Precious @preciousweirdworld - Tumblr Blog

After years of pain, I'm fighting for surgery to reclaim my life and follow my dreams in storytelling. Help me turn the page to a brand new

Hi Tumblr. I don’t normally post things like this, but I really need help. I’m disabled and trying to raise funds for a critical surgery that would finally allow me to walk again and reclaim my independence. For the last few years, I’ve barely been able to leave my house. I’ve missed out on life, opportunities, freedom — and I’m just trying to fight for one last shot at living fully.

I created this video to share my story. It’s the most vulnerable I’ve ever been online, but I’m praying it reaches the right people. If you can donate — no matter the amount — or even just reblog this to help me reach someone who can, I’d be so deeply grateful. Thank you for seeing me. 💔🙏🏽

#gofundme #viralpost #black beauty #beyonce #donate if you can #pls donate #please share #make this go viral #this is a cry for help #please help #zendaya #disability #fighting #sinners

prayerisaspell

Olivia Rodrigo for Cosmopolitan

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Sabrina Carpenter & Mikey Madison

2027 Dior Cruise Collection Show | May 13 2026

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niallhoranhasthat1thing

Sabrina Carpenter

2027 Dior Cruise Collection Show | May 13 2026

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scullee

here’s some project hail mary studies i did recently in heavypaint

altorinaart

«A Patchwork of Hope» 👎

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ily (avaliable as a print in my pinned)

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Ryan Gosling and James Ortiz as Ryland Grace and Rocky PROJECT HAIL MARY

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Greig Fraser (cinematographer) and Phil Lord and Chris Miller (directors), discussing the cinematography and aspect ratio changes in Project Hail Mary

KM: Generally speaking when you see aspect ratio changes in movies, you go from a 2.39 to a 1.43, but the jumps either cut up, or they move up. But you have moments in this film where flares are cutting between the different ratios. Like they’re dipping from earth to IMAX, and back.

GF: I effectively shot it off a 4:3 screen. And what happens is that any area of light that’s highlights gets flared, and that then flared over the black screen of the 240. So to try and transition between 143 and 240 but in a very nonlinear way.

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CM: The flares was an idea from later. Like how do we help the audience understand that this is a memory. How can we do that in a way that’s not the corny soap opera sort of thing. It was Greig’s idea, like why don’t we take the footage that we shot and then film it again on a film camera, and mess with the lens so that it stretches it. It’s all an in-camera effect. It’s literally a re-filming of a thing that’s projected onto a screen.

PL: And we had to do it over and over again because we didn’t know how it was gonna turn out.