donna’s house.
Donna: D'ya think that if you were falling in space... that you'd slow down after a while, or go faster and faster?
Laura: Faster and faster... until after a while you wouldn't feel anything; and then your body would just burst into fire. And the angels wouldn't help you, 'cause they've all gone away...
But here it seems Laura was wrong. Cooper’s descent, fast and tumultuous as it is with his image shaking and distorting does not lead him to burst into flames. With his arms still outstretched to steady his fall we switch from the view of his fall from behind to watching as he falls toward us, shaking and distorting, ultimately zooming into his face.
Then a hard cut and we are in Twin Peaks, outside the Palmer house as we remember it from FWWM. It is not the house that represents Laura’s home in the original two seasons. And here it is mostly dark with what looks like two lamps dimly lit in the dining room, and a small illumination from inside Laura’s bedroom. A slight bluish glow is barely discernible from the front window of the Palmer living room.
We cut to inside the Palmer house, and there is Sarah Palmer sitting in the living room, a room mostly unchanged after 25 years. The mirrors on the wall, the couch, the pictures on the tables are seemingly very close to as we last saw them 25 years ago.
The one big difference, sitting in front of the fireplace, is a very large flat screen TV. Sarah sits smoking and drinking, ashtrays nearly filled and vodka and Bloody Mary mix on the table. There are prescription bottles, a dirty dish from a recent meal, and a wooden box labeled “MOM.”
On the TV, a pack of lionesses is taking down a water buffalo in a blue-tinted night-vision image. Seemingly a nature documentary, there is no voiceover, only the sounds of carnage. As we pull into Sarah, the mirror on the left catches the image of the camera briefly, as the reflection of BOB himself was once captured, accidentally casting Frank Silva as the personification of evil in Twin Peaks.
Sarah puts down her drink and curls up on the couch, intently watch the TV.
We cut to her POV, watching as a lioness finishes off the water buffalo, pulling its head over and devouring its snout, as the pack begins devouring its prey. And then on the soundtrack, subtly, a “stab” music cue, as a golden oval shape appears in the eye of the water buffalo. An immediate reverse shot shows Sarah, eyes widening in alarm, her head pulling up, responding to what she sees.
Reverse back to the carnage where the golden shape moves, and then disappears back into the eye of the water buffalo as it goes dark.
Gold is one of the thematic elements we listed from Part 1, and its appearance here is not some accidental trick of the light, as Sarah’s reaction attests. This small hint of gold inserting itself into the carnage of “animal life” is received as a warning to Sarah that a fundamental change is beginning, and its occurrence will ultimately change everything.
You would think the infusion of the gold ideal would bring joy, but for Sarah, for this Sarah, it brings fear. Because Laura’s mental split, her disconnect from reality in order to reject the truth that it was Leland, not BOB, who molested her all those years protected Sarah. The Sarah that lives in the subconscious of Laura.
Laura was victimized for about six years in her home. Six years. Sarah did nothing to stop it. She passively, if not actively, allowed it to occur. We can see in FWWM she is allowing Leland to drug her. She is possibly as much to blame as Leland, yet before Laura could recognize this she shut down, entering the Red Room of her subconscious.
This is what remains in the dark, the secret behind the mystery. The defeat of BOB at the end of Part 17 frees Laura’s consciousness to remember and acknowledge what Leland did to her. Cooper’s search for Laura in Part 18 will culminate in Laura’s realization of that secret.
Cut to the outside of the Bang Bang Bar, The Roadhouse. The music cue continues and is revealed to be the beginning of the song played by the band now onstage: The Chromatics performing “The Last Time.”
A natural brunette, Chromatics lead singe Ruth Radelet is a blonde here, her appearance evoking the young Laura Palmer as she sings lyrics that, while not on-the-nose, certainly comment on what our expectations might be at this point, the end of the two-part premiere of Twin Peaks Season 3.
The final return to a recurring dream, where faces out of context do not behave as expected. “At night I’m driving in your car pretending that we’ll leave this town” poetically addresses the concept of cadriver as body/consciousness we addressed previously. And shadows, shadow-selves, and doppelgängers are the coin of the realm to which we now have fully embarked.
Ms. Radelet in this scene also bears more than a passing resemblance to a character we will not see until the end of our journey, Alice Tremond.
In a booth at the back wall sits Shelly Johnson with three other women doing shots. James enters the bar with a young man who we will later learn works with James as security at the Great Northern Hotel named Freddie Sykes. On his right hand, as yet unexplained, Freddie wears a green rubber glove.
Back to Shelly telling her friends that her daughter is with the wrong guy, a statement to which her friend replies, “Are you kidding? Everybody loves Steven.” Looking about the room James’s eyes find the booth where Shelly sits and his expression goes blank. One of the women says to another sitting next to Shelly, “Hey Renee, there’s James, staring at you again.”
“Does James have a thing for you?” asks Shelly. The woman across from Renee states, “There’s something wrong with that guy.” To which Shelly replies, “There’s nothing wrong with James. He was in a motorcycle accident. He’s just quiet now. James is still cool. He’s always been cool.”
Jame’s motorcycle accident is never addressed again, although we will learn that Douglas Jones had an auto accident that had a deleterious effect on his cognitive abilities. Parallels between these two characters is something we can add to the list of things to watch for.
We then see what appears to be Jacques Renault behind the bar, serving a character we will later know as “Red.” The person behind the bar is revealed to be a previously unknown Renault brother named Jean Michelle. Much as James focused in on Renee, Red spies Shelly as she makes and breaks eye contact with him. He sips his beer and playfully points his finger like a gun.
The Roadhouse will be our destination at the end of most of the upcoming parts, where we will join the anonymous crowd to witness noncontextual dialogue and new characters who leave the series as quickly as they arrived, discussing scenes we never saw and people we’ve never met. The exposition delivered writing a backstory in our imagination never to be confirmed or denied.
"Shadow" By The Chromatics
Shadow, take me down
Shadow, take me down with you
For the last time
For the last time
For the last time
For the last time
You're in the water
I'm standing on the shore
Still thinking that I hear your voice
Can you hear me?
Can you hear me?
Can you hear me?
Can you hear me?
For the last time
For the last time
For the last time
For the last time
At night I'm driving in your car
Pretending that we'll leave this town
We're watching all the street lights fade
And now you're just a stranger's dream
I took your picture from the frame
And now you're nothing like you seem
Your shadow fell like last night's rain
For the last time
For the last time
For the last time
For the last time
It’s taken me 10 installments to cover all of Part Two. The Red Room scenes were some of the most difficult scenes to write about: to find the right words to convey my thoughts and feelings.
As with the conclusion of Part One, if you have read this far, please do me a favor and upvote this post for me. I know when I read stuff in Reddit, I don’t upvote all the time, but I want to get an unofficial headcount of how many people are still tuning in.
I’m going to take a break for a few weeks, and then come back with a sidebar breakdown of the structure of Fire Walk With Me, a framework I haven’t seen analyzed elsewhere. One which I believe set the stage for the structure of Season 3
Thanks for reading!
Lou Ming
Next: Sidebar: Fire Walk With Me
submitted by LouMing to twinpeaks [link] [comments]


2020.09.27 06:08 hodododoho Icon/Symbol Map Accurate Translations

So if you know about the icon map, here's a link for reference: https://i.imgur.com/wCSPh3I.jpg
I've determined that the icons originate from the website www.thenounproject.com, which means that we can find "exact" translations for what the creators intended for them. For instance, the symbol for T is https://thenounproject.com/term/ocean/1352910. I found this through google reverse image search.
I'm gonna see if I can find the "correct" word for each of them and update this post with my findings. Feel free to post anything you find that I don't mention!
Letter Link/Guess
A Ear (Can't find exact but seems pretty clear)
B Sun (Can't find exact but seems pretty clear)
C Snowflake (Can't find exact but seems pretty clear)
D Wind? (Lots of similar icons, but couldn't find exact match)
E https://thenounproject.com/term/energy/3408657
F https://thenounproject.com/term/monkey/3062435
G https://thenounproject.com/term/sta431/
H Horse?
I https://thenounproject.com/term/pirate-flag/2427530
J https://thenounproject.com/term/waves/1036376
K Fish?
L Triangle?
M Lightbulb?
N Cloudy? Overcast?
O https://thenounproject.com/term/moon/2201726/
P https://thenounproject.com/term/cloud/677893
Q https://thenounproject.com/term/person/883979
R Drop? (or Blood? Very close: https://thenounproject.com/term/drop/1133314/)
S https://thenounproject.com/term/antenna/32877
T https://thenounproject.com/term/ocean/1352910
U Horn? Vuvuzella?
V https://thenounproject.com/term/map/692504
W https://thenounproject.com/term/ghost/217658/
X https://thenounproject.com/term/gate/3050593
Y https://www.flaticon.com/free-icon/rain_2167550
Z Pipe?
submitted by hodododoho to EschatonPuzzles [link] [comments]


2020.09.27 02:19 SnooCompliments1696 American Circumcision

What the fuck type of world is this?
90+% of American white males, 84% of American men, and 70%+ of those born today, have had their penis entirely degloved for sexual pleasure shortly after birth on orders of their naive parents and psychopathic doctors.
Neonatal circumcision almost always destroys the entire frenular delta - the ridged band/frenulum loop - on the dorsal side of the penis. Study after study has found it to be the most pleasurable part of the penis. A 2007 British Journal of Urology study by Sorrells et al. found that routine neonatal circumcision almost always removes the five most sensitive parts of the male genitalia: the ridged band, orifice rim, the frenulum at the slit, the frenulum near the ridged band, and the frenulum near the mucocutaneous junction. This means that neonatal circumcision removes the most pleasurable and sensitive parts of the penis. The discoverer of the frenular delta, Australian pathologist Ken McGrath, even made a video describing why neonatal circumcision is a uniquely sexually destructive intervention vs. adult circumcision.
The foreskin and glans are fused at birth, and, thus, must be forcefully separated: causing the glans penis to become a lifelong scar. The highly pleasurable frenulum is almost always destroyed or substantially damaged (>95%), the neurological development of the glans becomes substantially aborted and changed, and the damage is (in opposition to popular belief) much worse. Neonatal and adult circumcisions are two quite different procedures, with different effects on sexuality and pleasure, something that is not reflected in studies in adults. Men who underwent it as teenagers or adults (especially because of something such as phimosis) "did not see both sides."
Highly cited studies that say that circumcision doesn't affect sexual pleasure, such as Bossio (2016) and Morris (2013), suffer from substantial methodlogcal flaws. They all actually confirm the 2007 BJU study by Sorrells et al. (e.g. only testing the parts of the penis not removed in circumcision, assuming adult and neonatal circumcision is the same, using test subjects that had unhealthy foreskin amputated, etc.)
You can check this for yourself. The most sensitive and pleasurable part of your penis is the ridged band, frenulum, and glans if you are uncircumcised.
Next time you are really aroused... start slowly tickling your frenulum and ridged band. You'll probably feel a lot of pleasure. Now realize: That entire structure is gutted in the vast majority of neonatal circumcisions.
Circumcised? Whatever remains of your frenulum — if you are unlucky, it might have been totally destroyed, and even if there is some, there was probably a lot more there to begin with — and your circumcision scar. The remains of your frenulum and your circumcision scar are the most pleasurable parts of your penis.
If you cut something off: you can no longer feel it.
Chew on that realization for awhile.
Circumcision was quite literally designed to desensitize the cock and ruin your sex life as mich as possible. The modern medical version of the procedure was directly based upon Brit Per'iah, which was quite intentionally intended to be sexually harmful until the modern era, as shown by quotes by thinkers such as Maimonides and Philo, and was not widespread and made mandatory until 150 AD, over a hundred years after the death of Jesus. The modern version performed by the vast majority of Jews and American doctors is not even the same as the Abrahamic covenant of Genesis 17: but a radicalized form that was not instituted until 150 AD after the war of Bar Kokba.
Many groups today, such as Chabad, openly praise Pr'iah for inflicting sexual dysfunction and decreased sexual pleasure on their own offspring at their weakest and most vulnerable moment in life. They can't run. They can't hide. All they can do is cry while their own father orders someone to cut into their genitals as they scream. They believe that an all-loving creator wants them to do this.
American freedom is exposed as a horrific lie. A joke. A con. The ultimate horrific scam. You can not be free if sexually sensitive tissue is removed from the most personal, private place of your body shortly after birth.
You are marked from birth as a slave.
Your penis is intentionally molded as much as possible to have two purposes:
1.) Bringing others into this horrid world without being allowed to experience sexual pleasure
2.) Allowing you to piss so you don't die and continue contributing to the system.
This is not even an issue of substantial controversy throughout the world. Instead: it's promoted to parents by con-artists, sexual perverts, and totally incompetent doctors who obey whatever they are told.
Many of these doctors are alleged to have sexual fetishes surrounding circumcision. There have even been reports that some neonatal circumcisers get full-on erections while partially amputating their client's penises in hospitals.
Google the history of:
1.) Circlist
2.) The Acorn Society
3.) The Gilgal Society
Many members of these groups have influential positions in government, medicine, and healthcare. That's even more upsetting. Isn't it? I've done my research. No one can gaslight me on this.
Donating to /ForeGen is your only hope if you plan on reversing the sexual and bodily damage done to you and billions of other men: but it needs significantly more funding. I'm planning on donating $20 dollars a month to fund their research through my wageslave labor.
Millions of men are restoring in the meantime.
submitted by SnooCompliments1696 to antinatalism [link] [comments]


2020.09.26 20:42 grim_wizard I found the existence of previously undiscovered easter egg in the 16 year old game Firefighter Command

With 2020 being a truly terrible year I decided to take a few months off of work for surgery and mental health. I found myself going through my old games and decided to play the now Defunct Monte Cristo's Firefighter Command. This game is absolutely amazing and still holds up to this day as one of the best emergency service RTS games of all time.
I played through the game, probably for the 20th or so time since I got it in 2004 and was left somewhat disappointed as there are only 12 missions to play through with little variety. Curious as to the possibility of modding the game I went and looked through some of the mission files to see if I could add new events or change things up, I was also fairly convinced that there were some left over developer tools for the game as well hidden somewhere.
That is when I discovered a line of code labeled "free calendar" with a position on one of the game maps. "That's weird" I thought, and ended up going into the game and found a calendar on the wall that I could interact with. I wondered if there were more in the game somewhere so I quickly played through the game and found each level (minus the tutorial) that shipped with the game had a hidden calendar.
That wasn't a lot to go on. Did it do anything? Was it supposed to just be a collectable that someone forgot to add to the score system? I googled around a bit and found absolutely nothing on the subject.
My curiosity ended up getting the better of me so I looked through more game files to see if there any more hints. Inside the utility scripts file there was a function titled "Bonus Calendar" that calls another function titled "LEV_UnlockLP". In the graphics files for the UI there are two units ending in the name "LP" and while the files are quite small it is unmistakable that one is a pink fire truck while the other is of a woman in a corset wearing a helmet. The game also plays a sound when the calendar is picked up, it is very difficult to hear the sound under normal circumstances. I checked the file for stenography or anything hidden in the track strings or memory with nothing found. There are also no references to these units in any of the localization files.
I played through the game another 3 times searching each level for possible clues and found only one level with some oddities, which also happened to be the same level where I initially found the line of code that opened this whole mystery up. On this level spread out are 4 buttons that initially don't do anything when activated. However when the player activates them a second time an alarm sound starts playing. The alarm will also activate on the first push of the button after several minutes in the mission, I'm not sure if it is timer based or linked to an event. I have tried many different permutations of this with no noticeable effects. The thought crossed my mind that these were just static set pieces, however during the course of this I found out how to activate dev mode and found that these buttons were individually placed in the map. Documentation from snippets of code suggests that these buttons had to be intentionally linked to the event that plays the alarm sound. There is also an enterable building on the map that you cannot go into. Generally this happens when it is used for an event in game, but I can't get anything to activate with it. The building is also immune to fire damage.
For those unaware there is also a sequel to this game. I didn't really care for it, however the function for the bonus calendar is still in the game as well as a new function entitled "love team", which appears to spawn a "pyro man" on each level if certain conditions are met. I plan to look more into this easter egg if/when I finish with the current one.
Unfortunately despite all of my best efforts to uncover the method of activation for this easter egg I have been unsuccessful in activating it. The game uses a proprietary engine and content is read from proprietary archives that house graphics data, attributes, and other map data. This is then loaded into the game. I have unsuccessfully tried to intercept information pertaining to the easter egg through debugging, as well as disassembling and decompiling the executable and sifting through memory hashes. I'm also not that skilled in reverse engineering so I'm not sure what I'm finding and what I'm missing.
There are also two other possibilities that I have come up with, that being that the payload is date activated or that the payload was cut from the game entirely with the activation mode still present. There's also technically a third. This game was released with starforce copy protection so it is impossible to play on a modern OS without changes to the executable so the easter egg may be technically impossible to activate on modern hardware. There were also three main versions of the game so the easter egg may have been present and then removed at some point in a later update.
Below is an image dump of pertinent things I've found so far. Going through some files has been difficult, the game was originally in French and sorry mom but I hated speaking French and never learned more than you tried teaching me. I'm really hoping that there is someone out there that can help me with this, I have become unhealthily obsessed with this over the past week and need a breather or someone with a bit more skill to help out. Any input or ideas I'd love to try out as well. "LP" I'm assuming stands for something in French but I can't figure out what, that could be helpful.
pic related
Thank you for coming to my TED talk.
submitted by grim_wizard to eastereggs [link] [comments]


2020.09.23 19:30 If_time_went_back DbD rare and ultra rare killer add-ons reworks.

A lot of ultra rare add-one are underwhelming, while other are close to being too powerful. Generally, these kinds of add-one should either compliment the killer’s power or introduce a unique play-style for the killer. Moreover, they should be definitely useful and closely related to the lore of the specific killers, as well as closely reflect the add-ons description.
“Disclaimer: This thread is a work in progress. Some suggestions can be negotiated based on your feedback. The general purpose of this thread to produce useful amendments to the existing add-ons the game can benefit from. The changes to add-ons will be made with the respect to the intentional functionality of the said add-ons”.
———
Without further ado, let’s get started:
Demogorgon
Both ultra rare add-ons are beyond underwhelming. Some portal related add-ons are underwhelming as well.
Vermilion Webcap
When emerging from the portal, Demogorgon’s sounds become inaudible for the duration of the undetectable effect.
“A rather simple change, but will go a long way of making the Demogorgon stealthy playstyle more prominent”
Lifeguard’s whistle
On top of existing effects, survivors cleansing the portal are applied with deaf effect (unable to hear any sounds, including Demogorgon’s approach).
“This will help Demogorgon to sneak up and punish survivors who are cleansing its totems”
Upside Down resin
On top of its current functionality, reveals the auras of the survivors INTERACTING with portals to Demogorgon.
“Similarly to the Lifeguard’s whistle, will help Demogorgon to punish any funny portal tinkering activities on the survivor side. Pay attention to the interacting part, as auras of not only of the cleansing survivors will be revealed.”
Red Moss
No longer has a downside of a longer portal cooldown. The sounds of Demogorgon are inaudible for the duration of the undetectable effect. On top of that, there is no global sound cue when Demogorgon begins traversing the Upside Down.
Now survivors can TRAVERSE Demogorgon’s portals at 1/5th of the speed as an alternative interaction action!!! They can only traverse between opened portals and the portal slightly moves when it is being traversed (both entrance and exit).
“The idea came to me from the Stranger Things TV show. Demogorgon was always a sneaky creature and you could not really hear it coming until it was right on top of you. This should be an alternative playstyle available. However, the cost of being always super sneaky is the survivors’ ability to crawls through your portals too (which also has been shown as an option in the TV series). Overall, an interesting add-on fully changing the game for both survivors and the killer in fun ways.”
Leprose Lichen
After a prolonged existence outside of the Upside Down Demogorgon is able to fully adapt its senses to this realm.
The Demogorgon is able to see the auras of survivors for a very story duration every time a pool of blood is left behind (the frequency can be increased by Sloppy Butcher and Hemorrhage effects).
This ability is disabled for the next 30-40 seconds if Demogorgon used a portal to traverse.
“In the TV show the monster was able to feel the blood from a very long distance away. So, let’s replicate it. In a way it will be similar to Plague’s ultra rare add-on, albeit with lower duration and higher frequency of aura reveal.... and a drawback in terms of map mobility for Demogorgon.”
Michael Jackson Myers
Luckily, all of his rare add-one create interesting and exciting play styles, and hence, do not any changes. The only odd one out is the following one:
Vanity Mirror
New functionality: Thanks to the ability to clearly reflect one’s image, Vanity Mirror gives Myers a new, creative ways of stalking his prey.
Now, Myers is able to stalk multiple survivors at the same time.
Edit/Specification. Thanks to the u/MarbleTheNeaMain:
The targets besides the primary one are stalked at a tremendously slower pace (otherwise 400% stalk speed would be possible).
On top of that, Myers receives “Undetectable” status effect while walking backwards. Staring into your own reflection boosts your restraint and drive to kill.
Legion
He has been butchered way too many times with deserved nerfs. Nevertheless, he has fallen too far into the abyss of uselessness against good players.
Fuming Mix Tape
Hyped up the Legion ability to terrorize groups of survivors.
Now, Frenzy attacks against Wounded survivors light up by the killer instinct are ably to put them into a dying state. However, Frenzy attacks still have no effect and deplete legion’s power against Deep Wounded survivors.
Triples the bleed out timer. Halves the required time to mend.
Clarification (again credit to the u/MarbleTheNeaMain): This add-on tremendously decreases legion’s power duration. You have to be in the crowd of people to use it, not half map way. Balance reasons.
“The intention of this add-on is to remove ALL the pressure from the deep wound effect (it depletes forever and takes few seconds to remove) but gives Legion the ability to punish groups of injured survivors if they deliberately decide not to heal. Fear not, Frenzy will not down the first injured target and will only apply deep wounds instead, to prevent tunneling. Consecutive hits though on the other injured survivors will be vicious. This will force survivors to heal if they want to stay together or to split up.”
Huntress
Her most infamous ultra rare was always a topic of discussion. On one hand, it can be used in a not-so-healthy manner, while its intended use it long gone. Let’s change that:
Iridescent Head
Your hatches are propelled forward by the entity, become deadlier the longer they travel.
0-20 meters: Applied wounded effect (basic injury)
20-30 meters: Applies Deep Wound status effect
30-40 meters: Instantly downs a survivor
Edit: Thanks to u/TemporaryNuisance the hatchet will have maximum potential damage of two health states (instant down). Reducing survivors’ bleed out timer in a dying state or straight up instantly killing the survivor surely sounds as fun, but will award minimal blood points (Tombstone Myers like) and could be super confusing for the survivors if they randomly just straight up die.
As a downside, reduced available hatchets by 2.
“Now it is an all around useful add-on which encourages sniping playstyle. Only skilled or lucky huntresses will benefit from it. As it promotes taking risky throws AND reduces available hatchets, it will form a significant risk to the huntress unable to hit its prey form a mile away (rhymes, lol)”
Doctor
Let’s all agree that one ultra rare add-on is fantastic, while the other, not so much. His other purple add-one are perfectly fine as it is.
Iridescent Queen
Tremendously increases the amount of Madness needed to reach tier 3. Tremendously increases the amount of time needed to snap out of it.
Now charged survivors in their tier 3 of madness will apply 1 health state of damage to the allies they come in contact with aside of already existing effects. Survivors discharging will go back to tier 1 of madness.
“Pretty self explanatory, Zappy boi will strike again. This add-on will discourage grouping and give Doctor more stalling power if they decide to split up. Won’t be overwhelming though, as now tier 3 of madness takes much more time to reach. Also, as it requires multiple survivors next to each other and does not affect the main target, it will be impossible to use this add-on for tunneling purposes”
Pig
Pig needs her traps to be more deadly. Not for the purposes of killing the target per say, but rather to enforce the “no popping gens, always 99 rule” when their teammate is trapped. Currently, no such pressure/predicament is observed.
Interlocking Razors
Will now render survivor unable to exit box search or else they will surfer 1 health state of damage.
No missed skill-checks extra penalty, just makes boxes riskier to search.
Rule Set #2
The effect is now reversed. Survivors are able to see the auras of the Jigsaw boxes when not having the trap on or when it is inactive. However, once the trap become active survivors are UNABLE to see Jigsaw boxes unless they are closer than 8 meters away from it.
“This will create a memorization mini-game for survivors and apply extra pressure if no attention was paid. Also, promotes not popping gens in order not to put trapped survivors in jeopardy”
Extra effect: When the trap is active, any consecutive generator fully powered will tremendously reduce the countdown timer (minus 45-60 seconds, needs testing).
“Again, no gen popping, or you will harm your teammates. Pay attention to the traps. Besides, it is obvious when Pig has this power, as survivors will be able to see the jigsaw boxes’ auras even when without the trap. 99% gens is an option, so that repairs could be made”.
Amanda’s Letter
No changes of the basic functionality. However, at the expense of the gen pressure (-3 bear traps, -2 boxes) pig’s dash is now able to put survivors into the dying state (insta down).
Maybe will need to increase the charge duration by a bit in order not to be too powerful in chase. As a sneak attack though, it will become deadly. Price of not having gen presssure from traps also justifies the ambush-enhancing effect.
Ghostface
Driver’s license
Instead of its current functionality, now the Ghostface’s reveal time is increased by 100 percent (you have to stare longer at him for the reveal, no matter the distance).
“This will give Ghostface more time to hide and relocate when spotted. A rather simple solution to improve his break-out resistance”
Ghost Face caught on Tape
On top of current functionality, new effect is introduced. Now, the survivor who spots the Ghostface (breaks out him of stealth mode) becomes fully marked.
“The idea came from the Ghost Face caught on tape’s name and add-on description. Now, you can spot the Ghostface.... But how can you be sure that he did not want you to spot him in the first place? A good twist to the story with a useful, but not too powerful of an effect.”
The Gunslinger
Only one of his ultra rare needs tweaking. In order to tweak other add-one you have to reconsider the functionality of his power.
Hellshire Iron
Now instead of its useless existing functionality it will reveal the auras of all survivors in the range between the outside of your terror radius and the 32 meters away from you, when aiming.
Potentially will need a drawback of decreased movement speed not be act as an ever useful aura read.
“Will create some interesting synergies with terror radius perks and add-ons, will be useful with for the purposes of combining with the other ultra rare (approximate useful range) and will not be busted (no close up reveals or cross map reveals). The cost of being an ultra-rare add-on justifies the powerful effect.”
The Executioner
Scarlet Egg
Plus few more seconds to the effect
Rust Coloured Egg
Tormented survivors suffer from permanent blindness effect until they lose the torment status
“The blindness effect is weak anyway, and meaningless when lasts a limited duration, tormenting people requires a lot of effort too. Hence, effect should be permanent”
Lost memories book
Applies oblivious for 60 seconds upon becoming tormented. If already tormented, trail renders you oblivious only for as long as you are on top of it, as well as pauses the initial oblivious countdown.
“Self explanatory”
Crimson ceremony book
Survivors become injured after 10-15 seconds of becoming tormented. No effect on the injured survivors.
“Trapper-like punishing effect. A delay timer added not to be too obnoxious in chase.
Obsidian Goblet
On top of its current effect, Executioner becomes Undetectable when he drags his blade through the ground. The sound of that action is still auditable.
“Unlike Demogorgon, Executioner’s ranged attack makes him too dangerous to render completely silent. Still, this will be a beneficial improvement to this otherwise terrible add-on”
Iridescent seal of Metatron
On top of its current effect, the survivor rescued from the cage of atonement does not lose its tormented status.
“On itself add-on is good and does not need a fundamental change in functionality. However, multiple tormented effects vanishing after one cage save make this add-on considerably less useful. Simple change like this will render the effect justifiable the add-on cost. Besides, losing less torments is both a useful feature and pairs well with some other add-ons, so....”
Nurse
Matchbox
Movement speed increase should be at least 4.4 to justify the price of having only one blink.
Spirit
Father’s Glasses
Spirit loses her ability to hear survivors while phasing.
She is able to track their blood and see their auras (from perks etc) in the spirit world.
“Inability to ever see auras (making so many good perks worthless on her) always bugged me. Still, this means that she will be way more powerful, and hence, she will lose her main way of tracking (sound). An alternative playstyle.”
Oni
Iridescent Crest
After slamming, regardless whether the demon strike was successful or not, see the auras of survivors within 12 meters for the next 5-6 seconds (so, 3-4 seconds after finishing slam animation)
“The range is fairly small, so, should not be too oppressive. Nevertheless, will be very useful in many niche situations, unlike its current variant. Adding successful bashes as well to activate the park will do wonders. Just don’t stay close to an angered Oni slamming around, or you will be the next.”
Freddy
Z-Block
Interacting with the clock has a 50% change of not waking you up and causing you to scream, revealing your location. Clock will then reappear in some other location.
“Illusionary clock is an interesting and fitting concept for a reality-bending killer. This will add some in-game stall or help the Nightmare to keep more survivors asleep with the help of some other add-ons. Also, Hemorrhage effect is useless for the most part and does not deserve a super-rare price....”
———
Epilogue: That is about it. Other killers do not changes as much to their add-ons, but would rather greatly benefited from their base power adjustments. Hope you liked the read. Feel free to constructively criticize or comment on my ideas. The effects and changes are up to discussion.
submitted by If_time_went_back to deadbydaylight [link] [comments]


2020.09.23 15:30 ZandrickEllison Offseason Blueprint: The Houston Rockets are playing an entirely different game than their peers -- but will history remember them more like Nintendo or Sega?

The playoffs continue to rage on, but there are 26 teams sitting at home with nothing to do but twiddle their thumbs, watch the Conference Finals, and wait for next season to start.
For their sake, we wanted to look ahead with the next edition of the OFFSEASON BLUEPRINT series. In each, we'll preview some big decisions and make some recommendations for plans of attack along the way. Today, we're looking at the Houston Rockets.
Last night I watched a documentary about the video game battle between Sega and Nintendo called Console Wars (based on the Blake J. Harris book), so that may bled into my brain and into this particular entry.
step one: trust your Tom Kalinske
When Sega found itself lagging way behind the curve, they made an unconventional hire in executive Tom Kalisnke. Kalinske didn't have any video game experience, having come from Mattel where he dealt with Barbies and He-Man toys. Presumably, rival execs rooted against him. Still, the man had a magical touch when it came to marketing and a vision of the future that went against the grain. The hire turned out to be a home run.
The same can be said for Houston's Daryl Morey, perhaps the first true "nerd" general manager. Other GMs learned to adopt analytics; Morey was born in it, molded by it. He's so far ahead of the curve that other teams still haven't learned to catch up yet. There's a rudimentary stat called "MoreyBall" which adds your three pointers and free throws and then divides by your twos. The league average is about 1.00. Houston Rockets are at 1.51, by far the highest mark in the league.
These Houston Rockets just got stomped by the old-school (in contrast) L.A. Lakers, which many believe showed the flaws in their approach. I disagree. The Lakers had Anthony Davis and LeBron f'ing James. Those are two beasts that are nearly impossible to match up with. In contrast, the Houston Rockets had James Harden, a wobbly Russell Westbrook, and a shaky supporting cast. Their style of play didn't lose the playoffs for them; their style of play kept them in the playoffs as long as it possibly could before superior talent won out (against these Lakers and against Golden State prior.)
Knowing that, the Houston Rockets need to adjust and make over their roster, but maintain their fundamental approach and style of play.
step two: keep speeding it up like Sonic the Hedgehog
In their battle against Nintendo, Sega found an ace in the hole in the form of super-speedy Sonic the Hedgehog. It provided them a huge surge in the marketplace.
When the Houston Rockets traded Chris Paul for Russell Westbrook, there were plenty of theories as to why. Was it a personality clash? A financial consideration? Tilman Fertitta being a frittata?
To be fair, there are some logical, basketball-related reasons as to why Westbrook may have been a better fit for the Houston brand of basketball. Chris Paul is still an awesome player, but he plays at a more deliberate pace, slowly targeting midrange shots like it's Duck Hunt. In contrast, Westbrook is the "Sonic" of point guards, going so fast that he can sometimes veer out of control. After making the swap at PG, the Rockets' pace jumped all the way from 27th (with CP3) up to 2nd this year. That's more in line with James Harden and the smallball approach.
Going forward, the team needs to maintain that identity as they look toward a new coach. Completely reversing course and trying to slow it down or go "big" would be a mistake. We want to find the next Mike D'Antoni, not Mike D'Anti-toni.
For me, two potential coaching prospects immediately jump to mind: Kenny Atkinson and Chris Finch.
Atkinson is the more familiar name, and the easier one to link to this job. His first job as an assistant actually came under Mike D'Antoni, and he's learned to play with a "pace and space" approach. His Brooklyn Nets routinely finished in the top 5 in three-point attempts. It's confusing to me why Atkinson hasn't been a hotter candidate in the marketplace yet given his resume, but he'd fit in easily here.
I'd also say the same about Chris Finch, a lesser known assistant in New Orleans. Finch has a spectacular resume as a head coach in smaller leagues, and has served as a top assistant for Houston, Denver, and now New Orleans. Through it all, his offenses play fast. I happen to like Atkinson and Finch a lot for any team, but I like them for this team especially. Of course, that's operating under the presumption that the Rockets are looking for a younger, cheaper version of Mike D'Antoni, and don't want to reinvent themselves entirely.
step three: don't bust like Buster
When you're locked into an intense competition with your rivals, you can't make missteps like Sega may have when they based their boxing game around new sensation (!) Buster Douglas.
Similarly, the Houston Rockets don't have much of a margin for error. When you're playing small and you're playing fast, you're going to exhaust your players. You need to give them some solid reinforcements. The fact that Houston had poor depth was a death knell for them, especially when Danuel House decided to play his own game of Leisure Suit Larry.
Finding capable depth for Houston is never going to be easy given the fact that they're paying a combined $82.5M for James Harden and Russell Westbrook next season. Their role players are also aging. At the start of next season, P.J. Tucker will be 35 and Eric Gordon will be 32. They have some free agents like Jeff Green (age 34), Thabo Sefolosha (age 36), and Tyson Chandler (age 37.) Help is needed, ASAP. Send AARP while you're at, too.
Trading Eric Gordon would make a lot of sense. For a "shooter," his shooting comes and goes. He only shot 31.7% from beyond the arc in the regular season, and only improved that to 32.2% in the playoffs. And if Gordon isn't knocking down shots, he's a potential liability overall. At 6'4", he has limited size for the wing, which has contributed to some problems the team has in terms of defense and rebounding.
Unfortunately, trading Gordon may be easier said than done. He has an obscenely long contract that will pay him $17M next season, $18M the following year, $19M the next year, and $21M all the way in 2023-24 (when Gordon will be 35 years old.) The Rockets may have to attach picks to get rid of a contract like that.
Sadly, the same may be true for Russell Westbrook. He actually played well for the Rockets this year (pre playoffs), but his contract is fatter than Mario after a pasta dinner. He'll be paid $41M + $44M + $47M (player option). Given his particular skill set, you worry about how he'll age. If the team can flip Westbrook and turn him in 2-3 decent players, they have to consider that. However, I'm just not sure where that trade partner is coming from. The team should listen to offers if they arise, but they shouldn't plan on that coming into fruition.
step four: look for help anywhere you can get it
At the tail end of their fight against Nintendo, Sega ended up passing on an outside firm whose technology ended up becoming Sony PlayStation. Whoops.
In order to avoid the same fate, the Houston Rockets need to scour the Earth, looking for potential help. As mentioned, it won't be easy. They have over $120M committed on their cap sheet already, and no draft picks in 2020. It's going to be slim pickin's.
Still, savvy teams have managed to find rotational players in circumstances like that before. The Miami Heat found Duncan Robinson, the L.A. Lakers found Alex Caruso. Heck, these same Houston Rockets found Danuel House (a legitimately good player, and apparently a good playa as well.) If the Rockets can add a credible 7th and 8th man, they'd feel much better about their chances. Better still, they'd be able to give stars like James Harden some rest. Harden's been a horse in Houston, but if he ended up missing 20+ games, things could get ugly fast.
So where is this cheap help coming from? Some may have to be internal. Ben McLemore has always flashed athleticism and shooting talent, but he still needs to iron out his consistency. Perhaps having another year in the same situation will help him get even more comfortable. I'm even hopeful the team may get some solid minutes from David Nwaba. He's limited offensively, but he's a good defensive player who may pair well with James Harden.
Going forward, I'd like to see the Rockets develop more players in that mold rather than patching together over-the-hill veterans like Band-aids. Former Rocket Isaiah Hartenstein may be worth bringing back to the building. P.J. Dozier (DNE) may be playing himself out of their price range, but he's an intriguing project. I like the ball movement skills of Harry Giles (SAC) and Theo Pinson (NYK.) Perhaps forgotten veterans like Mo Harkless (NYK) or Noah Vonleh (DEN) would take a cheap deal in order to play in the Houston style and buoy their stock for next year. Finding forwards with good size is paramount; this team was partially constructed to beat Golden State and now the Lakers appear to be the biggest threat out West.
The desperate need to DEVELOP talent also speaks to the need for the next coaching staff. Kenny Atkinson has a good reputation in terms of player development, which is going to be crucial as the team tries to manufacture depth around Harden and Westbrook -- not only for this next year, but for the next several years to come. If the Rockets fail to do that, they'll lose this console war and have nothing to look forward to but a Blake J. Harris retrospective in 30 years time.
previous offseason blueprints
ATL, CHA, CHI, CLE, DAL, IND, GS, LAC, MIL, MIN, NYK, POR, SA, SAC, UTA
submitted by ZandrickEllison to nba [link] [comments]


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2020.09.22 10:50 madali0 The Art of False Polling: The Admin at r/Iranian creates a false propaganda regarding a current news

I generally browse regime change media to better understand the propaganda tactics. Recently, I came across this thread from the "official" community (how is it official??) of Iranians:
M. Nasiri, the former editor-in-chief of Kayhan, a conservative newspaper in #Iran: "A [secret] survey conducted by the Ministry of Culture & Islamic Guidance shows 70% of Iranians opposes mandatory hijab" GAMAAN's religiosity survey showed 72%
This tweet is also shared in Iran
Nasiri, the former editor-in-chief of Kayhan, a conservative newspaper in Iran: "A [secret] survey conducted by the Ministry of Culture & Islamic Guidance shows 70% of Iranians opposes mandatory hijab" GAMAAN's religiosity survey showed 72%; Another validity proof for GAMAAN
This, of course, creates the intended propaganda effect.
However, as the only official community of non-retarded Iranians, here is the propaganda tricks that you need to be on the lookout for:
  1. GAMAAN is a non-transparent organization that deals in extremely skewed surveys regarding Iran. Their methodology is creating online surveys that are then forwarded via social networks. To anyone who has the ability to connect two brain cells together, one main things will jump out. First of all, those that read, answer, and forward GAMAAN's surveys are those in their social networks.
For this survey the “Virtual Snowball Sampling” was picked as the sampling method on social networks (Telegram, Instagram, Twitter, and Facebook), and 19,386 individuals participated.
Their surveys are equivalent to sharing surveys in Maryam Rajavi's orgy parteis or Pompeo's Regime Change Tehrangeles Fan Club.
Of course, there are various other problems, such as the questions asked, the ability to spam various votes (since it's just a surveymonkey method), and so on.
The political idealogy of GAMAAN is, of course, regime change. Here is the director of the organization and his pinned tweet:
https://twitter.com/AmmarMaleki
" 1- I.R. cannot be reformed by dialogue but will surrender to pressure "
I'm not going to go too deep into this, but it should be obvious that it is yet another one of those regime change organizations that are probably in the hundreds since I bet the funding is absolutely mouth watering.
The results of their 2018 survey are laughable and no one halfway knowledgeable about Iran would take it seriously,
Here are some amusing results,
Amongst 17 figures renowned for political or civil rights activity, Reza Pahlavi enjoys the highest popularity with 37.9%.
Yes, that's right, Reza Pahlavi enjoys massive support for his civil rights activity in Iran. (for comparison, Qassem Soleimani was 15th, well below Maryam Rajavi at 8th)
50% of Rouhani voters seek regime change.
If there was free political election of all parties, the a monarchist party would receive the most vote with 20%.
And so on. For mods (dec60 isn't officially a mod, but might as well be) at both subs to share this organization is yet another sign of the absolute propaganda control aimed at Iranians.
2) Now, let's move away from this organization and move towards the MEMRI TV propaganda game.
What MEMRI TV does is to watch every single media output put out by their enemies, 24/7, and latch onto any tiny piece of news that fits their narrative. Western propaganda is effective because it's not they are lying all the time, but that it selectively chooses the truth.
What's so important about this incident to be so important for them to highlight? It's a talk show on Channel 4 of IRIB apparently (I mention that because channel 4 is known for the being the least watched out of the 4 main ones). Do either of them know the talk show, or watch the channel, or even know the guy who was talking? It's like when the MEMRI mindset takes one sentence of an unknown shitty cleric in a shitty talk show in some small province channel at some weird hour, and then treats it like some significant thing.
3) Notice how the word "secret" is added? That's because I just watched googled the farsi, and he didn't mention "secret" anywhere. So why was a word added that completely changes the meaning of the word?
4) The guy did not back up his claim. He just mentions a survey by Ershad. He is an ex-newspaper editor, making a point in a talk show, it's likely he just misremembered (or outright lied). The most likely thing is that he actually was forwarded this GAMAAN survey two years ago in his boomer friends whatsapp or telegram group and misremembered.
---
So conclusion, both sub make a post on the same tweet from a shady, regime change organization, which is based on MEMRI TV style of reporting.
Some reminders for those that are not as familiar with domestic issues. Debates regarding various issues is not as controversial as these guys try to make it out to be. Switch on the TV and click through the channels and you will generally find a round table with various people debating a subject.
It's usually extremely boring though, and that's why most of these guys don't actually sit and watch them, and instead wait for some US-based think tank intern to watch and just show them the highlights.
--
Additional Sources:
His current followers is 1949, and that's AFTER this whole talk went a bit viral. This shows how relatively unknown he was. His latest post has 437 lies and his earlier posts had something close to 50, so 10%, meaning that his followers a few weeks ago was probably less than 200.
In domestic Iran, it has been accepted that generally when unknown figures constantly make various statements to try to have it go viral, so they will become better known, to get some attention for election cycles.
(the answer is 0, unless it's their job to watch them)
Also, something that was interesting to me just now. The talk show, when it wrote about the upcoming debate on hijab, it didn't mention Nasiri as an ex-editor of Keyhan, but instead the books he wrote.
http://www.shabestan.idetail/News/972370
" همچنین مهدی نصیری، پژوهشگر حوزه دین و سیاست و نویسنده کتاب «جایگاه اجتماعی زن از منظر اسلام»، "
The book he authored seems to be "Social Role of Women in Islam", meaning that for the sake of the program, his academic work is more important than the fact he once was working in a newspaper.
Notice that neither Nasiri nor the Social Science Telegram page claim it was a secret survey.
This page explains the actual survey in a bit more detail. There is no such question in that survey, Apparently, they have re-imagined the survey results. One question is that what will YOU do if see a woman with bad hijab. The results were,
It seems what the creator of the image (that Nasiri referenced) added the first two answers to get a 70%+ answer to mean that Hijab should be non-compulsory, even though that's not the question that was asked. The question is about PERSONAL ACTION, and 67% saying they will take no personal action (even if they are against bad hijab) doesn't mean that they are against compulsory hijab (although, they might be, but that's not the question asked!)
Other answers in the survey also point out that Nasiri's take away was incorrect. One other question was "All women should wear the hijab, even if they don't believe in it" and they had to answer with the below:
This shows that only 21-22% fully disagree with the statement that "All women should wear the hijab, even if they don't believe in it".
So, the outcome from this is that while the majority agree with compulsory hijab, they PERSONALLY prefer not to take any personal action against bad hijab. It's similar to illegal parking. Most people might agree with fines against illegal parking, but they will also most likely not take any personal action against it. If 70% of people say "they don't like people illegally parking, but they will do nothing", that doesn't mean that it also means "70% do not believe in fines against illegal parking".
By the way, from that survey, women agree with the statement that ""All women should wear the hijab, even if they don't believe in it" MORE than MEN! 54% of women fully agree versus 51% of men.
Education plays an inverse role (college educated are at lower 45% while non-college educated are at 56%). Older people agree more with that statement, and, obviously, urbans agree less while villagers agree more.
So if these woke neoliberal regime changers really care about the hijab so much, the answer is simple.
Fight with all you have to remove sanctions on Iran. No sanctions, more progress, means more college educated Iranians plus more urban life, all with society moving towards less strong feelings about compulsory hijab. But they don't REALLY care about the hijab issue, it's just an excuse for them to advance the regime change dream.

submitted by madali0 to ProIran [link] [comments]


2020.09.21 00:31 punishedmamm0th Investigating a photo of Ruth Bader Ginsburg officiating a wedding in August

There's a photo of RBG going around with claims that she officiated a wedding in August accompanied by another image showing evidence claiming that it was faked. I was discussing this elsewhere and someone suggested I make a post about it so here it is.
Disclaimer: I'm not an expert on digital image forensics.
This is the original image I came across. If it doesn't make sense, here's an introduction to detecting manipulated images by Dr. Thorsten S. Beck on headt.eu. I'm usually skeptical when I see people posting seemingly outrageous claims, so if I have the means/time/autism to replicate an experiment like this I often will.
I wanted to check for myself to see if the photo/analysis were accurate. There's always a nonzero chance that these things stemmed from some disinfo campaign and that the image analysis picture itself was manipulated, or a troll could have taken a regular stock wedding photo and shopped her into it.
To find out, I cropped out the wedding picture to run a reverse image search using Tineye to find the original and rule out any possibility that the initial post had been doctored, and to confirm it even existed in the first place.
The photo originally came from a woman named Barb Solish's twitter. Her account is private, but here's a screenshot of her tweet and the image itself.
I downloaded the original and uploaded it using Forensically's photo forensics tool. The results matched what was posted, I've also included alternate views showing inconsistencies.
I didn't spend much time looking into Barb Solish, but from her twitter profile I found that she's the acting National Director of Marketing & Communications at NAMI, the National Alliance on Mental Illness. Her profile also states that she formerly worked for Steve Sisolak (Nevada's current governor) and an organization called the DCCC (Democratic Congressional Campaign Committee). Also listed is "@la2028," which leads to an account that either no longer exists or never did. I assume it's related to the 2028 Olympics and she accidentally put an @ symbol instead of a hashtag.
Here's a Washington Post article claims that RBG officiated Barb's wedding.
I've spent probably the last year and a half joking that Ruth Bader Ginsburg was already dead and they were hiding it, but this makes me wonder if there may have been any truth to that. Is it just the lighting in this image that makes it look incredibly fake? Did Barb accidentally forget to take any pictures of Ginsburg at her wedding then Photoshop her in after she realized? If RBG officiated this wedding wouldn't there be other photographs?
If anyone more knowledgeable about detecting digital image manipulation wants to shed some light on this feel free, but from my limited understanding and the examples I've seen of doctored images when viewed "under the microscope" this looks absolutely fake.
submitted by punishedmamm0th to conspiracy [link] [comments]


2020.09.19 09:05 hauntedmarshes The subreddit rules have been modified!

Hey all! We've overhauled the rules and want to bring the new list to your attention. The sidebar has been updated, but if you're unable to access it via your app or due to another issue, the full list is posted below.
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Rules

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Posts not related to Story of Seasons will be removed, such as discussions of other similar games like Animal Crossing, Fantasy Life, Stardew Valley, etc. Games in the Harvest Moon series prior to A New Beginning are considered relevant, but posts about new Harvest Moon games by Natsume should be kept to /HarvestMoon.

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Don't post anything NSFW (not safe for work, such as explicit images or sexual content) here, without exception. Additionally, no form of piracy (emulators, ROMs, and the like) may be discussed here. Memes may be posted only on Mondays to keep the front page free of clutter.

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submitted by hauntedmarshes to storyofseasons [link] [comments]


2020.09.18 02:06 Benefact09w The Experiment: Conservatism and QAnon or; "I was Q for a two or three weeks".

I've posted more than a few times on here before.
Mostly making fun of Qultists on here, and lampshading how fascistic they are, while pointing out how contradictory and ironic it is they talk about "doing research" and "thinking critically". When doing either would result in someone no longer being a Qultist.
And I always noticed how crazy their beliefs were, and what kind of person must want to believe in such a thing. Who would be so self important that they would want to believe there's a flesh eating conspiracy of elites in the upper ranks of society, just so they could play along at doing something to dismantle this alleged conspiracy.
How there seemed to be a link to religion, particularly insular and evangelical forms of Christianity. And how for all their talk of humility, there is a strong egotistical tendency in the Qult. They want the worst things to be true just to make themselves the heroes of the story.
I'm also a member on FSTDT, a website where we document and ridicule the Qult among other Christian fundamentalists racists and assorted psychos. So we were talking about a vile and abusive conservative, who doxxed and abused a woman on the site and tried to destroy her business (because conservatives are PRO-BUSINESS and ANTI-CANCEL CULTURE). So we were all talking about it. She got his real name out of it, but she never tried to do anything on the scale that he did to her.
I went after this guy once and he blocked me after one comment, and seemed to really take it personally (snowflake). The way he conducted himself suggested someone utterly egotistical yet devoted to a brave and heroic image of himself.
This conservative went out of his way to attack this woman, telling people to block her if they want to be his friend, and made a whole story where he got to beat her down.
It really made me mad to hear what sort of behavior he partook in, and a few things reminded me of the Qult. Particularly his attitudes and messiah complex combined with his abusive tendencies.
So I decided to do something.
I posed as a new Deviantart artist and started making friendly moves toward him. I shared that I think I might know who my handle on FSTDT is, and started leading him toward something.
Now, a bit more backstory: I had watched a 1989 Body Horror Flick called Society, by Brian Yuzna, which seemed disgustingly topical and incredible in how its special effects were done. I looked at this movie, its similarities in terms of its villains, the titular Society, and the things the Qult believed. I looked at some videos and saw Qultists outright commenting saying they thought Society was a documentary disguised as a movie. This gave me an idea.
So as I shared more and more info about my FSTDT handle, I started pointing him in a certain direction. Started mentioning odd and rather disturbing details, slowly at first, and then building up. I claimed my FSTDT handle's real name was Ted Ferguson, one of the villains from Society. I introduced him to a girl (actually me), and she shared some further details.
I just offered suggestions and easily refuted claims that got more and more outlandish. "Ted can move his arm in a really weird way" turned into "Ted can distort his body and makes horrible noises when having sex" turned into "Ted is a malleable mutant monster who participates in cannibalistic orgies".
The conservative could've very easily said "No, I don't believe any of it". He could've said "this sounds like balderdash, conspiracy theories, nonsense!" Did he say any of that? No. No, he believed every single word of it. His "bold Christian front" took on more and more drastic edges. He started openly posting QAnon-like nonsense about "Ted". Taking everything I said and not applying a single whit of critical thought to it at all.
I was his Q, and he ate every single "Drop" I made without question.
Even when things got blatantly fantastical. He just took it all with a "I knew it! Comic Book Evil is real and trying to convince us all its not!" And he delved even deeper. He believed not just in Adrenochrome conspiracy theories because those around him told him so...he also believed Ted and his family were fleshwarping stretching mutants who secretly ruled the state if not the world, drinking people's life out of them by melding to them. All because he kept reinforcing he believed he could just call the police and bust it all up before the 31st.
He was resistant, utterly, to any idea the police could be under Society's sway. It was like watching White Privilege play itself out in real time. The police were totally infallible arbitrators of justice in his mind.
And so I ended up leading him on this wild chase. I was Ted Ferguson, millionaire tycoon liberal fundraiser mutant party boy of San Francisco. And he was opposed to me on every single front. He alternated between wanting to just stay out of it and then wanting to "heroically" take down that evil, evil Society. He believed George Soros was involved in it because of course he did.
The conservative made posts, public status posts on Deviantart devoted entirely to this crusade. He wanted to DESTROY Ted Ferguson for hurting the love of his life, and I was his closest confidant.
He changed his status to "ExposeTheShut". He raged in PMs. He panicked and ranted and went on and on about it. I lived for free in his head in a mask.
I had tried - tried - to make it more blatant. I introduced more "characters" into the drama. I created Bill Whitney and Jenny Whitney accounts - the former to share more juicy details about Ted The Tycoon and Jenny to antagonize him grossly. Both were based on characters from Society, and he accepted everything they said as truth.
Ah yes, that's right. He shared his email with me, and his face, and his personal twitter account.
But I will not share his face or his email out here. I'm not him.
Of course nothing can last forever. When he went really public with it, sending messages at Elon Musk and Jeff Bezos about "The Shut", one of his followers - infinitely smarter than he - pieced it all together. A google search unveiled my ruse, and this follower posted that Ted Ferguson was a name from Society. And then he realized that Ted, Jenny, Bill, his girlfriend and me had all been quoting from Society the whole time.
It took little time for him to realize he had been taken on a Ruse Cruise, and my days as Das Neu Q were at an end. He wants to know why I did all of it. And here's why I did it:
I went in fully prepared in character to accept "no, that's too outlandish". He never said that. I went in ready to have him declare this was all too suspicious. That my new account was too self effacing and giving him too many praises. That it was all too perfect with him and the girl.
But no. He accepted everything until someone literally pulled his nose in front of it. How long would he have gone without this follower literally dragging him into realization he'd been played? And would he have so readily changed his mind? I'm sure he must be thinking something like 'I trusted you!'. And this begs a question, wherein he must seriously ask himself, why did you do that?
Why did you trust me, a random person on DeviantArt? Why did you give me so much personal info? Why were you so willing to believe me? These are questions he should put serious thought into.
Why did he believe all these unsubstantiated stories even as they got more and more deranged?
I think it translates to an explanation of QAnon and its links to conservatism, and why people fall into it. Hence why I'm posting this here. This story displayed the fall of a mainstream conservative into conspiratorial and QAnon aligned and even vaguely Nazi-esque beliefs, at the slightest and least resistant prodding. I think it shows a real tendency to put substantial ego into religion, making Christianity into the instrument of a Chosen One Complex. The actual following of religious rules and morals falls by the wayside in favor of "ONLY I know the the truth about THE DARK TWISTED AND EVIL WORLD."
Even after he discovered it was all a movie, he for a good day or so still thought - like with Fear and Loathing - it was somehow still real. He even changed his status to "ExposeTheShunt".
He was willing entirely to believe in some of the darkest and most horrific body horror imaginable...as long as it let him be IMPORTANT. And that I think is a commonality with all the most loud and completely deluded Qult Followers. Ted Ferguson had injured his ego, screwed his "woman", and insulted that all too common delusion on the right: that God's Favor translated to Earthly Success. Ted was rich, ripped, attractive and cunning. And that might well have played a role in his vociferous reaction and eagerness to believe it. His earnest conclusion that downing Society would reverse his economic conditions somehow.
In his rage and desperation to have that importance in the world, to change history...
...I guess it can be said that only one person got shunted. And that was him.
I know this is all a massive story, and a massive wall of text like this with such details merits a need for just as much evidence. I can provide both a document containing the entire correspondence AND screenshots. I will not however outright post the document here. If you want access to the document, send me a private message. It is on the condition that information related to the conservative is not shared anywhere else or reposted. I will also not post his face here.
I'm also willing to answer any other questions about this endeavor.
submitted by Benefact09w to Qult_Headquarters [link] [comments]


2020.09.18 01:54 scornedprince Oberyn Martell, Exile Prince of Dorne, The Scorned Son

Discord Name: Rivers#8372
Name and House: Oberyn Martell
Age: 48
Cultural Group: Dornish
Appearance: Dark-haired and wild-eyed, the aging war veteran and exiled Prince of Dorne has become barely recognizable under the cover of a scraggly, unkempt beard. 1 2 3 4
Gift(s): Agility
Skill(s): Daggers, Acrobatics, Covert
Talent(s): Storytelling, Lying, Knife/Axe Throwing
Negative Trait: N/A
Starting Title(s): Exile Prince of Dorne
Starting Location: The Inn at the Crossroads
Alternate Characters: Cerissa Lydden

Biography

Early Life - The Little Prince
Oberyn Martell was born in 261 A.C. to Princess Eleanor Martell and Arthos Dayne. His mother was a figure of legendary proportions, both in Dorne and throughout Westeros: having earned the respect of the realm as a warrior and commander, much of Oberyn’s earliest years were defined by his mother’s success rather than his own. Even as a small child, Oberyn rarely saw his own mother: she was so consumed by her courtly and military duties that she had little time for her first-born. Instead, he was mostly tended to by his father in his earliest years.
Despite this seeming reversal of parenting responsibilities, Oberyn still took after Eleanor far more than he took after Arthos. He was a loud baby and an even louder toddler, with a penchant for screaming and swinging at the household servants when his will -- mostly, his desire for sweets -- was denied. Maesters and septons alike found it nearly impossible to keep the young prince still during his lessons, and he became infamous for slipping out to play in the gardens or watch the knights in the yard spar when he should have been receiving his princely education.
While his unruliness drew the ire of his guardians, it also drew nearly as much praise. He was just like [his] mother at that age, they would say with pride. He had the viper in him. A perfect little heir to one of Dorne’s most legendary modern warrior-princesses. Nearly everyone around the young Martell lauded it as a gift, a blessing, an ancestral spirit of strength and willpower that was born again within him. And for many years, he believed them. The carefree young prince could have never imagined that nearly half-a-century later, he would regard his own nature as a terrible curse, his mother’s first and last poisonous parting gift.
Adolescence - The Wandering Viper
Oberyn’s wild nature never waned, even as he grew older. He brazenly reneged on his princely duties, preferring instead to wander the streets of the Shadow City with his sworn spear, Ser Edric Toland. The knight had begun training with Oberyn as a young boy, and quickly formed a bond with the young prince. The court gossiped that Toland was the only man or woman Oberyn ever showed any interest in listening to. In truth, their relationship was much the other way around: Toland was rarely talkative and remained unjudging of even the Prince’s most hedonistic exploits. The pair were certainly inseparable, but things may not have been any different without Toland, who kept his presence invisibly quiet and unobtrusive.
Oberyn’s mother strongly disapproved of the prince’s outings, but there was little he could do to stop the lithe young man. He was quick, athletic, and agile, and easily found a way around whatever new guard rotation his mother had resolved to institute around the palace. Navigating around his father’s restrictions was a welcome challenge for the hyperactive teenager, and allowed him to quickly hone aptitude for stealth and covert action. Eventually, Eleanor’s attempts to fight Oberyn’s wild nature slowed, and she turned her attention to Alaric, the model royal of the family.
Just as Alaric would later bond with the young Yronwood and Targaryen in King’s Landing, Oberyn would assemble his own, far more unscrupulous band of companions outside of Sunspear. He ran with a ragtag collection of smallfolk, bastards, and petty criminals, practically terrorizing the streets of the Shadow City. As they pickpocketed, tipped over fruit stalls, and started tavern brawls, Ser Edric would simply follow quietly, watching. When true threats to the Prince’s life arose, he leaped into action: but the young Martell was free to amass a collection of bruises, scars, and arrests by the town guard as he and his companions frolicked. While on these excursions, Oberyn learned to act, to lie his way out of trouble, and to fight - not like a knight, as Ser Edric had taught him, but like a street brawler, with daggers and quick reflexes.
Oberyn’s father was distraught with his behavior. Every time he was dragged in by the guard, he demanded that his son face real consequences. But Eleanor didn’t care. She simply dismissed the concerns of her husband and her staff apathetically. They were furious; they cried that the Princess had allowed Oberyn to run wild, as her favored son and firstborn. However, they could not have been more wrong. Every trespass, every insult, every frustrated shopkeeper or poor victim, she remembered. And justice would be delivered one day. On her terms.
Adulthood - The Marriage
The year was 283 A.C. At twenty-two years old, Oberyn had grown into a handsome warrior, the envy of men and maidens alike in Sunspear. He seemed to have left his teenage pursuits behind, distancing himself from the Shadow City and his former companions. He fought in melees instead of in the streets, read instead of ran away, and maintained an eccentric but noble existence in the royal palace. His relationships had strengthened as well: he and Alaric had never been closer, and he had begun to have eyes for a woman: the young Gwyneth Yronwood.
It was to his delight that he and Gwyneth were to be married in Sunspear, finally fulfilling a promise made long ago by Eleanor to the Yronwoods. The announcement came to him in the form of a letter placed on his pillow: the Tigress could not be bothered to tell her own son of his marriage in person. But it was of no consequence to him, at least not then. He was too focused on his own feelings, his joy and jubilation, to reflect on his mother’s hostility.
The ceremony was beautiful, and the joy of their marriage was shared by all in Dorne: except the Princess herself. On their wedding day, she was the only member of either household who did not offer her personal congratulations to the young couple. Instead, she watched wordlessly, like a snake waiting to pounce on its prey. Oberyn didn’t understand, couldn’t understand: his antics were behind him. He was fierce, resilient, a great warrior -- almost the spitting image of Eleanor in both looks and personality. So why did she shun him? Why did she reject her own firstborn, turn her nose up at what may have been -- and might ever be -- the happiest day of his life?
Almost two decades later, this question would remain unanswered, the secret taken to her grave.
Adulthood - The Nuclear Family
Gwyneth was happy. Oberyn was happy. In many ways, their life as a young couple was idyllic: long walks in the Water Gardens, grand dinners at the palace, and all the joys of life as Dornish nobility defined their early relationship. Not long after their marriage, their first child, Qoren, was born. Over the next two decades, the couple would go on to have six more children, their affection for one another still unwavering. They developed a strong relationship with Alaric and his wife Bethany, as their children were schooled together, played together, and formed a merry band of mischievous youths that took to ‘terrorizing’ the palace, much to the delight of doting adults. Oberyn had become a well-respected member of the court, a far cry from his days as a misguided troublemaker. At times, it seemed that he had almost forgotten his Shadow City companions and their adventures: they certainly were not befitting of the new air of royalty he carried.
With this new peace, however, came new ambitions. The fire within Oberyn - the curse of his mother’s will - still raged. He had simply become better at subduing it. Generally, it flickered quietly, expressed as overconfidence and great joy in the midst of melees or games of cyvasse. But when Oberyn argued with his mother, it roared. While his relationships with others in Sunspear were at their strongest, Oberyn’s relationship with his mother had only deteriorated further. She insulted his wife at dinners, often left rooms as he or Gwyneth entered them, and exploded into rages when confronted. Their fights were legendary; on multiple occasions, the pair nearly dueled each other, with live steel, in the palace gardens. Only the steady hand of Oberyn’s father kept the pair from coming to blows.
But he would not be there to quench either of their tempers forever. In 291 AC, the Sword of the Morning - his father - passed. The court held its breath, waiting for the inevitable blowout they were certain would occur between Oberyn and Eleanor. But it never came. Instead, the pair had both begun to withdraw. Eleanor seemed older and weaker by the day. Whispers and rumors floated through the thick Dornish air. Some were hearsay, but one did have credence: that Oberyn’s withdrawal had a purpose much more significant than grief, and that he was planning something. Notes were exchanged. Midnight meetings were had. The time was finally ripe. Until...
The Letter
The entire event was a blur. He had been dragged from his chambers to court, to stand in front of a crowd of jeering nobles, with his own brother and mother staring at him as if he was a stranger. His own children and Alaric’s, always inseparable, now stood on two opposite sides of the hall.
...a letter, outlining Prince Oberyn’s intent to depose Princess Eleanor…
...assembling a coalition of allies, positioning himself as a usurper…
...my firstborn is unsuitable for ruling Dorne.
That was it. Years of resentment, finally rushing forth. The fire within him, blazing hotter than ever before. Disinherited. To say that Oberyn Martell was furious would have been an understatement of legendary proportions. He had no words for his mother, for his brother, for any of them. He simply stormed out silently, his family in tow. In a day, his perfect life had been turned upside-down. At 36 years old, the Prince of Dorne was a true prince no more.
He and his family still remained in the palace. But things were never the same. His name was whispered in shame, rather than spoken in praise. Even years later, he could detect a hint of nervousness in the voices of the palace servants when they spoke. He himself had also begun to change: his fire became bottled up, rather than controlled: a quiet rage that drove his every action. He was quicker to anger, more callous, and the admiration he once heaped on the members of his household had started to wane. Compliments and friendly greetings became few and far between. Alaric and Oberyn spoke only rarely. Their children grew apart. Courtly life had gone from joyous and orange-hued to lonely and gray. As he approached 40, Oberyn’s most steady companion became his own thoughts, his own resentment.
He had bowed. He had bent. He was a broken man..
A Death in the Family
In 299 AC, Oberyn was given one final chance at redemption, a spark of hope in the darkness. He was to infiltrate the Pirate King’s fleet in the Stepstones, and report on their actions. Within a few months, he had confirmed Alaric and Eleanor’s worst fears: that an invasion was imminent. Oberyn was loyal at first, steadily feeding information to the Martells. But his resentment still lingered. He was a murderer, and nearly a kinslayer as well. Disinherited and dishonored. He saw an opportunity with the pirates, and running with a band of brigands brought him back to the happier days of his wild youth. While he was no pirate, he knew that they could, in a sense, aid him in his ultimate mission.
Everything went as he had expected. Alaric had sailed off to the Stepstones, engaged in battle with the pirates. Oberyn headed for Sunspear, single-minded, on a path that he knew would change his life forever. Aided by the Yronwoods and a number of confidants within the palace, he had a servant visit his mother for one final goodbye. His parting message was delivered as the verse of a poem, one last mockery of the woman who had scorned him and stripped him of his prestige.
O, mother, fairer than seas, yet now older than the sand
Rest now easy, upon this tamed land
O, your son thanks you, who you were no mother to
For being the one that he has outgrew.”
It was an easy kill. A dagger, the servant of a vengeful son, and a frail, old woman entered Sunspear’s palace one day. Only the assassin walked out.
Oberyn had won. It was over. He had reclaimed his birthright in one twist of his man’s blade.
But this happy ending was not to be, as Alaric returned to Dorne with knowledge he should not, could not have possibly had. How did he know? How did he arrive so quickly? How could they have failed?
Oberyn knew a losing battle when he saw one. Taking his family with him, he left for Essos, to be united with the greatest coalition of bastards and exiles ever formed: the Blackfyres’ Golden Company.
Stranger in a Strange Land
Now just over 40 years old, Oberyn and his family were welcomed with open arms by the Blackfyre court. The two families became friends and allies, and Gwyneth found a comfortable position in the Queen’s court.
Separated from his home and utterly defeated, Oberyn was an entirely different man than the bright-eyed, hopeful noble that had married Gwyneth years before. The concerns of others were almost meaningless to him. His selfishness had grown to an almost unbearable degree, as he quickly gained a reputation for ruthlessness in the Golden Company’s ranks. If someone stood in his way, they did not remain standing for long. Even the perpetrators of minor inconveniences were met with cold, harsh retribution. Soon, he was one of the company’s most prolific and effective killers, leaving trails of blood in his wake for their marching armies to follow.
He took no pleasure in it; cruelty provided no benefit to him. He was simply uncaring. Never gratuitous, always focused on his goals above all else. Above his own feelings, and above life: anyone’s life. He had turned callous and self-interested, desensitized by the bitter work of war and death. But despite his carelessness, his mother’s fire -- his curse -- still burned bright. He laughed, he sang, he drank, and he told stories. He loved the storytelling the most: a convincing liar, he delighted in shocking new recruits with audacious and harrowing tales of his exploits. He rarely failed to get his men roaring with laughter by the time he was finished. He was passionate too, quick to anger, and quick to love. A strange dichotomy: so unhuman in some ways, and almost too human in others. His warmth and jovial spirit could turn to cold, slow-burning wrath in an instant.
In Essos, he found comfort in the Faith. Oberyn had never been particularly religious, but this had started to change upon his arrival to the strange new continent. Perhaps it was because worship reminded him of home; whatever the reason, for nearly ten years, a night rarely ever went by without a small candle-lighting for the Stranger. It was no surprise that out of all of the Faces, the exiled prince found solace in the patron of wanders and rejects.
Home, Again
The Blackfyres knew this of course. But Oberyn was useful to them. He was effective. His fire, like the ice-cold burn of frostbite, still roared in their favor.
Gwyneth no longer recognized the man she had married. She began, little by little, to fear him -- and to fear for him. Their love was still there, but it was made of half-smiles and sorrowful looks now.
For weeks, his wife and children could sense that he was withdrawing, become even more distant than usual. And one day, they woke up to find him and all of his possessions gone. In the winter of 309 AC, Oberyn had stolen off into the night without a word of warning. No one understood why he had left or where he had gone.
But Oberyn knew. Upon his departure, he felt a greater sense of purpose and meaning than he had experienced since arriving in Essos. He was headed home.
The Present Day
Currently, Oberyn roams the Seven Kingdoms as a mummer and a storyteller, having just recently arrived at the Inn at the Crossroads. His 16-year-old son, Ryon Martell, has recently arrived in Sunspear in search of his father.

Timeline

261AC: Prince Oberyn Martell is born. 267AC: Oberyn gains a reputation as a headstrong and impulsive child. 268AC: His brother, Alaric Martell, is born. 276AC: Oberyn begins defying his parents and causing trouble in the Shadow City. 283AC: Oberyn has started to settle down. Prince Oberyn and Gwyneth Yronwood are married. Their first child, Qoren, is born. The couple enjoy a happy and content 8 years in Sunspear. 291AC: Prince Oberyn's father Arthos Dayne, the Sword of the Morning, passes away. 292AC: Oberyn starts to plot to usurp his mother. 297AC: Oberyn’s intentions are discovered; Princess Eleanor disinherits him in favor of Alaric. 299AC: The war against the Pirate King is lost in the stepstones. Oberyn has his mother, Princess Eleanor Martell, assassinated. Oberyn flees with his family to Essos. 300AC: Prince Alaric Nymeros Martell sits the throne of Sunspear. Oberyn establishes a relationship with the Blackfyres. 301-309AC: Oberyn works for the Golden Company and the Blackfyres as a contract killer and battle commander. 309AC: Oberyn flees Essos in the dead of night, and returns to Westeros. Oberyn’s son arrives at Sunspear in search of his father.

Family Tree

here

Supporting Characters

  • Ryon Martell [Archetype: Scholar], his son
  • Gwyneth Yronwood [Archetype: Warrior (Polearms)], his wife
  • Dyanna Martell [Archetype: General], his daughter
submitted by scornedprince to ITRPCommunity [link] [comments]


2020.09.17 06:34 depressed_beach I think my friend is being catfished and I'm worried she's in danger

My friend started dating a boy online about a month ago. They met on a gaming app and every time she is supposed to see him he has some wild reason, like being in an accident, being beaten up to the point of being in the hospital, and one time even claimed that he was too upset over getting a dinner reservation canceled to meet her mom (as she is skeptical as well) Yesterday he claimed that his friend's baby passed away and I feel bad saying this, but I'm not sure if she ever had a baby as she is a lesbian and was in a lesbian relationship around any time that she could have conceived. I have seen her IRL once and she brought her niece, so I'm wondering why she would have taken her niece but not her newborn baby? She also didn't look to have given birth recently but I know that you can't always tell. He claims to be going to doctor's appointments in the middle of the night. He told her he moved to our small town but hasn't seen him in weeks even though they're about a 2-minute walk apart. We went to the apartments where he claimed to live because I was supposed to be dropping her off but he ghosted her once we got there, and the BMW he claimed to have was parked nowhere in the area. She claims to have met him but I'm not sure if she actually has... I'm honestly worried for her safety. The only social media I can find is his Instagram that he only started posting on around the time that they met, and only gets about 2 likes per photo. He's been posting pictures of her every day saying he wants to marry her even though I don't think they've even met IRL. They only communicate via text as he doesn't have a Snapchat. I looked up his number and it came up as being in a different area and have been trying to reverse image search his Instagram photos but can't seem to find a free site that works. I'm worried that they might be trying to scam her for money in some way or worse. I could just be paranoid but nothing seems to add up and she doesn't see it. There are a few other things to add if anyone reads this and wants more info. Any help/comments are much appreciated. Thanks!
submitted by depressed_beach to catfish [link] [comments]


2020.09.16 18:47 Animeshon Welcome to Animeshon!

Welcome to Animeshon!
Animeshon is a startup focused on the research and development of Manga and Anime technologies.

https://preview.redd.it/mgoe5c2ggjn51.png?width=541&format=png&auto=webp&s=726f4b68d86a8198a97fe80cb7d34285772dd793
This post is a collection of useful links and official sources to stay up-to-date with the progress, development, and release status of new Animeshon products and services.

General

  • Documentation - official documentation for developers and researches
  • Discourse - official discuss platform for development questions and requests
  • Twitter (EN) - official English Twitter account
  • Twitter (JP) - official Japanese Twitter account
  • GitHub - official GitHub organization

Services

Academic Whitepapers

  • The estimated ETA for the publication on the IEEE scientific journal is December 2020

Partners

Institutions

The following private and public institutions are currently involved in Animeshon research and development activities:
Please note that while these institutions have been involved in research and development activities not all of them have expressed public or explicit endorsement of our project.
submitted by Animeshon to animeshon [link] [comments]


How to do a Google Reverse Image Search - How to Search ... Reverse image search iPhone How To Reverse Image Search On Mobile Phone - YouTube How to Use Google Reverse Image Search

Reverse Image Search - Free Search Similar Images on Mobile

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