
⁂

★
d e v o n
Today's Document
Alisa U Zemlji Chuda
Cosimo Galluzzi

❣ Chile in a Photography ❣

祝日 / Permanent Vacation
he wasn't even looking at me and he found me
2025 on Tumblr: Trends That Defined the Year

ellievsbear
I'd rather be in outer space 🛸
Peter Solarz
Monterey Bay Aquarium
"I'm Dorothy Gale from Kansas"

Discoholic 🪩

JBB: An Artblog!
No title available
Stranger Things
Xuebing Du
seen from United States
seen from United States

seen from Malaysia

seen from South Africa

seen from Netherlands
seen from United States

seen from France

seen from Malaysia
seen from United States

seen from Spain

seen from Türkiye
seen from United States
seen from United States

seen from Malaysia

seen from France
seen from Germany

seen from United States
seen from Malaysia
seen from United States
seen from Malaysia
@el-ffej
DIRK LEYDEN / MEGAWATT in SPIDER-NOIR — Betrayal (S01E05) in “Authentic Black and White”
Daily drawing 28 may 2026
Spider-Noir
SPIDER-NOIR (2026)
Ok on the 'i'm gonna have to go find a dvd special features about it' -- one of the more random thoughts that popped into my head was when they're riding out of town in the early scene and it goes from sepia to color, and wondering how they did that. Not because it's an especially technical shot, but like... I know how they did the black and white to color transition in Wizard of Oz (involved a body double in a literal sepia colored costume), and I know how you'd do it in 2026 (digital), but I find myself fascinatedly curious as to the process as it was done in 1969 (or 8 whenever they were doing post production on it). Like... was it spliced? (seems unlikely, it was a lovely gradual fade in of color) Did some poor bastard have to hand tint the frames before you get the color angle? I love me good practical effects, and it's also like... trying to ground the technology in the time period.
What an absolutely great question. As soon as I read it, I had to know the answer to this. (Because I haven't a clue how they did it.)
Did a few minutes of searching, and came across the answer (exactly where I thought I'd find it -- back issues of American Cinematographer). There's a 2020 interview with Butch Cassidy and the Sundance Kid's cinematographer, Conrad Hall, and it's online:
Best Achievement In Cinematography: Butch Cassidy and the Sundance Kid
And the answer is -- and it is amazing -- they did absolutely no special film processing. They did it by shooting at dawn.
Here's the relevant quote from the article:
I commented upon the effectiveness of starting the film in sepia and then very subtly dissolving to full color in the midst of a panoramic long shot. “That was planned precisely in the script, either by the writer or the director—I don’t know which,” said Hall, “but the shot in which the change takes place is something George [Roy Hill, the director] sent me out to shoot by myself. I went out with a small crew at about 5 o’clock in the morning and shot the scene in the pre-light of dawn. It was a shot in which the sun comes up and hits them as they’re riding toward the mountains. I knew that the color would not have to be toyed with, since it would look like sepia because the rays of the sun are almost that color at that time of morning. The sepia sort of melted into gold as we panned around to blue mountains in the background for a marvelous transition.”
OMG THANK YOU SO MUCHHHHHHHHHHHHHHHHHH
(Ok see this is why I fucking love tumblr and my friends thereon, because both you and @sarkywoman came in CLUTCH and sent me this within like 2 minutes of eachother and now I know that a) there is an american cinematography magazine to drown in and b) I want to chew on this article.) THEY 'JUST' USED FUCKING DAWN FOR THIS?!?!?!?! Also, the whole article is a gem, because I was wondering about the rest of the color palate a bit -- the sky where they were shooting tends towards a color that rivals Newman and Redford's eyes, and the landscape in a lot of it is a color palate not dissimilar from a Wile E. Coyote cartoon, so while I know fuckall about photography, it was SO cool reading about how they pulled some of that color intensity *back*. (Also, Bless Conrad Hall for being anti-sharpness on his filming.) ALSO ALSO the article goes into some of the tricks used to handle interior light with minimal light sources, using little mini lights to punch up oil lamps, which I want to staple to the foreheads of everyone involved in the last few seasons of Game of Thrones. (I know he thinks the night scenes were too lit, but they're still LIT)
Encounter by Czesław Miłosz tr. Czesław Miłosz
house of el mix ♫
This is an awesome use of what is probably a master's degree if not a doctorate and I am 100% thrilled that she shared it even though it was embarrassing and she squeaked.
Thank you, adorable scientist, for making people's lives better.
As an Australian, THIS WOMAN IS A FUCKING GODSEND.
this is Hannah Fry, Professor of the Public Understanding of Mathematics at the University of Cambridge and president of the Institute of Mathematics and its Applications.
Reblogging for summer.
I remain proudly part of the never even opened ChatGPT club but as a son of clowns and snake oil salesmen I feel compelled to give credit where credit is due: this Mechanical Turk they’ve constructed manages to simultaneously be a False Oracle, a Siren, and a Confidence Schemer, which is quite the triple threat for something that doesn’t actually know what it’s doing. Very impressive Charlatanship. Slow clap.
my dad thinks the concept of shipping is hilarious. my parents are cool, they know about my online presence, it's fine. dad doesn't scroll my blog or anything, though--he's usually too busy watching dubiously homoerotic pro wrestling clips or playing valheim--so his idea of shipping culture is bizarre
damn near every time I mention im working on a fic or piece of fanart, he gasps in hopeful anticipation and asks "tamatoa and heihei?!" and he always acts bitterly disappointed
no, dad. i'm not writing or drawing anything where a 50 foot crab and a literal chicken have any kind of relationship at all. you've been asking me to make this ship happen for almost nine years now and the answer has always been no. it's a running gag, of course, but--why would you even think of that?! what kind of shit do you think happens on ao3?!
I have decided to make my dad's vision a reality
behold
happy holidays. My dad is threatening to print this on a shirt
should i call my dad's bluff and get this printed on a t shirt and give it to him for xmas
no what the fuck in wrong with you? he might actually wear it
yes absolutely, he might actually wear it
Op did he like it or did he love it
he says he's gonna wear it to work
he immediately wore it in public to run errands btw. and gave his express permission for me to post that pic of him. in fact here's the exact text exchange with my mom, lest anyone think im doing unsanctioned dadposting
I played myself
A day in Mira’s life
Zoey getting some loving
(nods sagely) (nods basily) (nods rosemarily) (nods saltly) (nods star anisely)
i hope its macaroni art