Sep 11, 2021
💚Lucas Hood | Antony Starr | Banshee 💚
source x
seen from Japan
seen from Hong Kong SAR China
seen from United Kingdom
seen from Canada
seen from Canada
seen from Singapore
seen from T1
seen from Canada
seen from Canada
seen from United States
seen from Argentina
seen from Russia
seen from France
seen from Japan
seen from Canada
seen from China
seen from Bangladesh
seen from China
seen from Finland
seen from United States
💚Lucas Hood | Antony Starr | Banshee 💚
source x
Just sitting here remembering why I only use print on demand services (like society6) instead of prepping files myself and running them to a printer:
Technology! I should have found software that will accurately calibrate my monitor so that I can keep the first run of prints more or less true to the original paintings after my test prints came back to me a bit oversaturated/dark/amped yellowish highlights etc. I’ve been in photoshop for hours using gamut warnings, proofing, embedding the correct ICC profiles recommended by said print shop, and adjustment layers and yet I STILL JUST DON’T KNOW. It looks GREAT on screen, but is that what the printer will see on their end?
Sometimes it’s best to let the printed outcome be a blessed mystery. Somehow it feels worse, knowing you’re trying to get a print to roughly match the traditional painting you’ll be showing alongside it in person. I’m unfamiliar, but I’m sure it’s just as stressful when working digitally? Or is it? AUGH!
Over-analyzing something is only useful if you have the necessary information and knowledge on hand! I just need to quit and go with it because there’s virtually no time left.
Can you fix the Flag of Nimba County in Liberia? Pro tip: You can't!
from /r/vexillology Top comment: [5 minute attempt](https://i.imgur.com/vYGI3rg.png)
A final scene
CUT TO:
EXT. OCEANSIDE - DAY
Turquoise water presses against a rocky shore; calm. Sea cliffs rise, a jagged landscape carved by water and time. They are topped with the vibrant green of an expansive grassland that glistens in the morning sun, traces of an overnight rain still evident. Beyond that, trees — the mixed forest of a warm climate. We move over this landscape, absorbing it.
CUT TO:
EXT. SEASIDE DWELLING; BALCONY - DAY
LS — a tall figure stands on the upper balcony of a wide, wooden edifice, looking out at the sea. The structure is built against a hillside, some four stories tall; it is old and weathered to its bones, but we can tell it is strong; enduring. That it has seen an age and will see another.
We move in from left, and we see BRIENNE, her hands on the railing. She wears a simple tunic, the fabric light, sleeves rolled up to her elbows, and plain pants. No adornments; she is without a belt, a sword, the edges of her softer than we are accustomed.
CS — We see her take in a deep breath, her eyes closing… slowly opening. She is thoughtful, reflective as she looks out at the water. She cherishes the sea, this view, this place.
CUT TO:
EXT. - OCEAN VIEW - DAY
We see her view — the water, serene, and the expanse of luscious green vegetation. We hear the sea, the breeze.
CUT TO:
EXT. SEASIDE DWELLING; BALCONY - DAY
CS — Brienne is calm; filled with gratitude that she should be here now, alive, and —
We PAN OUT slightly, and we see a touch of shadow behind her — and then a man’s hand. His arm. It comes in close to embrace her from behind, folding around her side.
We see her take in a breath, her head tilting back slightly. She moves her right hand to cover his, at her side. She relaxes against the presence behind her, certain and knowing.
We PAN OUT slowly, and we see it is JAIME. She is enfolded against him — his right arm, handless, also around her waist, holding her close. He wears summer linen, sleeves short, pants relaxed, and his hair is wind-blown, disheveled; strands flutter in the breeze, and we see the sun-kissed gold of summertime, glimmering in the light.
Brienne draws her other arm across her chest, and rests it against his wrist, holding now both of his arms in place.
He kisses her hair. They are wordless. Calm.
MS and then we PAN OUT to a WIDE VIEW of them, holding each other, still and firm. We see more of the structure behind them, and then the trees and vegetation of the fertile landscape around it. We hear birds, the water, the wind. The long road that has brought them here — the turbulent path of loss and death and war — is given over to the care of the breeze. The sunlight. The sea. They cling to each other, knowing, loving completely, and there is nothing else.
And we know: they are home.
sometimes life is just a long series of “I’ve never been anxious about that before but I thought about it for a little longer than usual and now I can’t stop thinking about it oh nooooo”
you ever feel stupid and annoying to others even though you know it's irrational but you can't stop feeling dumb and sad 🙂
When your mentor tell you that you did really good on the exercise and project