Norsk/English
Et sted for meg å legge ut bilder, tegninger osv. Bare for gøy egt :)
Kanskje litt hverdagslige øyeblikk hvis æ føle for det...
Just a creative space for myself, drawings photos etc. Only for fun :)
Might post everyday moments if i feel like it...
Also now with my "Glow up" series where i write about fitness, confidence
and more.
Maybe this will be like a glow up series. Although i might not post any pictures... eh it doesnt matter. For me to be confident in my looks i want to work on these things:
makeup, finding my signature something that really makes me glow
hair, finding a routine and look that is equal whimsy as it is elegant
style, feeling comfortable in what i wear and also pretty and cool ;P
body, i want to be confident in my body in like a 100% of myself type of way
My body has never really been my main source of confidence so im kind of grateful while also feeling bitter about it. I know ive had it in me to make a healthy change for myself and to feel confident in your own body is never a bad thing, so im very excited to feel it truly. I guess im just sad i could never change earlier.
But now ive done all the other prep work like building my personality, confidence in my morals and in my ethics, finding people who resonate with me and not forcing myself into anything dangerous while i was still young. These are all things im grateful for and im super ready to become more of myself through this series. As for right now its only a plan for where i can start. As a way to keep myself on track i will try to post about 1-3 times a week with updates and new thoughts on my goals. Alright thats all for now :)
The best part of doing hard things is the confidence it gives you. It’s a drug tbh like I can conquer anything. And my body and mind are way stronger than I can even imagine.
Alright, i dont know how to really put it i just wanted to post it here. Recently ive been really insecure about my body and my looks. And i dont know i kind of always have been about certain things and thought it could never change since i was so busy with school.
Thing is now ive graduated, and im an adult so it feels like its time to actually take responsebility for my behavior and actions, that includes my low confidence. Its always been something ive dreamt of magically reaching, and now i have a choice to do so. I will therefore do my best :)
With my insecurity i mean my style doesnt feel like me and also how i dont feel pretty in what i wear because of my body. Of course im not steering into restrictive territory im wanting to do this the healthy way. So this is my plan
Eat healthier
Train more
The whole eat healthier part is more just eat more homemade, healthy and just not eat junkfood every day... this is probably where im challenged the most since i struggle with the dicipline and the gluttonous monster takes over. But i have recently made progress here so it is possible, i just have to be focused and mindful when the oppurtonity to eat unhealthy food appears.
Train more, ok this is going to sound like a small change but just listen. I want to try to workout at least 2x a week. I will work legs and core, if not something else. I chose these not as a spot reduction but because of other health concerns as well, just posture things.
I dont think this will go quick but i am hoping to be posting often just about other things as well. I really dont know we will see.
If you would like to follow me on the journey that would be super fun :P
Wanted to explain some of the elements cause I think they’re neat
the flowers, they are dead orchids and Lilies because those flowers directly represent fertility so this was a nod to her struggle with infertility and pregnancy
The baby, it’s purposefully faced into her and away from the camera and completely in white clothing to represent kind of a void and the aspect of something not actually being there
the yellow halo relating her to the figure of mother Mary, the “virgin mother” to represent her ivf attempts and how she ultimately ended up adopting
Also drew her naked and with her natural curly hair cause I wanted to make her seem in her more natural raw and real form
this are the little details I like the most but I always love to see peoples interpretation and takes on my art especially one where I try to get in a lot of symbolism! :)))
Old is good. New is bad. The winning formula for a viral video essay.
I am noticing a lot of these videos popping up in my feed. I guess my complaints about those hard light videos made the algorithm decide I should be inundated with "modern movies suck" content.
They follow the same basic formula of "old = good" and "new = bad."
And if you watch them with only a surface level understanding of filmmaking and photography and how to author visuals, you will probably go, "Wow, what an amazing video!"
I get why people like these essays. And I understand there are genuine frustrations with how many modern movies are made.
And the video does have some interesting philosophical filmmaking explanations. I really enjoyed those aspects.
But there is something in the very thumbnail of this video that completely invalidates the overall premise.
The Premise: Old movies look more "real" than new movies.
The Evidence: Comparing one of the greatest movies of all time (Jaws), by one of the greatest directors of all time (Spielberg), to a franchise soft reboot cash grab.
Why not compare to Sinners? Why not compare to Weapons? Or Dune? Or The Brutalist?
Also, is realism always the goal?
What about Spider-Verse and KPop Demon Hunters? Does their unreality make them lesser?
This is how they bait you with these videos. They want you to buy into their nostalgic cherry picking. They don't elevate any modern films that look amazing. They pick their favorite movies from years ago and then compare them to the worst examples in the recent past.
But the thing I dislike the most is that problems are often blamed on artists. If artists were more competent and went back to the old school ways, movies would look better and more real.
Use hard lighting. Use practical effects. Use deep focus. Show and don't tell.
Individual quick fixes are never going to solve a systemic problem.
I assure you that directors and all of the artists involved in making movies would love to use every tool in the toolbox. They haven't forgotten these techniques. But most of the time these tools are not compatible with hyper-efficient filmmaking processes.
I liked his explanation of haptic visuals. To create artistic, textural scenes to help the world of the movie feel more lived in and real. That's a cool concept. But adding a few haptic scenes into Jurassic World isn't going to fix the story. It isn't going to improve the weak script. Hard lighting and deep focus aren't going to fix the systems that produce these risk-averse reboots of profitable IPs. It isn't going to fix the rushed, fix-it-in-post mentality that doesn't give CG artists enough time and resources to produce more realistic imagery.
But also, has he seen a Vince Gilligan show?
Breaking Bad, Better Call Saul, and now Pluribus have some amazing haptic visuals. It seems like he is ignoring more modern examples to sell the story that things were "better" in the distant past.
This hurts the filmmakers who are creating legitimately beautiful work. And it also ignores the fact that bad, ugly movies have always existed.
Jaws was released in 1975.
Of the 216 movies released that year, I have seen a total of 5.
Only 5 movies from that year stood the test of time. 211 movies are completely ignored when assessing how real and aesthetically pleasing movies used to look.
That is textbook survivorship bias.
Have you seen the classic 1975 cinematic masterpiece... The Happy Hooker?
Let's compare the visuals of The Happy Hooker to Sinners.
It's not a fair fight.
But when you compare Jaws to Sinners...
You can see the quality is not dependent on when the movies are made. It is dependent on a director with a strong vision and a large team of artists who are passionate about their craft.
If you have to resort to this level of nostalgic cherry picking to prove your point, I don't think your argument is very strong.
And I also think some of this appeal to nostalgia contributes to the very problems people are frustrated by.
The top grossing movies of 2024 had no original stories.
That isn't to say there weren't original stories released. But they are often harder to find. They aren't marketed well. And, sadly, people don't go to the theater to support them. The online discourse spends more time talking about how much better movies used to be and there is no discourse championing said original stories.
When the capitalists that fund movies hear this hyper-nostalgic discourse, the least risky option seems to be "Let's just remake the thing they loved. Let's reboot it. Let's add a sequel."
There are so many beautiful movies and shows being made. But if you watch all of these essays it really seems like everything looks like garbage and artists don't know what they are doing.
And these essayists don't seem to have any practical experience authoring images. They read a book. They listened to a podcast. They heard a famous cinematographer make an offhand remark in an interview... "Man, I really miss deep focus in movies."
Suddenly, shallow depth of field is the enemy and they need to let the people know that deep focus will make movies look better. ALERT ALL OF THE MOVIE NERD INFLUENCERS!
They say that movies all look like iPhone Portrait mode.
I'm sure the ghost of Stanley Kubrick will be pleased to know his famous candlelight scenes in Barry Lyndon look like a gimmick smartphone feature.
This video and others like it say that "deep focus" is never used in modern movies.
To prove their point, once again, they mine their nostalgia and select one of the best movies of all time by one of the greatest directors of all time.
In this case, their past example is North by Northwest by Alfred Fucking Hitchcock.
And their modern counterexample?
A Megan Fox Netflix movie called Subservience.
Here is the rub...
They don't actually know what deep focus is.
They probably googled it and got North by Northwest as a genuine example and thought, "Oh, deep focus is when everything is in focus."
They confused deep depth of field with deep focus.
And while deep focus *requires* a deep depth of field, it is not synonymous with deep depth of field.
When you look at their other examples, their misunderstanding reveals itself.
This is deep depth of field.
This was a technical decision more than an artistic one. They are shooting in midday sun. The sun is extremely bright and so you have to stop down the lens to a small aperture—which causes deep depth of field.
He is assigning an artistic intention to a technical limitation.
Deep focus is a deliberate artistic compositional choice that often has to fight technical limitations to be achieved.
When you are designing a shot for deep focus, it means the shot is reliant on subjects being in focus even if they are far apart. So the director may need the foreground and midground or the foreground and background to be in focus. And if these multiple planes are not in focus, there will be a loss of narrative or artistic information.
It's easier to show you.
Pluribus (a modern show, OMG!) recently had a beautiful deep focus shot.
If they were completely blurred out, it would change the entire composition. Note they are not perfectly sharp. They don't need to be. They are just sharp enough to give weight to both the foreground and midground. In this frame, the buildings in the background could be blurred and it would still be deep focus.
This photo I took of Otis is deep focus.
I'm telling a story with the composition.
Dog wants the ball. You can see his desire for the ball. Nothing else exists in this moment but that ball. He must have the ball.
If Otis was blurred out, it would change the story of the shot.
Now we are focused only on the ball and there is a blurred figure lurking in the distance. The ball is afraid. The ball feels isolated and scared of being chewed and slobbered on.
It's not that deep focus is better. Or that shallow focus is worse. Both techniques give artists the ability to tell different stories.
This is deep depth of field.
This shot could work with a shallow depth of field. There would be no narrative information lost if I had blurred the background.
It might not work as well aesthetically, but you aren't losing important storytelling information.
The two best examples of cinematic deep focus are Citizen Kane and Kurosawa films.
If you watch this scene with the speech, the composition is created so you can see him giving his speech and you can also clock all of the expressions of the people behind him.
Seeing their reactions is important narrative information that would be lost if they were blurred by shallow DOF.
He does this throughout the movie.
Another sign of deep focus is the effort involved to get everything in decent focus. Creating the blocking is more complicated. You have to spend time to make sure everything lines up correctly. You may have to build out sets to a high degree of detail to accommodate the shot. If the environment is dark, it's difficult to close down the aperture enough to get foreground and background elements in focus. So you may need creative lighting design to make sure everyone is exposed properly.
You have to specifically design the shot and work with the camera and lighting folks to pull it off.
If the shot still works if you were to blur the background, it isn't deep focus. Here is another example they showed.
This gives you a great sense of the environment. It is well composed. But it's bright and sunny. Closing down the aperture is not only trivial, it is necessary to get a proper exposure. And if the sky were blurred out, I don't think it would change the storytelling of the composition.
In this scene from a Kurosawa film, deep focus is vital.
The foreground subject is restrained and struggling. The midground subjects are guarding him. And there is a dark figure far in the background approaching.
Deliberate deep depth of field helps build an aesthetic and sense of environment.
Deep focus helps tell a story.
But is shallow depth of field the villain?
In this example from the video, you can see out the window. They were probably using bright lights and it was just easier to use a small aperture.
Does seeing a dumpster out of the window help this scene aesthetically or narratively?
If this is an emotional moment, it might actually be better to blur the background and draw more focus to his expressions. Some may get distracted and think, "Is that a dumpster next to his head?" The performance becomes less immersive and that could hurt the narrative intent.
Now the frame is less busy and distracting. You are drawn to his expression.
Shallow depth of field is an important tool in cinema. It creates subject separation, removes distractions, and draws focus to emotional moments.
Yes, it is sometimes used for efficient filmmaking. It is more expensive to build a detailed set or go to a fancy location. You don't have to do all of the planning required for deep focus shots. Just blur the background and move on to the next scene.
But that is not artistic incompetence. That is an artistic limitation created by a system that prioritizes efficiency.
I'd love to see more deep focus in modern movies. I'd love to see less bland lighting design. I'd love to see more practical effects. And I love how much we can learn from the past.
But this toxic nostalgia is keeping us stuck in a world of reboots. Ignoring the beautiful movies made in the present perpetuates the very problems these essays fear. And blaming artists instead of systems is hurting the people who can craft the better visuals we desire.
CG artists are the best example. When the discourse says that CGI sucks, they are not valued. They are overworked and underpaid. They are denied a proper union. Good CG visuals are dependent on having the time and resources to craft them.
When we appeal to nostalgia and say "practical effects are better than CGI," the studios add a few more practical effects and hide any evidence of the 3000 CGI shots also in the film. They hide all the blue screens in the BTS shots by making them gray.
You can express a desire for more practical effects without pitting them against CGI.
And you can express your disappointment in CG visuals by saying, "I wish the artists were given more time to do their best work."
Systems are limiting artists. And I think the best way to change those systems is to elevate original modern content that prioritizes skilled crafting of storytelling and aesthetics.
I think these essays spend too much time on what they don't like and not enough time celebrating what they do like. They do surface level research that leads to fundamental misunderstandings of the filmmaking process.
It's just... pretentious CinemaSins.
If you want to watch some quality video essays on filmmaking, I highly recommend Patrick Willems. He has actually crafted films. He has practical experience authoring visuals. He does extensive research and I think his criticisms of modern filmmaking are much more robust and practical. He is great at showing appreciation for the history of cinema while still showing love for well crafted modern movies.
Pretty much the Terrence Malick of YouTube.
All videos directed by Patrick Willems
Send any mail to:
Patrick Willems
P.O. Box 380333
Broo
Ugh det e så slemt av meg sjøl å se på meg å føle meg stygg. Æ ser tilbake på og kommer alltid fram til at æ ser kjempe søt ut i alle dem bildan, selv om æ tok dem mens æ følte meg stygg.
Det virke bortkasta å ødelegge måten æ føle meg på basert på kordan æ oppfatte utseende mitt. Ja kanskje det e et teng på at æ må endre noe i livet mitt som resultat, osv. Men æ vil fortsette hver dag uten den frykten over at æ plutselig ble stygg for alltid. Fokusere på å gjøre det som får meg til å føle meg bra og selvsikker.
Ja kort tanke, føltes nødvendig blir sikkert å granske mer på det i framtida yippi, elske å tenke og skrive.
Æ Har så lyst på langt sunt rosa hår. Akkurat nu har æ gått gjennom et helt år med hårendringa. Landa på bleka gulblondt for et par månda sida og farga det rosa i går. Æ lar det naturlige gro ut, e sånn ca 4 cm nu kanskje. Og har enda kort hår. Minn meg på å aldri klippe kort hår igjen ugh æ hate det. Savne langt sunt hår. Men da kunne æ ikke hatt rosa hår nu. Vet du ka det handle om læringsprosessen. Og det ser ikke så ille ut det e bare sikkelig skada. Det tror æ e mitt hovedproblem. Det e så vanskelig å børste det. Vil liksom bare at håret skal gro ut super fort allerede. 6 månda til så har æ kanskje en kort bob av naturlig hår💔
Okei men planen e da:
La det naturlige gro ut mens den blonde skada delen gjør æ ka faen æ vil med.
Så når det e langt nokk, dra til en veldig flink frisør og få det fiksa dær. Æ orke IKKE mer hjemmefrisør. Æ skal gjøre alt æ kan for å få det sunne håret mitt tilbake. Liksom det eneste æ kan gjøre e å vente lowk. Som e sykt irriterendes. Men æ kan vel fokusere på stilen min i mens, selv om mye av stilen blir inspirert av håret. Som i seg sjøl kanskje ikke e så bra. Men men det e en læringsprosess.
