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#might use photoshop on these later just to see how would they look
hoony2k · 3 months
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WE DATING FR?
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How could they react around idol!you when no one knows about the relationship.
PAIRING: OT7
GENRE: fluff, crack
WARNINGS: none
NOTE: did not dust not rennovate this (crying emoji) dw i am writing new work. Will be posted soon. Thank you for your patience and support!
Part 2
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★ HEESEUNG:
he's driving everyone insane. Keeps dropping subtle hints that no viewer catches but his manager eyes him like a hawk on award shows and lives. If you're a few feet away from him, he'll glance at you or turn his head in your direction and pretend he's looking at something/one over there. When your eyes meet in the crowd, he winks at you, expression smug. Then turns around with a blank face as if you're not knawing at your lips to not let a bright smile out. There are cameras recording? Okay and? He might not be able to show you off but he's not going to act like you're a stranger.
★ JAY:
very chill about it. Actually he's not. He finds himself in an internal delimma every time you're at shows. Keeps chanting don't look over and over again. Values his career and yours and doesn't want to do anything stupid. He knows how fans are so instead he tries to be sneaky about it. Buys you a bracelet and tells you to wear it when you're at the airport. You don't think too deeply, heart fluttering at the loving gift. A few days later, he uploads a selfie, peace sign on display as well as an identical bracelet snug around his wrist. Some people are speculating but it's nothing big enough for the companies to intervene. Laughs when you call him and says it was a complete coincidence.
★ JAKE:
pda? Baby you do not exist. You are a hallucination. Its a jarring contrast to what hes really like when it's just you because he will NOT make eye contact. He'll stand "near" you not next to you. He knows how vile people on the internet can be and idols get enough of that already. He doesn't want to put you in a compromising position but it's so painful to pretend that nothing is happening between you two. So, he'll do small gestures like during award shows, he'll tell jungwon to hand over his own cushion/blanket to you or your group leader. Be more platonic or "caring" about it so it doesn't seem unusual in the public eye. Sends a bouquet to your makeup rooms and signs the note from enhypen. He's great at fooling.
★ SUNGHOON:
he's actually so ecstatic about it. He would pray and pray to get you as a co-mc, then he'd be able to spend more time and come on camera without any nasty rumours. Plus certain scripts have cheesy pickup lines he'd abuse just to get a reaction out of you. His small smile as he soaks in your flustered reaction? Yea thats def not part of the script. Enjoys that most people ship you because of the ""chemistry"". Giggles on call while he sends you tabloid links that talk about you two. The last nail in the coffin is when he practically describes you as his ideal type. He doesn't know if it sliped out or if it was intsntional. They need to pay the manager more.
★ SUNOO:
the guy who openly calls you his friend. He's the type to introduce a 'slow burn' to ease the public. His fans are used to seeing him talk about you and your group, he doesn't overdo it. Sometimes you talk about him and his group. If a comment asks him to talk about a favourite member in your group he will ignore that, and pretend he never read it because your name would slip out. Defends you in subtle ways by making off-handed comments such as "idols can have off days" or "people shouldn't comment on someone else's appearance. It's not right". Fans make those platonic edits and photoshop you two together in pictures. You bite your fist every time he sends them to you, giggling at how people want to see a collab. That would be his dream. He's def at your concert.
★ JUNGWON:
He's a leader, he's got a lot on his plate but he's also great at controlling himself. people won't suspect a thing when he stands next to you because he stands like 🚹. No fun edits because people can't even tell that you know him, let alone date him. He makes up for it with his love language. Eventually, he'll relax for a bit when he's assured that no one is waiting to get him and his love. He can never be too careful which is why when he can't "do" things publically to help you, he would warn you about certain people/situations. In award shows, if his eyes wander away from his members it's to see if you're safe and comfortable. Once his fears are calmed, he can relax and enjoy the show. Stares at you when he thinks no one is looking.
★ NIKI:
He's just here to have a good time. He prays and wishes for collabs and gets sad whenever nothing happens. He's the type to send you small trinkets as gifts…like an inside joke except there's no joke and Niki feels giddy when he sees your selfie and a familiar charm tied in your phone case. At shows or encore stages, he'll stand behind you (pretends he's doing that because he's soo tall he blocks everyone) and keeps poking you and you have to maintain your expression. Other idols around you know something is up but they don't know what is. He's treading the line between platonic and romantic love. Does the classic rizz move -> notices confetti stuck in your hair and plucks it out, then bows in and greets you casually as if your face isn't red.
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Thank you sm for reading! Hope you enjoyed!
All rights belong to me. Please do not copy/translate/edit.
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muldery · 4 months
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SHATTERED/EXPLODING TEXT tutorial
hiyaa! @krystaljungs asked me for a tutorial on how i made the shattering/exploding animation of the text in this gifset and so i figured i would make it and post it here, like i did with the tutorial for "falling" text.
i must warn you, this one is really tedious and requires a lot of time and patience. honestly maybe there is an easier way to do this but i didn't find any tutorials for when i needed it so i just went off my ps knowledge and did it myself.
note: you will need photoshop with a timeline!
STEP ONE: create your base gif! be mindful of number of frames in your gif. the number of frames doesn’t really matter here, but if your gif is bigger than 10mb and you have to go back to adjust it all again after you have to delete some layers....you might lose the will to live 😂
STEP TWO: make your text the way you want it to look. this effect is basically the last step of your gif making process. (i will be using the typography from my set as an example as i already have that psd saved)
this is what my typography looks like now.
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STEP THREE: now, you will create a new file (with background) and transfer the text you want to "shatter" in it.
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here is when things get tedious.......
tip: zoom in the document, it will be easier for you.
select polygonal lasso tool aka this
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STEP FOUR: before you start, you need to rasterize type layer. then you will have to "shatter" every letter into smaller pieces. using polygonal lasso tool, select a smaller part of your first letter.
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then you will click on that part with the right click of the mouse and selct layer via cut.
now you need to make sure that your new layer is selected and using the move tool move that part of the letter somewhere away.
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you will have to do this for every part of the letter and every letter. also move every new layer on top of other layers because they will line up better later like that. then create a new folder with every layer of said layers and rename it after the letter you're shattering. see below. (idk why my screenrecord didn't catch me making layers via cut but you should do that after the use of polygonal lasso tool, as stated above)
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note: feel free to şelect parts of other letters as you get one letter, for an even better effect.
this is what i have after "shattering" every letter. the lineup doesn't have to be perfect as you will arrange these parts in your main document. (click on images for full view)
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STEP FIVE: go back to your main document and make sure the visibility of your text is turned on.
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what you will do now is open the shattered text in the new window and transfer letter by letter (letter folders) to your main document. BUT after you transfer every folder, you need to rasterize EVERY layer and convert it to a smart object. i made an action for this part to make it easier. download here.
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(okay i really don't know why my screenrecord doesn't show "pop-up" windows but i was moving the C folder from the document where i shattered the text and then used my action on every layer)
after you transfer the folder to your main document and rasterize and convert to smart object, select the folder and use Free Transform to move it so it aligns with the letter from your complete typography. then you will select each layer and align it with the typography. see below. (click on the gif, i made it bigger so you can see better)
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i did this one hastily so the recording wouldn't be too long but i'm hoping you can see what i'm doing.
now, do this for every letter.
after that is done, make the original typography layer invisible, and you should have something like this
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STEP SIX: another really tedious part BUT it's time to animate the text.
make your timeline space bigger so it's easier for you to work with it. then select the first layer and click on the arrow next to it (in timeline) so Transform is revealed to you.
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now, you don't want the animation to start from the very beginning of the gif, but a bit later so the text is readable before it shatters.
for example, i did mine like this, but that is your personal preference.
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note: make sure that all animations start at the same time.
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tip: do this for all layers in one folder before you transform them, as it will go faster.
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STEP SEVEN: bring the playhead (blue arrow with the red line) to the end of your gif and select one layer in timeline.
now it's time to transform it. use Free Transform (windows shortcut ctrl+T) and drag the part a bit away and rotate it. press enter.
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okay ignore the way my text moved upwards, i used the text i used in my edit and i did that animation in the upper part of the gif and i was too lazy to redo the whole animation lmaoo but i hope you can see what i'm doing with the letter C.
do this for every letter. play around with placing and rotation. then save your gif. when you're done, you should have something like this.
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again, i was too lazy to redo the whole thing on this new gif so i'm using the one from my gifset i linked in the beginning.
i hope this was understandable and helpful. if you have ANY questions, don't hesitate to shoot me an ask or dm me! i'm always here to help <33
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lavenderacademia · 1 year
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Okay but can I get a Wednesday x reader on how her and Wednesday argue when it gets really bad💕 maybe reader walks out and they both make up after giving each other space
𝐒𝐏𝐀𝐂𝐄 -> w. addams
AUTHOR'S NOTE: Hi yes???? I love this so much?????? Healthy relationships?????? Thank you so much for your wonderful words???? But seriously I love this kind of angsty fluff stuff fr...this is how I survive in this cruel, cruel world HAHA. Also I'm pretty sure I've used the phrase "thaw her frozen heart" in a Wednesday fic before, but oh well! I'm a sucker for stuff like that. Hope you enjoy this one! I'm really proud of this :') (Also peep the little gif paragraph break thingie I made on Photoshop...I'm a little too proud of it...)
PAIRING: wednesday addams x gn!reader WARNINGS: arguing
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ARGUING WITH WEDNESDAY ADDAMS IS NOT FOR THE FAINT OF HEART. She's as sadistic as they come, even when not mildly discontented (which in Wednesday Speak is as close as you can get to happy), and she never backs down from a fight. And, though a lot of Wednesday's sharp edges become a bit dull around you, that doesn't mean that she'll let you win an argument.
"You can't just endanger someone's life because they bother me, Wednesday!" you shouted. That particular argument was nasty — while you and Wednesday fit together seamlessly most of the time, she occasionally did things that you just couldn't agree with.
This time Wednesday's target had been Leah. Leah was one of the Scales, and one of the more insufferable ones at that. For the past week or so, Leah had for some reason chosen you as the target of her constant torture. She tripped you during class, used her siren song to make you humiliate yourself in front of the school, and on one occasion even managed to push you down the main staircase without anyone around her seeing. Wednesday had seen, of course. Wednesday always saw.
So she concocted a plan: she sent Leah a fake letter in her boyfriend's handwriting, telling her to meet him at a very specific location in the woods near Nevermore. As expected, Leah took the bait and made her way deep into the woods after dark. Instead of finding her boyfriend there, she was met with a pack of hungry wolves — and she quickly noticed that someone had sewn raw meat into the pockets of her clothing.
Leah returned to school half an hour later — out of breath, scratched around the ankles, and terrified. Wednesday watched her return with a smug grin — all it took was one look at her and you knew instantly this had been her doing.
Wednesday hadn't really expected you to be pleased (she had made peace with the fact that you two had very different moral codes), but she certainly hadn't expected you to react like this. "I only inflict pain upon people who deserve it," she said, her monotone voice never wavering in resolve, "and Leah deserved it."
"You don't get to decide that!" you said, rage curling your hands into fists.
"Would you rather be pushed around and ridiculed for the rest of the semester?"
You opened your mouth to speak, but your throat constricted and tears rushed to your waterline before you could get a word out. You paused, taking in a breath and willing your voice to steady. "I don't need you to fight my battles, Wednesday. If you can't respect that, then..." you trailed off, not quite sure where you were going next. Then maybe this isn't going to work out. You stopped yourself just short of putting the end in sight, not wanting to say something you didn't really believe and might regret later. Instead, you bit down on your tongue hard enough to draw blood. You blinked the tears away as you took one last look at Wednesday's stoic face and walked out, slamming the door to her dorm room behind you.
Wednesday watched you go with a bitter taste on her tongue — and not the kind she liked. You had had your arguments in the past, but you had never walked out on her. Unlike Wednesday, you were a stickler for talking things out right then and there, clearing the air before things got too ugly. But this time it had been too much. She had been too much.
Thing crawled onto the desk, having heard the entire argument. Wednesday turned sharply. "What do you want?" she snapped.
"I hope you're going to fix this."
"Why? Clearly they don't care enough to stay and have it out. Why should I be the one to piece things back together?"
Thing said nothing, but sat there in a way that said, Really?
Wednesday grit her teeth. "You're very passive aggressive for a hand."
"You're one to talk," Thing tapped back, "and ouch. Don't you think they might've needed some space?"
Wednesday paused. She hadn't thought of that, actually — not that she'd ever let Thing know that. "Fine then," Wednesday conceded. "What do you suggest?"
And, for once, Wednesday took someone else's advice.
She gave you the space you needed. For the next day and a half you received total radio silence from Wednesday. She still took her seat next to you in class, but she kept as far away from you as possible and didn't attempt conversation — not that Wednesday could ever endure small talk.
Eventually you were so unnerved by her behavior that you spoke to her, leaning over and keeping your voice to a whisper beneath Thornhill's lesson. "Wednesday? What are you doing? Are you alright?" you asked.
"I'm giving you space," she said, not meeting your eye. The words sounded unnatural in her voice. "Thing suggested it," she added quickly.
You sat back in your chair, a perplexed crease forming between your brows. This was very un-Wednesday like behavior. You weren't upset of course, just surprised. Not only at the fact that Wednesday was willingly giving you the space you needed, but that she actually took advice from Thing. It made your heart give a little flutter as you attempted to focus back on the lesson.
Wednesday never paced, but she had never been closer to doing it than she was that evening. She skipped dinner with the intention of writing her novel, but found herself staring at a blank page, unable to write a thing. Rain pounded the large stained glass window on the opposite side of the room. She had never suffered from writer's block before. This was excruciating, and not in a good way. She let out a slow breath, and finally something snapped. That's it.
She got up and strode to the door of her dorm with the intention of meeting you in the courtyard and demanding that you settle your argument from two nights ago, a crack of thunder scoring her sudden outburst. But just as she was about to reach for the doorknob, she heard a knock.
You stood out in the hallway, shivering and soaked with rain, your blazer wrapped tightly around you. The greeting you had prepared was quickly tossed away as you gave a sudden sneeze, a shiver running down your spine. You looked back at Wednesday and the words died on your tongue.
Instantly she pulled you inside, shutting the door behind you and getting one of Enid's fuzzy (revolting) blankets to wrap around your shoulders. Wednesday didn't often have these, God forbid, motherly urges very often, but again, a lot of things about Wednesday changed when she was around you. And the sight of you shaking in the cold on her doorstep was enough to thaw her frozen heart.
Once she was satisfied that you were slowly being warmed up, she stepped back, letting you dry the rain droplets from your cheeks and hair. Thing subtly crawled onto the desk and Wednesday saw it subtly sign out of the corner of her eye: "Talk."
Wednesday set her lips in a grim line. This was the part she always had trouble with. "Y/n —"
"I know you were just trying to protect me, Wednesday," you cut her off quickly. "I know that now, and I appreciate it. I didn't like what Leah was doing, and I know you didn't either, but I needed to try and figure out how to fix it in my own way first. I know that you want to look out for me, but I'm capable of fighting my own battles. I need you to tell me that you understand that."
Wednesday paused. And now she understood. This was what you had been trying to say the night of the argument — you just hadn't been able to get the words out right. Space. Space had allowed you to understand what you needed to say and what you needed to hear. Wednesday understood that now — and more importantly, she could respect it. "I understand," she said, "and I'm sorry."
You almost gasped. Wednesday rarely apologized for the things she did, especially to the people she did them to. But this was genuine.
She continued, "I don't regret what I did to Leah, but I do regret that it hurt you."
You nodded in understanding.
"I don't like seeing the people I love get hurt."
All at once you felt tears rushing to your eyes. Not the bad kind. You pushed them away with a hard swallow, sniffing. "I love you too, Wednesday," you said. "And I promise that if my way of fixing something doesn't work, you'll be the first person I call."
Wednesday felt a rush of something then, something that flushed in her cheeks and almost drew the corners of her lips up. She struggled to stifle it, but every glance at your rosy face made her that much more willing to surrender to it.
"Can I give you a hug?" you asked. You and Wednesday had reached a point where you could hug her without asking first, but you liked to get the clarification every once in a while.
Once you received a brisk nod, you stepped forward, wrapping your arms around her and enveloping both of you in Enid's thick purple blanket. Wednesday wrapped her arms around your waist, letting herself bury her head in your shoulder. She allowed herself to enjoy the warmth of being wrapped up with you, holding you tightly and knowing that you were together.
The storm continued to rage outside, but you two were warm and safe in the knowledge that, when you were together, there was nothing that couldn't be fixed.
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plaguelily-art · 3 months
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Artwork completed for @ferarepairweek. This was for Day 4, and I went with "Clothes".
Okay, this one probably needs some explaining too. So, this is Sumeragi, Mikoto, and my design for Ikona, and I absolutely headcanon them as a all being in love with each other, and I have for years. This goes way back to when Fates was still popular, and I kept seeing a lot of headcanons portraying Ikona as jealous of Mikoto and/or with the two generally not getting along, and like, that's valid and all, but it really didn't work for me. And so one rainy morning walking to a college class I wondered, "What if Ikona and Mikoto were in love?" which was quickly followed by, "What if all three were in love?" Which then made all their deaths in Fates all the more tragic for me, and so I've stuck with it ever since. So while I know this is technically a canon ship, since my headcanons go against a lot of popular fanon, and these three as a canon thruple get entirely ignored by both fans and IntSys, I still feel justified in calling this ship a rarepair.
I, unsurprisingly given my love for wildly underdeveloped dead moms, have a ton of thoughts about Ikona, and I also spent a really long time trying to figure out her appearance based on how the Hoshido siblings look, which I might share later (I have an idea for an artwork for just Ikona, and that would be a better place to write out my headcanons for her). But to explain a little, I do have Ikona sharing her hair and eye color with Takumi--I think there's something rather bittersweet about Takumi being the only one to look a lot like his biological mother.
As fond of this ship as I am, I am never drawing Sumeragi and his Sonic Hedgehog hair again if I can avoid it.
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2023, Fall Digital (Adobe Photoshop) Design for Ikona is my own. Sumeragi, Mikoto, and Ikona are characters from the Fire Emblem series, and belong to Intelligent Systems. Artwork belongs to me.
This image (published by the artist to deviantart.com/plaguelily, plaguelily-art.tumblr.com) may not be reproduced, copied, edited, republished, reuploaded, distributed, or redistributed in any way, and I do not give permission for the creation of any sort of derivatives of my work including the use of the work in datasets used for generation of AI art or any other sort of procedurally generated image program or software. Thank you.
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tawaifeddiediaz · 11 months
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Hey, I love how you did the B/W strip + the text effect on your margaret atwood set, would you be willing to do a tutorial? 🙈
Hey Nonnie, thank you! Sorry this is a little late, but I did manage to hang onto this PSD for you.
We'll be making this gif:
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This tutorial assumes basic knowledge of gif-making, Photoshop, and coloring. I’ve only described the text tutorial in this, but you can reach out if you have any questions.
(This is a different version of my gradient text tutorial, but the same principle applies!)
Tutorial under the cut:
Couple things to note beforehand:
There is a lot of trial and error involved when doing any sort of effect, and this is no exception! You might have to play around with the colors and the settings before you find something that looks good and readable and that fits your set!
This text effect works better on big gifs (540px width) that have quite a bit of movement below the shape so you get that effect.
For this effect, I find that a simple font works better than a cursive one, but play around with what you like.
We're going to start with this gif:
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First, I'm going to add my text and center it. For this text, I used the font, Solar vesta Serif, with these settings:
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Note: when you do letter spacing + underline, sometimes, the space after the last letter can lead the underline to stretch a little too far past the letter, making it look like the underline isn't centered properly.
To get past this, I just select the last letter separately, and put the VA setting to 0-10, depending on the font/letter.
We're also going to add a drop shadow here itself, and this is fully up to preference, but I used this:
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All of that should give us this (yeah, it's the simplest thing because I'm lazy and I like easy things xD nothing too fancy)
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Next, we're going to draw our rectangle around the letters. I like to keep even spacing around all the letters on all sides (in this gif, it's 4px on all sides) but just eyeball it initially, and then adjust accordingly.
I changed the fill to white (this color isn't important, I just used white because it's easier to show) and moved the layer in the back so the text is on top. It should all look like this:
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Next, we're going to add a gradient map between the rectangle and the text later. I simply used a black and white gradient, and my gif now looks like this:
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Here are the settings:
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Next, we're going to delete that white box - the layer mask - next to the gradient map. Just click that and press delete (or right-click > delete layer mask). Your layers should look like this:
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Now, we're going to add the rectangle as a layer mask. While pressing Ctrl, we’re going to hover our mouse over the square box next to Rectangle 1. Your cursor should show a white box with a dotted border. Click the square box with that dotted cursor and you should get a dotted selection line all around the box, like so: 
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Next, we're going to select our gradient map layer, and then create a new layer mask. At the bottom of the layers panel, you should see a box with a circle in it (denoted with a red arrow). Click that - make sure you have your gradient map layer selected, or you'll end up putting the mask on the wrong layer.
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The black and white will disappear, leaving you with just the box again. It'll look like this:
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Now, just hide the rectangle layer so it looks like this;
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And you're done! This is my final gif:
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Once you get this basic thing down, you can play around with it all. For example, I like to adjust my gradient sliders so they emphasize the colors:
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You can also just change the colors;
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Unlike my previous text effect, we're not going for inverse X-ray effect, so for this, I like to make sure the lighter shade of the gradient is on the lighter parts of the gif, and same with the dark shade.
(If that's confusing, here's a side by side comparison of what the "X-ray" effect vs normal color effect looks like)
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Anyway - it's fully up to you!
Because of the effect I was going for, I didn't add a drop shadow underneath the rectangle itself, but you always can if you want to make that a little bit more 3D.
You can also do this with any other shapes, too, with the same procedure.
Hope this helps, Nonnie! Let me know if you have any questions.
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skippyv20 · 7 days
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Skip, Julie here. The research done by amazing sleuths on Tumblr with many of those investigative people on Skippy, knew about this alleged con very early on. We have discussed it for many years but, it has taken until now for the rest of the world to even consider the last few years the Harry and wife show may possibly have been an elaborate con.
If this has been a giant con then using that as a yard stick of how millions of people have been fooled, what other major con jobs have the people of the world fallen for since 2016. Scary thought people but go over what has been happening in the world in this period. How has the world become so fractured when we were making some genuine positive strides ahead with religion, gender, race, colour living standards and living in relative peace. What has happened in less than 10 years and why.
As we know BRF are run and managed with an iron fist by the Monarch. The Monarch has the final say on anything affecting the entire Royal family. Royals are not free to gossip or divulge information without the permission of the Monarch (especially those close to the Monarch although many would not know any more than we outsiders looking in do)
As much as I adored Queen Elizabeth she was responsible for stopping this rubbish we have all been viewing. I suspect she hoped PH would come to his senses but when he didn’t she had let any deception and misconceptions run for too long. Then PP died and HM was lost ( we can’t blame her because she was bereft losing her Rock) so she really wasn’t in any position to do anything as her strength and will had been sucked out of her dealing with the barbs that kept coming from a very favourite close family member
It was left to the next Monarch to deal with.
There can be no excuse whether Pope, Monarch, President, Prime Minister, Archbishop ever taking the public for fools. If this is a con as alleged It does make you think what else did QE11 her Prime Minister, Archbishop of Canterbury and now KC cover up about goings on that affect the public. Even thinking about that and QE11 being complicit makes me very sad.
No other family member would be allowed to speak out about any of this. So we really can’t blame any of them for not speaking out personally or publicly. They really don’t have an option to talk outside the organisation.
This photoshop debacle ( no Catherine did nothing wrong) appears to have cracked ( not burst it yet) the bubble and that is a good thing for BRF members ( not King Charles though). Prince William will not have to deal with this matter when he becomes King if Charles deals with it during his reign. Sooner rather than later.
Personally I think the only way out of this whole mess now is for PH to come clean and announce what he and his wife have been up to and why. Gosh he could even do a Netflix show on it and make a lot of money or follow up with a book about it. He might actually salvage some of his reputation.
Thank you Julie!  Yes, we did ll the research years back, and it went nowhere, just rumblings now and then.  We now have a rare opportunity to keep pushing this stuff out, and hope that some brave journalist will run with it.  I think much has gone on in the background….and is still going on.  Blackmail? There are secrets the BRF don’t want out, and seeing this kabuki theatre we have witnessed….its not a stretch to think that…❤️
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rainbowsky · 9 months
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Anonymous asked: Hey Rainbow! I’m sorry to hear you are going through a rough time right now. Please don’t take this the wrong way, I don’t mean anything bad from it. Genuinely curious… isn’t it wrong for us to think outside forces (i.e, so/os, mgmt) are forcing dd to do these things? As a turtle ofc it’s sad that they photoshopped that… but dd has always been someone who does what he wants to do. It just feels wrong to assume other people are making him do this.
First of all, you come across as an anti based on your entire ask, but I will address the part that I'm willing to.
This reflects poor reading comprehension. I never at any point said DD was 'forced' into anything. Of course we have to accept the likelihood that he agreed to the things we're seeing. But we also can't pretend that the forces at play (fan pressure, stakeholder pressure, industry pressures) have nothing to do with it. That would be a bizarre leap of logic to make, since those are the few things we actually have information on.
If we're really turtles, then we will of course reflect on all of the pressures that both GG and DD are under, and recognize those as real factors that are at play. If we're really turtles, we will of course consider the likelihood that GG and DD appreciate and value turtles and the support they give. They have repeatedly shown that through their behavior over the years.
So if we're really turtles, then we won't try to remove all BXG context from the situation and talk like an anti.
Yes, DD probably was in on the decisions that have been made, but his options are likely extremely limited at this point, and his hands are likely tied on certain fronts. It's also possible that he agreed to some things in a bargain to prevent others. We don't know.
He will also have been given a lot of advice through all of this, and some compelling points might have been made to support giving in to the fan demands. After all, he's about to go into promo for One and Only, and if his toxic solo fans (who are behaving like antis, frankly) are willing to boycott the YH concert - the only opportunity they'll likely have to see him perform live all year - then of course it only follows that they might be willing to boycott the film.
DD obviously wants to do films, so what choice does he really have, here? Any non-disingenuous person has to admit that these are all factors he will have had to consider, and if backers are nervous and starting to think of him as a risky prospect, he has absolutely no choice in the matter if he wants to continue to get film opportunities.
It's just like when he split with Nike and had to remove all the GG-related Nike posts from his account, including the sneakers and ice cream post. He would have agreed to that. He would have agreed to splitting with Nike, too, but let's not pretend it would have been easy for him, or that he would have done so eagerly and with enthusiasm.
I'm going to address an angle I haven't yet addressed, and that is the angle of how this all impacts DD's image among fans and passersby, because that is another factor in all of this.
Anyone who isn't a deeply brainwashed or dishonest BXG-anti knows that CQL is DD's most representative work to date, even now 4 years after airing. Unless you're trying to gaslight the world, it's plain and clear that CQL is an important work that has been central to his career success.
In those little bio tidbits on Weibo stars tend to pay homage to the moments in their career that 'made' them the star they are. It's customary for artists to honor those moments in that little bio, even decades later.
The removal of CQL from DD's bio isn't in keeping with that tradition. To some people it makes him look ungrateful and disrespectful.
Also, a dear friend pointed out that listing as 'representative works' a film that hasn't even aired or been evaluated by audiences - One and Only - is also strange in this context. It is a bit odd and comes across as premature to list it as a 'masterpiece' (because the phrasing is 'representative masterpieces' or something along those lines), and makes him look arrogant because of the phrasing.
It would have been better for him to remove 'representative masterpieces' entirely and just said, "Film actor, works including:" instead.
There are apparently also quite a few solos who are upset and disillusioned by DD's caving to the demands, and are voicing discontent on Weibo. In their eyes he's the guy who does what he wants and 'never backs down', and this has completely reconfigured their understanding of who he is as a person. They are unhappy about it.
Fans have unrealistic images and expectations of their idol, and getting upset when they don't meet those expectations is fairly common. Most of us can probably agree that's pretty messed up, but it is what it is. And that image issue only becomes worse, not better, when fans think he was the one who chose to cave to fan demands rather than being forced by management.
Point being, these are not 'neutral' choices. These choices have consequences, including consequences that weren't foreseen. That's the nature of decision making. But pretending the context doesn't exist doesn't serve any purpose but that of the antis. 👋🏻
It seems pretty clear he's giving in to solo demands. Those demands have been extremely aggressive for nearly a year now. The fact that he held out that long is information we should consider as well.
(This is in reference to a previous post.)
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jenna--ortega · 2 years
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Hi there! I have never gotten around to make a gif tutorial because there are plenty of good ones out there and I suck at explaining things. Back when I basically use my side blog (@marvelsaos) as my main, I didn’t get that many questions regarding gif making, I presume because many people who followed me there weren’t gif makers. But this year, I finally come back to my real main blog and started posting more gifs over here. This blog is where I mostly follow gif makers and is mostly followed by gif makers. I have gotten a lot more ask on how to achieve certain things in my gifs, most notably my recent Winnie The Pooh set. And this is why I decided to make this post. This is by no means a tutorial, just a post sharing my giffing journey and the things I do in gif making that might be of your interest. 
‼️Tons of rambling below. Text, image & gif heavy. Proceed with caution‼️
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Table of Contents
Introduction
The Basics Everything about making a simple gif from start to finish
How to optimize your giffing process
The more advanced stuff? “Recolouring” & rotoscoping in After Effects
Tutorials mentioned in this post
Acknowledgement
Feel free to jump to any section you find useful. Most of the ramblings are in the introduction.
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1. Introduction
i. How I started You thought that was the intro?! I’m the kind of person who someone would know for a decade without hearing me say a word, and when I finally spoke (usually about stuff that I’m passionate about) I just go on and on and on and it shocks people to no end. I’ve been on tumblr 10 years now as some of you might know I’m doing my 10 year celebration, but I didn’t start giffing until about 7 years ago. And I just realised I have never properly introduced myself. Hi! My name’s Winnie and my username across all social media is Ms_Stanatic. Before I started giffing, my main fangirling platform was IG, and boy I’ve got sooooo many accounts I don’t even remember all of them, the bigger ones were mofy, ouat & aos related, and these days I’m giffing all of my old favs for old time sakes. If you happened to know me back then, drop by and say hi. It probably felt like I drop off the face of the earth when I quit IG. The show that got me started on giffing was, as some of you might know, Agents of SHIELD. @marvelsaos was my “main” blog for the first 6+ years of my giffing journey. Now thinking back it was because I finally got my first laptop when I got into uni and didn’t have to make edits on my android phones anymore. But at the time, all I wanted to do was to capture Melinda May’s eye rolls and actions and static images just weren’t doing it for me anymore. And that’s how I embarked on the journey of gif making.
ii. Tools/ Softwares I used I had a Macbook air back then, and finding a cracked photoshop for mac was kinda hard, so I had to settle with GIMP. Without the GAP plugin may I add because I do not know how to install it till this day, so it was just pure nightmare. Making gif in the beginning was the most tedious thing I ever did, I’ll explain a bit more later on. The giffing community felt very different back then. I don’t know if it’s because I wasn’t aware or because I wasn’t in it. I felt like there wasn’t as many giffing tutorials on this site, and all I kept seeing was people sharing their psds. It might have been useful if I had photoshop but I didn’t. So the idea was that you can just open up the psd files and drag the adjustment layers onto the image stacks that compose of your gif, and the adjustment layers would affect all the layers beneath it. Not with GIMP though. In GIMP, the adjustment layer(s) only affect the single layer right underneath it. You heard me right. At that time the gif size limit on tumblr was 2mb, a gif I made is usually 20-30 frames/ layers. So I had to duplicate the adjustment layers 20-30 times, them move them right above each image layer. And if I don’t like how it looks, I had to do it all over again. This is slowly turning into a rant but seriously thinking about it gives me headaches. Also, did I mention I didn’t even read up on tutorials and stuff, I basically just googled everything I needed, how to screencap, import it into GIMP, crop & resize, how to use curve, then lastly how to export. No sharpening, no nothing. I didn’t even learn about recolouring like less than 2 years ago (my AoS peeps know which post I’m talking about 😉). This went on for about a year or two, then uni got busy and my life basically went downhill. Somehow, AoS pulled me out of that deep dark hole and get me back on my feet again also because I finally graduated but I’d like to think it’s my love for tv that saved me. I got a bit more time on my hand, I decided to go back to giffing and this time I was determined to get GAP installed on GIMP and have it working. But alas I have failed once again. It was around that time I found out photoshop’s older versions like cs5 was free to download, so I got that instead and finally begin giffing with photoshop.
Moral of the story: Try your best to get photoshop for giffing. It’ll save you so much headache.
And my story didn’t end there. While I was using cs5, I think many people have switch to photoshop cc which has the timeline function for things like smart sharpen (which was a major topic back then) and keyframes (which is what I heard people talking all about these days). Even without timeline, photoshop is definitely a step up from GIMP personally and I managed with a workaround on the smart sharpen function thanks to Julie (@doramilaje). Side note, all the gif makers (beginners & experienced alike) I’ve talked to are all such amazing people. They put so much energy into this craft and are more than happy to talk to you about it when asked. So don’t be afraid, just ask nicely. And maybe go off anon, you might make a friend or two. 2019-20 were probably my most prolific giffing years, I giffed non stop every single day as if it was my full time job. For me, it was something small and easy to complete and it kept my days going. And eventually my Macbook Air that I’ve been using for 5 years was starting to give up on me. And when I upgraded the OS system to Catalina, it no longer supports cs5 and I was devastated. I eventually got my hands on photoshop cc 2020, and in some ways I re-learnt how to make gifs again (like for the third time?). I knew it was about time to get a new laptop. And now that I know I’m gonna use it for some heavy duty, and I didn’t want to get another macbook because I’m just not that crazy about it and at that time I wanted to use avisynth (more on that later) which was only available on windows (I didn’t know how to install vapoursynth on my macbook ok?). Eventually I got a gaming laptop with a 10th gen i-7 processor and a Wacom Intuos Pro using my sibling’s student discount. I got the Wacom tablet trying to get into digital drawing, but eventually it came in super handy with just day to day editing and especially recolouring.
Moral of the story: Start with whatever you’ve got, then upgrade your equipment when you’re serious about it.
iii. What I’m doing now? This year has been kinda different for me. In the past, it has always felt like I’m on my own sitting in front of my laptop churning out gifs 24/7. This year, I’ve joined a couple other blogs and gif maker/ ps user networks, learnt a whole lot of new things and diversified my giffing content (I have been giffing AoS 99.9% of the time non stop previously I kid you not). And I’ll be back in school for my part time masters a month or two later, so who knows how often I can gif. I don’t ever wanna stop giffing but I know one day I will, and before that day comes I just wanna share some of my memories with you guys on this hell site. So, basically all that led to this post.
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2. The Basics
I’m gonna assume you have a bit of knowledge about gif making. If you’re a complete newbie, I’ve tried my best to link some tutorials to help you understand or get started. And don’t get intimidated by the length of this post. Even though a lot goes into gif making, once you get everything sorted and find your routine, it’ll become second nature. The following is simply my workflow of gif making. It is by no means the right/ better way of gif making. Everyone does things a bit or drastically differently, I’m just here to share my process in hopes that someone might learnt something new or find something interesting. If I got something wrong, feel free to inbox/ message me and address it politely, since I didn’t exactly started out giffing with clear directions, I do get some of the fundaments wrong. And I am no expert in photoshop or any editing software, it’s more of a learning as I go sort of thing. So just take everything with a grain of salt. With all the disclaimers out of the way, here come the things you’re probably here for.
i. Video source There’s one simple rule, go with the most HQ one, I’m talking 1080p or 4k and make sure it’s the biggest in file size because not all 1080p are created equally. Here’s a post by Taylor (@kylos) explaining all of that and where to download as well. For the most part I just use 1080p because I personally can’t tell the difference but I’m sacrificing a lot of time for a 4k video to load/ process. It’s only instances like these I would use a 4k source.
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(gif taken from my set here)
Downloads are gonna take up space but you probably want to keep them if you might gif the show/ movie in the future again since you already spend all that time downloading, so you might need to invest in some hard drives for this. I used to use my uni’s unlimited gdrive plan which was available even after I graduated, but after Google cancelled it I was in huge trouble. I save pretty much all my hd downloads and all my psds & gifs. I’ve recently got a WD Elements 12TB just so I can transfer all 6+TB data on my gdrive to there with space left for the next couple of years.
ii. Screencapping vs Video clipping So there are a couple of ways to go about this that I’m aware of.
screencapping with mpv (tutorial by Taylor) or other softwares
video clipping with handbrake (here’s an in depth tutorial on gif making including clipping with handbrake by Nums @cillianmurphy), vlc, km player, etc.
video clipping + cropping + resizing with Vapoursynth (download here | tutorial by Em @realstraykids)
I have tried all of the above. I started with screencapping till around late 2020, when I found out about avisynth (now replaced by vapoursynth) and finally got my hands on a pc where I can download it. I was using screencaps for a really long time because older versions of ps don’t have timeline, I would end up having to convert the video back to frames anyways so why don’t I just import screencaps as is. I think it’s the same logic for me now, because I start all of my editing in timeline, so it’s just quicker to import video clips for me (especially when comparing screencapping with mpv vs video clipping with handbrake). From late 2020 till now, I mostly use avisynth/ vapoursynth. There should be less detail lost when resizing using vapoursynth compared to ps. Personally, I think ps does a pretty good job and I wouldn’t say vapoursynth is a must, it just happens to be a video clipping and resizing two in one tool for me. Vapoursynth has additional denoise & sharpening tools, but I just couldn’t quite get the setting right to incorporate them into my giffing routine, so I stick with ps for those purposes.  Here’s a comparison for you if you’re thinking about using it. On the left is how I used to gif without vapoursynth. I did the same thing for both gifs except for sharpening, because the clips from vapoursynth just look slightly sharpened to me so I compensated with more sharpening on the left. Honestly, now looking at it side by side I actually like the one without vapoursynth more 😂 I’ll let you decide for yourself. Also, when I’m doing a huge compilation set where there are a lot of gifs and they are basically tiny and I don’t really have the dimensions in mind yet, I’ll just go with video clipping. It’s faster and I can resize it later.
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iii. Resizing
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There might be reasons why you don’t want to use the W x H x Resolution crop for your gif, because in the image size panel you can actually choose how you want your resampling setting. Normally I just go with Preserve Details 2.0, and set reduce Noise to 100%.
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iv. Sharpening
Once I load my clips into ps, the first thing I do is add smart sharpen to them. For the longest time I only sharpen once. Here’s a sharpening tutorial by Ava (@anya-chalotra). I think those settings are mostly what people use and if you’re new to this you should probably stick with that. But I’ll let you on a secret (not a secret anymore now that’s in the open), I don’t do the whole over sharpen then blur it out thing, I just sharpen to the amount I like. This is coming from someone who spent the first 2? years giffing without sharpening, and when I do realize people sharpen I didn’t even look/ properly follow a tutorial on how to do it. I just knew smart sharpen is a thing. So, I’m sure there’s good reasons why you should sharpen to 500% then add gaussian blur and you probably should do that too. Prior to using vapoursynth, my settings were like radius 0.3, amount 100%-200%. With vapoursynth, I find it slightly sharpens my clips so I go with radius 0.3, amount 50% like 90% of the time. Then there’s the second sharpen thing if you noticed in my banner gif which I learnt from Sid’s (@sidonidoneeey) tutorial recently. I think it adds more contrast & definition to the objects in the gif.
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Here’s a comparison for you to decide for yourself. I tried the max sharpening then add gaussian blur method in the second gif, and I’m still not quite convinced.
v. Colouring This I would say is pretty much the essence of a gif maker’s style. Again, everybody does it differently, different gif makers swear by different adjustment layers. Here are some tutorials for getting rid those difficult colour cast:
Kate’s (@dewandawise) channel mixer tutorial
Airam’s (@magnusedom) colouring tutorial
The best/ most experienced gif makers I know all swear by channel mixer so you should definitely check out Kate’s tutorial. Personally, my routine adjustment layers are like the ones in the banner gif. Levels → (+/- Curves) → Colour Balance and/or Selective Colour and/or Hue/Saturation → (+/-Vibrance). Then repeat any of those if necessary.
Levels: Personally, I always start my colouring with levels. When I first started giffing, all I heard about is curves and I spent a lot of time fussing around with it not knowing what it actually does. Until I found out about levels. It is way easier to understand than curves and very suitable for beginners in my opinion. You basically drag the right most arrow to meet the right side of the histogram. What you’re doing is telling ps what value in the gif you want to be the brightest (aka white), and everything beyond that value is going to be white as a result. You do the same thing on the left, and in this case defining the darkest/ black in your gif. I find this to be the simplest way to brighten and add contrast to gifs. The results as you can see is night and day.
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Curves: Curves can basically do what levels do but more. See those two arrows under the histogram in curves (right), they basically do the same thing as what I just showed you in levels (left). And then obviously you can manipulate the curve to get your gif how you want, but honestly I still don’t fully understand what curves is so I’m not gonna try and explain that to you. What I can do is show you some other neat tricks you can do with curves.
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You can click on the hand with the pointing finger icon, click and drag up to brighten or down to darken on any area in the gif you’d like to edit.
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Another thing I like to do is click on the white (last) or grey (second) eyedropper, then click on an area where you think should be white or grey to get rid of any unwanted colour cast. This video tutorial goes more in depth and is more of a proper way of doing it, but I just don’t bother with doing all of that normally. So here you can see I click on the grey eyedropper, than I clicked somewhere in the background I think should be grey, ideally further away from that blue light beam behind her because everything near that is just gonna be more bluish. And you can see immediately the ground has less of a cyan tint and there’s more red in her skin. Sometimes, you have to try a couple of different places to get the best results. Sometimes, it just won’t work at all.
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You can also Alt+click on the auto button, and a panel shows up. Click on them and see if any of those works for you. But normally I don’t use this because I have already enhanced the brightness and contrast with levels.
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Once I get my overall values how I like it, I go into colour correcting. Usually nothing drastic, just trying to get rid of any colour tint and get the gif to look more neutral in colour. My go to are colour balance, selective colour and hue/saturation.
Colour balance: This is usually my go to to adjust the overall tone of the gif, and the panel gives a good visual of rgb vs cmy.
Selective colour: This is when I only want to adjust the tone of a particular colour without affecting the rest of the gif. I usually go to red the most to adjust characters’ skin tones. Also, people often ask if they should use relative or absolute mode. I would say for simple adjustment I would go with relative because it’s more subtle, but for major colour change and I want it to really show I’ll go with absolute.
Hue/Saturation: This I usually go in and click on the hand button then click on wherever in your gif you want to change the colour. Slide the hue or saturation slider around till you’re satisfied. If you want to, say, change your background to a single colour, check the box colourized. And slide the hue slider to your desire colour. Then paint black over the object in the layer mask to preserve it’s original colours.
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Also, that slider you see right there. The center light grey region is where the colours would be affected by the changes you made. And the two darker grey regions flanking it are sort of a buffer so the colour transition isn’t as stark if it makes sense. You can basically slide those sliders closer to each other so the adjustment affects a smaller targeted range of colours. You can always crank the saturation to the max to see what part of the gif you’re changing the colours of.
Photo Filter: This is a cool one that I learnt about recently. You can basically apply a warming/ cooling filter to quickly change the tone of the gif. Sometimes it helps with getting rid of that last bit of an unwanted colour filter.
vi. Blend modes Do you know that you can change the blend modes of your adjustment layers to get a different result? I don’t think a lot of people do this, I don’t either most of the time. But there are a couple ones that you might find helpful.
Screen: This will brighten up the gif a lot, could be helpful with really dark scenes.
Colour: When I want my adjustment layer to only affect the colours but not the brightness of the gif.
Luminosity: When I don’t want my adjustment layer to affect the colours.
Here’s a video explaining all the blend modes in photoshop.
vii. Denoise & Clean It was from the same post that I learnt about avisynth that I found out about Topaz Labs, particularly their denoise plugin & clean plugin. I won’t go in depth into that because I’ve tried it a couple of times and couldn’t get the settings that work for me and it is very time consuming. But if it is something you want to try, here’s a post of the user sharing her topaz settings. What I actually want to talk about is Camera Raw in ps. I normally add my denoise filter after I coloured the gif, because all the brightening and saturating the gif with colours add more noise to the original clip itself. But if a scene is particularly grainy to begin with, I’ll add a denoise filter right after sharpening, add my adjustment layers, then another denoise filter if necessary. Also, if you want to keep more details in the certain areas like the hair of the characters, just take a soft round brush and paint black in the smart filter layer mask. Go to Filter → Camera Raw Filter. The denoise function is under the tab Detail. I usually only move the noise reduction and colour noise reduction slider, and keep the detail at 50.
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There’s so much more you can do with camera raw. Here’s a tutorial by @michietuts​ on how to colour your gifs with camera raw. I actually completely forgot about it until I went digging for tutorials for this post. I think the reason why I never got into using camera raw to colour gifs is simply because there’s too many sliders and it’ll take a long time to figure out what works, so I just stick with what worked for me.
viii. Convert to frames & export After I add all my adjustment layers and denoise filters, I normally convert it back to frames for further editing because I find it takes so long for the video to play in timeline mode. It’s just easier for me to gauge what I want to do with the gif in frame mode, such as whether more adjustment is needed, or how I want to crop my gif. I know a lot of people would just edit everything in timeline mode, and convert back to frames as a last step to change the delay to 0.05s before exporting. You can do it however you want. It’s just spending so much time with cs5, I’ve grown accustomed to editing in frames mode. Here is my export settings:
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For most people, it’s the choice between selective vs adaptive and diffusion vs pattern. Personally I prefer how adaptive pattern looks and I rarely change it across different gifs because I have my export action automated. There’s more explanation and comparison in Ava’s tutorial here.
ix. Subtitles The majority of gifs I make are what I call “scene edits”. Not that I’m lazy or anything and don’t want to be bothered with making fancier gifs, it’s just what I like to do. Especially when giffing a show I haven’t giffed before I always start with making plenty of scenes, to the point where I can recall just about any scenes from that show when I want to make a fancier gif set. So I’m just gonna share me text settings for the subtitle, show you how I center the text box to the bottom and how to duplicate it to the rest of your files. Press T for the text tool, and type in whatever subtitle you need. Here are my subtitle settings:
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Alt+A to select the whole canvas then press V for the move tool. Then select align horizontal centers and align bottom edges.
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Now that you have your text centered at the bottom, you might want to style it. I usually go for a stroke outside the text, some people op for drop shadow or both. Right click your text layer and select Blending Options... Check the Stroke box, change the size to 3px, position to outside and colour to black.
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To duplicate text box to the same exact position in another gif, right click your text layer and choose Duplicate Layer... Then choose whichever document you want to duplicate to and press ok.
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And of course I have my text duplication automated, so the text would show up in all my gifs in a matter of seconds.
x. Recap
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3. How to optimize your giffing process
i. Actions This one single function in ps is gonna save you sooooo much time & energy my friends. If you’re a chronic giffer like me, you probably spend all your time starring into your computer and just clicking away like a manic, especially those times when new episodes drop and everyone is trying to get their gifs out there as quick as possible. Let me tell you, life before I found out about actions was miserable. Back then, my laptop was even slower, so maybe after I did one thing I had to wait for it to load, then repeat the same process to the rest of the gifs in the set, which is normally 10 in total. I had to grab my laptop with me during meals because I basically couldn’t walk away from it. Actions was a lifesaver, especially for things you’d routinely do when making gifs like sharpening, resizing, denoising, convert to frames, export, etc. You basically use actions to record yourself doing it once, and you can just hit play every time you want ps to do it again. And to take it a step further, you can automate ps to play that action on all the opened files. You then record that automation into an action, then voila you can sharpen/resize/export all your gifs in one click. Now, I can click automate convert to frames, go out and eat dinner and come back to it.
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Now here are my actions. I know the naming doesn’t make much sense to you, but basically I have actions to automate sharpening, denoising, converting to frames, setting frame delays, exporting and saving. And yes, I do regularly hit that automate save button so I don’t lose everything when my ps crashes. Then there’s actions for formatting subtitles, duplicating layers, pasting frames after or over frames. I think this covers about everything I use on a daily basis.  Here’s how you record an action and automate said action. (Left gif) First you click on the folder icon to create new set, name it and click ok. Click the + icon to add new action, name it and press record. Then you do whatever you want to record, and when you’re done click to stop button to stop recording. (Right gif) To create an automation of the new action, click the + icon to add new action, name it and press record. (Third gif) Then go to File → Automate → Batch. Choose the set the action you want to automate is in, then choose the action. Click ok then stop recording. Now you have an action to automate the previous action you made.
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(gif below) The box on the left of your action is the dialog on/off button. Basically if you check it those dialog boxes will pop up every time after you played the action, which is good if you want to customize every time but not so much when your goal is to click one button and let it run across all gif without interruption. I check most of them off except for the denoise filter which I do want to customize for each gif. To get the action panel to look like the one I showed in the first picture, click on the little button on the top right corner of the actions panel and choose button mode. And you’ll get to play an action by simply clicking on it.
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ii. History
There are a couple of things I do in this panel. Have you ever make an adjustment, undo, make a new adjustment, and now no matter how many times you hit revert you just can’t get back that first adjustment you made? There’s a simple fix in the history settings. Click on the little button on the top right corner of the history panel and choose History Options, then check the box “Allow Non-Linear History” and click ok.
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I often like to use the history to go back to previous adjustment, because I can see clearly what has been done (sometimes I click on the wrong button without knowing) and I can go further back without keep hitting Crl+Z. You can also click on the camera icon in the bottom right to take a snapshot of the current process/ step of the gif, so in case you don’t like some changes you make, you can always go back to that snapshot. Or you can take snapshots of different adjustments you made to the gifs, then you can quickly compare how they look by toggling between snapshots.
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iii. Keyboard Shortcuts Know/ customize the shortcuts for things you often do, such as Crt+Z for undo, T for add text, V for move, Crl+A for select all, etc. It’ll save time & effort in the long run. To customize, simply go to Edit → Keyboard Shortcuts.
iv. My Workspace I’m the least organized person I know but I still want to talk about my ps workspace. It’s been structure to fit my giffing needs. Basically all the panels I need are there, and I maximize my space for the document window and timeline.
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If you go to Window → Workspace → New Workspace, you can save your current workspace as a preset. So maybe if you moved things around or accidentally closed some panel that you don’t remember the name for, just click on that preset workspace, or if it says you’re already in that workspace click reset “whatever the name of your workspace” and your workspace will be reset. There’s mainly 2 workspace I toggle between, one for giffing and another for digital painting.
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4. The more advanced stuff?
i. “Recolouring” I’m not gonna spend a lot of time on this part because the next part is actually what I really want to talk about. But Hue/Saturation is going to be your friend if you want some major colour change. Then add a gradient map over it for good measure. I’ll link some tutorials for you if you don’t know what I mean.
Becca’s (@yenvengerberg) mega colouring tutorial
Kate’s tutorial on @usergif​ (←there’s all sorts of gif tutorials in their resources directory, go check it out)
People would always tell you to find gifs where the character barely moves or the background is of a contrasting colour to make the process easier. Now, with timeline you’ve got keyframes to help with slightly more movement. But what if you want to make something like this gif below? 😨 I made this during my earlier days of recolouring (which was not that long ago), and the only thing I could think of was colour it frame by frame. This gif has 73 frames. There are 8 gifs in this set which I had to all colour frame by frame. It was a long and tedious process I tell you, but the results, in my humble opinion, is stunning!!! But what if I tell you it can be done without colouring it frame by frame and it only takes a fraction of the time I spent?
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(gif taken from my set here)
ii. After Effects & Rotoscoping The reason I started using after effects was for this gif set. I got a gif request and my inspiration was the intro from the youtube channel sortedfood. Here’s how one of the gif looks like.
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See the character cut out on the right? Basically the same thing in my recent Winnie the Pooh set. In my first trial, I was trying to do it frame by frame on ps like I always did, but there was no way I could get it looking smooth, it gets very jagged when the background was a completely different scene. And with some googling, that’s how I found out about rotoscoping on after effects. This is the youtube tutorial I learnt it from and the one I send it to people when they ask me how I do character cut outs like that. I’ll try to quickly show you how I do it below, but please refer to that video if you want more details. Usually I export my gifs as videos in timeline mode in ps, then import the video into ae. After I’m done, I’ll export the ae file as video, import it back into ps, convert back to frames and do the rest. Here are my steps to rotoscoping:
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Double click the layer you’d like to work on. The layer window should pop up and that is what you want to work with.
Click on the Rotobrush tool and paint across the object you want to include. Always paint across, not outline.
I have my roto brush set to version to 2.0, and I would change the quality from standard to best.
Continue painting until everything is included. Alt+drag to deselect unwanted parts. Hit spacebar when done and let it run.
You can change the properties of the roto brush selection in effect controls.
If you want a more detailed written explanation than this. Go to adobe’s help page on roto brush here. Once you have the cut out of the object you desire, there are many things you can do with it.
Duplicate the original layer, change the colour of the bottom layer as aforementioned. And now you have a gif with a different coloured background. 
Or you can have a different background (either a solid colour or a different video/gif)
You can have text behind the object, etc.
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You get the idea. (This is a simple demo, please excuse the quality and choppiness of the gif)
Now you’ll never recolour gifs the same way again.  Here’s a Kate & Yelena gif for you guys (even though it’s not the best, could’ve blurred out the edges a bit more but it’s still pretty damn awesome and I wouldn’t have coloured it like that if it wasn’t for ae)
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(gif taken from my set here)
Here’s another gif I made with AE from this set. The possibility is endless and I’m barely scratching the surface. I can do a separate AE tutorial if you guys are interested. Let me know in the comments or tags.
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5. Tutorials mentioned in this post
i. Text tutorials
@kylos’s film downloading and screencapping tips for making gifs
@kylos’s gif tutorial
@cillianmurphy’s giffing 101- your ultimate guide on how to make gifs
@realstraykids‘s gifmaking with vapoursynth tutorial 
@anya-chalotra‘s sharpening & exporting tutorial
@sidonidoneeey‘s sharpening tutorial
@dewandawise‘s the beginner’s guide to channel mixer
@magnusedom’s colouring tutorial
@yenvengerberg’s mega colouring tutorial
@usergif’s how to change the background of any gif tutorial
adobe’s  Roto Brush and Refine Matte
ii. Video tutorials
PiXimperfect’s Color Correction with Easy "4-Point" Technique!
PiXimperfect’s The Science of All 27 Blend Modes in Photoshop!
@michietuts​‘s How to Color Grade Gifs Using Camera Raw
C.M. de la VEGA ‘s Get the Best Results with Rotobrush 2
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6. Acknowledgement
Thank you so much to the authors of all the amazing tutorials, everything was so eloquently written, well explained and easy to follow. And a huge shoutout to the people at @pscentral​ & @womenofmcu​. Our conversations on gif making have prompted me to write this post. I’ve learnt so much from the people at psc and thank you Ace & Val for creating this place that I didn’t even know I needed. It is one place I feel truly belong. So If anyone is interested in gif making, come join us at pscentral. And thank you to the ladies at womenofmcu for being so nice and welcoming, always love chatting with you lot. Last but not least, I’m patting myself on the back. For someone who’s terrible with words this is one hell of a long text post.
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As always, happy giffing!
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(putting on reporter hat/j) You mostly post the art you do with pencil but what other mediums do you enjoy using? Were you always drawn to pencils? Also obligatory compliment for your art, i love looking at all these lines ❤️
*ahem*
Thank you so much!! I love seeing your dexdark art on my dash as well! 💖
I honestly think my Thing with making pencil drawings started in high school, when I would bring my sketchbook to school and draw when I got the chance. Then later, I would post whatever fanarts I made to tumblr, or deviantart if we're going back that far. (I still think about DA and get nostalgic, but it's impossible to get a following on there so it's not meant to be :'( ) And people would give my gravity falls, steven universe, etc drawings positive attention, and that gave me motivation to make more.
So that's how the whole "making pencil drawings in my sketchbook, and putting in effort to make them pretty" thing started, but for a long time there, I was still making digital art pretty frequently. I think pencil drawing took over as my dominant medium when I started taking commissions. Because I used to offer digital comms as well as pencil drawing comms, but the traditional stuff was way cheaper, so it's what I did the most. And over time, my standards for my pencil stuff got higher and higher, and now it's like my Thing.
But I think part of the reason it stuck so much is just the convenience? I can take my sketchbook anywhere and draw if I'm out and about.
That being said, I think I should delve into digital stuff again, just because it would be a good change of pace! Digital illustration wise, I use photoshop. I used to do portrait bust thingies (I called them digital paintings). I haven't done that in a long time, and I might enjoy that more than I'd expect. Also, ever since I animated in toon boom, I've been so enamored with using vectors to make lineart. When I made digital lineart in the past, it could be so frustrating at times, how you'd have to redraw the same delicate curve over and over until it looked the way you want. So if I do something digital with lines in the future, I think I'll give the pen tool in photoshop a try.
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Hi there! I saw the screen recording you did for the Aemond gifset (superb work, by the way) and I was wondering if you would be open into doing a step-by-step tutorial on how you played with the colors (what was the graph on the right side of the window?) and how you manipulated the color palette when saving the gifs? No pressure! Was just curious :) Thank you!
Hi there, nonny! Step by step below the cut here.
I don't keep the psd files of my gifs, mostly because I don't have the storage space to do that, so I've made a different gifset of the same scene, so it should be much the same, if not better.
I believe this:
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is the graph you were asking about? This is the histogram. I don't believe it has any practical usage in gifmaking. If any other gifmaker here has a different opinion, please share it. (I'm doing a photography degree, photoshop is my next unit so I'll know more about it soon)
Right, step by step. Hold your horses, this is long:
Step 1: get the clip. Some gifmakers use screen caps to make gifs. I do not know how to make them or how to use them and I find my own method works. If another gifmaker could add on how you make your screen caps, and if it is better than my own method, please add it. 😊
Where you get the clip from is a question. YouTube, somewhere else... as long as it's saved as a MP4 file on you computer/laptop, it doesn't matter. What does matter is the quality of your clips. A lot of people use 4K (super high quality) clips. I find those to be slow and arduous and may have been responsible for the fall of my old, decrepit laptop. HD or UHD are likely enough for some decent quality.
Step 2: Get the clip in the software (I use Adobe Photoshop. For some softwares, you might have to clip the clip i.e. make it shorter before just dumping it in) In Photoshop go to File > Import > Video Frames to Layers and a window will come up. Move the sliders until you have approximately what you want (don't worry about being exact. Just as long as you have what you need.) (Don't forget to click Limit to every 2 frames)
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Step 3: Once the clip has opened and your ready to start, crop out any black/white edges. Then cut out the frames you don't want
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Step 4: We are now ready to begin editing!! 🥳🥳🥳 Editing tends to just be a huge pile of trial and error. I have an order to things, but I often have to go back and adjust my first layers later.
I like to start with the Brightness/Contrast, for obvious reasons (I like to SEE what I'm doing *cough cough* HBO *cough cough*
The I adjust the Hue/Saturation, where I reduce the saturation of each individual colour. That reduction tends to be useful when I make further adjustments in effort to 'fix' as much of the shit colour grading as I can.
The next step is a combination of a Photo Filter (set to the default warming filter) and a Vibrance adjustment layer.
Next the where most of the magic happens. The Colour Balance allows me to adjust the colours in the shadows, midtones and highlights. The aim of this is to attempt to restore some colour. It can look a little weird when editing.
Finally is the Levels. This is a final brightness edit where I add most of my contrast.
Video featuring both sets here. Pause as needed to see the adjustments
Then, change the frame delay to 0.1, or whatever suits your fancy, but 0.1 is the most natural. Then, Click the button in the bottom left corner of the timeline which Converts to Video Timeline, then select all the layers, right click and Convert for Smart Filters.
After this is sharpening, cropping and then exporting. Either File > Export > Save for Web (Legacy) or Alt + Shift + Ctrl + S
Here I change the size. (Usually adjust the height to 540px. Width depends on how I've cropped it. I my source clip excluding black edges was in the ratio 16:9, 540px is usually half that)
If you are uploading gifs to Tumblr, keep an eye of the file size. Tumblr doesn't allow for file sizes about 10MB, although for me it's always been more like 9.5MB. If that number is too high and you have made the gif as short as possible (no more the 50 frames if possible) and you have reduced the size (my limit tends to be about 480px height dependant on my crop ratio), then you change the number of the colours from 256 to NO LESS THAN 200. (lower than this may considerably reduce your quality)
Then you press Undo or Ctrl + Z a few times until you have all of your frames again and then repeat.
And all that can take half an hour or more. Hope this answers the question as well.
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astarionposting · 13 days
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Hello! I was just wondering, because I've never created any form of modding in my life, if I wanted to create Ramona Flowers' hair from Scott Pilgrim, how hard do you think that would be? and what kind of tools would I need? I just see how absolutely jaw droppingly good you are at modding and I figured you might know 😅 Thank you!
Hi! It might be a bit difficult at first as you learn, as most things are, but if I can learn it, ANYONE can. What I recommend for achieving likeness when editing heads to look like real-life people:
first look through ALL of the different heads and their skin textures; who's bone structure looks the most similar? who's eyebrows are the most similar? do any have similar skin details (freckles, wrinkles, moles, etc.). Play around with putting different textures together in photoshop and trying your best to get a base that would look most similar to Ramona;
A LOT of reference photos. I recommend from all angles and constantly comparing them. I started a new process where i put my sculpt next to an image of the person I am using as a reference, and then if I am lucky, sometimes I can find a 3d sculpt someone else has done and I like to study that too, since it helps me understand what are the main aspects of the face that make it look like them (it could be the eye shape, lip shape, chin, etc.). You can also make some measurement guidelines to make sure you have similar proportions.
Portrait art of the person can also help since artists like to focus on general shapes over tiny details. Our brains can get too hung on small details and it ends up messing with how we are actually perceiving the face. When you look at artwork, you can see the general shapes of the face made simplified, which makes it a lot easier to sculpt the overall face structure.
Take breaks and step away from it for a bit. Looking back at it an hour or so later can help your brain "reset", as the longer we look at it, the less mistakes we notice. It is similar to artists who flip their canvas periodically to highlight any mistakes! You can take a look at my tutorial on the basics here, where i also list the tools you will need to begin modding heads!
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cinamun · 1 month
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Hey fren! I have a ton of questions. Lmk if I’m being too intrusive or nosey lol.
I love your story, I always have to give you your flowers when I write you!! All hail the Queen 🙌🏾🙌🏾💐💐💐
Ok my questions:
For starting out posting and editing, do you keep a schedule for yourself to stay organized? Rn I’m finally posting on my simblr after 3 years but I find myself just constantly taking screenies instead of posting and organizing the story. It feels chaotic lol the only organizing I’ve done just for game play in general is shopping for CC every other day (it’s an addiction)
A question I wanted to ask for a while is, if you are commissioning someone for poses what are the average prices you pay (or better yet, what do you think a good price is to pay for pose commission)? Sometimes I have these perfect poses in my head and when I’ve searched for hours I normally just end up giving up.
Lastly, I noticed your post from yesterday said you had 25 photos loaded in photoshop. Do you have all the art board (or images) side by side to edit them consistently and simultaneously?
Thank you if you answer!!
Good morning bestie!! Let me just go on ahead and adjust this crown right quick lol THANK YOU and I got you!
I'm chaotic and impulsive but I have a little bit of a routine. Follow me under the cut!
Okay, SO!! For the first question about posting and editing.... I usually have an idea for the next scene while working on the previous one. So when I go in-game for story updates, the idea is already there and I'm just setting up shots and making the scenes look good. I don't have a schedule other than my posting schedule, so when you mention last night, I was editing pics that I had taken earlier in the day or the day before. So my schedule is usually sitting in photoshop all night the day before I post.
For pose commissions, I've only done that twice. I've had real good luck over the years finding poses or animations for anything I've needed. I would say make an offer to donate to them if you know their shit is dope and move anywhere between $5 to $10 USD. For the poses I commissioned, they weren't released publically so that's extra special (tip them more!). Also keep in mind if you're asking for accessories to be used, how many sims are in the pose, etc. For pose searching, try to be as vague as you can. "ts4 cleaning poses" and then see what comes up is one example and don't shy away from animations! They work with pose player, most without WW and can make for some great screenshots.
I load up all the pictures in Photoshop plus whatever templates I'm using (like the texting one or the dust overlays), and edit in order of sequence. This is where all the dialogue happens so sometimes I edit out of order if I know the dialogue for one scene already and maybe not the others. I hope i'm making sense lol. I spend a lot of time on this part because the words might change given which picture I've decided on (some scenes I take multiple screenshots of and multiple angles and then decide later which one to use). I go pic by pic, doing editing and adding dialogue individually then saving them, closing them and moving on to the next one. Once I'm completely done then I flip through them a few times as if I were the reader to try and catch any typos, etc.
This got really long but let me know if that helps or if I can elaborate more!!
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korgbelmont · 2 months
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Male MC (Nick Taylor) x Stacy Green
A few weeks after the Blade of Morella was returned to it's home, a new portal has opened, and a visitor has arrived.
Written in the present tense
Tagging: @choicesficwriterscreations, @jerzwriter
Warnings: Mentions of death, swearing
Word Count: 1701
Notes: I don’t own these characters, they are the property of Pixelberry Studios.
Ash made on cooltext.com
It Lives In The Woods logo edited on Photoshop
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Forcing himself out of bed after a night of what feels like a perfect nights sleep, Nick heads out to the kitchen where he grabs a coffee and a piece of toast. He finds Stacy at her desk writing an article, her eyes glued to the screen.
Nick - Working on anything fun?
Stacy - Just typing up my interview with Kamilah.
Standing behind her, he leans down and kisses the top of her head. She reaches up, running her hand through his hair.
Stacy - The black hair suits you, you know.
Nick - Still getting used to it. It's one thing to dye it. But given the circumstances, it feels weird at times.
Stacy - I know. It's why I left you to sleep this morning. First night in ages that you actually looked peaceful. Might be worth speaking to Dan, get it out of you.
Nick - I'll manage.
Stacy - Nick...
She tears herself from the screen and stands, holding him.
Stacy - Don't be one of those people. Please...
Nick's phone starts ringing and he grabs it from his pocket.
Nick - It's Ava.
He clicks answer, putting it on speaker.
Nick - Hey, Ava.
Ava - Hey, Nick. Got something... different for you.
Nick - Different?
Ava - Portal to another dimension with someone just come through. Asking for you by name.
Nick - What?
Ava - Tall. Purple hair.
Nick - What?
Ava - Says she's the from the Ash Empire.
Nick - What?!
Stacy - How about you stop saying what and we go look at this. Ava, where are you?
Ava - I'm in New Orleans. Been doing some work with Ivy.
Stacy - Okay, we can book a flight this afternoon and fly out either this evening or tomorrow.
A moment of silence passes before Ava speaks again.
Ava - She said she's willing to wait.
Stacy - We'll see you tomorrow.
The line goes dead and Nick pockets his phone, confused.
Stacy - You okay?
Nick - Confused. What the hell could this be about?
Stacy - I don't know. But don't think about it for now, okay.
Nick takes a deep breath, trying to process the information.
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The next morning, the couple arrive at the Graveyard Shift bar and find Ivy and Ava sat in one of the booths with the purple haired woman Ava mentioned sat with them. She locks eyes with Nick and stands.
Valax - Nicholas Taylor?
Nick - Uh, just Nick is fine. And you are...?
Valax - My name is Valax of Morella.
Nick - Wait? Morella?!
Nick looks to Stacy, and she can see that there is fear in him. She keeps hold of his hand, stroking with her thumb.
Stacy - What do you want with Nick?
Valax - There's remnants of beings who sent the blade of light and shadow through. Their hopes are to use someone as a way to open up a portal and invade this realm.
Stacy - Like a signal.
Ivy - Sounds like it. And they have that signal now.
Ava and Ivy give Nick the same look as Valax.
Nick - Me...
Valax - Correct.
The strength in Nick's legs give out and holds himself up by placing his hand on the table nearest to him. Stacy balances him, turning to Valax.
Stacy - Is there a way to stop Nick being a signal?
Valax - There is. And I can do it.
Nick - How?
Valax - By taking out the residual shadow left within you from the sword.
Ava - Sounds easy enough.
Valax - It'll hurt. And there is a chance that the shadow could fight back and potentially take you over again.
Stacy - What?!
Valax - Or it could potentially kill you. Taking the shadow out of someone has never been attempted before.
Nick sits down, the weight of Valax's words sitting on his shoulders.
Ivy - Is there anything you need?
Valax - Somewhere quiet.
Ivy - I have somewhere. I'm guessing we should get this done sooner rather than later.
Valax - That would be preferable.
Nick - I'll meet you there.
Valax - There isn't time.
Nick - I just need a moment.
He takes his leave, heading out. Stacy and Ava follow after him. Outside they find him sat on a bench. They sit either side of him.
Stacy - I won't ask if you're okay.
Nick - Furthest thing from it right now.
Ava - This has to be done. From what Valax told us, if we don't, it could mean something worse.
Nick - Yeah, guess we can't have that.
Stacy - Ava, can you give us a moment?
Ava stands, heading in the direction of where she's been working with Ivy, leaving the couple alone. Stacy takes Nick's hand in both of hers, her breath shaking as much as his.
Nick - So this could be it for me. Completely.
Stacy - No. Don't think like that. We'll get this out of you, then have some fun here in New Orleans for a few days.
Nick can't help but smile at her hope, resting his head on her shoulder.
Nick - I love you, Stacy. So much.
Stacy - I love you too.
They remain like that for a little bit, Nick taking in the scent of her perfume for what could be the final time. After what feels like not long enough, they both stand, heading to join the other three.
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Strapping Nick to a chair, Ivy and Ava check the tightness.
Ava - How's that feel?
Nick - Like it should hold.
Nick looks up at Valax.
Nick - So what exactly happens with this remaining shadow once it's out of me?
Valax - I can destroy it. And then I'll return home.
Nick - Simple enough.
Valax - If it doesn't ki--
Stacy - Please don't.
Taking a deep breath, Nick nods at Valax, steeling himself.
Nick - Let's do this.
Valax nods and reaches her hand out, shadow engulfing it. Nick feels something in his chest tighten, and it only gets worse.
Nick - Ah! Fuck! Ah!
Valax - Just hold on.
She closes her hand into a fist and it's then the pain hits Nick like a bus as his entire body tenses.
Valax - Come on... Let go of him...
Nick cries out in pain as Valax's straightened arm begins begins bending, pulling the shadow more and more from Nick. As the pain takes him over, he can feel more than just the shadow leaving him. Valax uses her other hand, letting shadow engulf it to pull the shadow once and for all from Nick. The shadow covering her hands turns to light and she surrounds the shadow pulled from Nick, and the light crushes it, soon leaving nothing.
Ivy - Is that it?
Valax - It's done.
Stacy - Nick!
Stacy rushes over to Nick, his head hanging with no sign of life. She places her hand against his heart.
Stacy - Hardly a beat.
Valax - Let me...
Valax creates light in her palm and presses her hand to his heart. Nick brings his head up, taking in a deep breath. Ivy and Ava quickly work to undo the straps and he nearly falls to the ground. Stacy catches him, holding him close to her.
Stacy - I got you.
Nick looks up at Valax.
Nick - Thank you. You weren't kidding about the pain though.
Valax - I did warn you.
The couple stands and Stacy keeps hold of Nick.
Ava - So is that it? No more chance of something coming and killing us all?
Valax - It is done. There's just one thing left I wish to do. Give me your hands, Nick.
Nick - What for?
Valax - You'll thank me for this.
She takes his hands in each of hers while Stacy keeps an arm around his waist. One hand lights up with light and the other shadow and Nick's veins on his wrists take the colour of both. Valax seems to pull a bit of each from him and crushes them together. She begins widening her hands from each other and as the gap becomes wider, the light and shadow intertwines, and begins taking form. The magic around her hands fade and she takes hold of a black and silver sword, handing it to Nick.
Nick - What's this?
Valax - Made from the a piece of the light and shadow already within you.
Nick - Should I be worried about how a small piece created this?
Valax - No. If it was more of one than the other, then yes. But I could feel within you how balanced it is. There may be more to you than you realise. But this will serve you for as long as you live.
Nick - Thank you.
Stacy - Thank you for saving him.
Valax - Of course. I've known love, and wouldn't wish it be taken from anyone. But now I must return to Morella and inform that the threat is over. Live well, Nick Taylor.
Nick - And you.
Valax opens a portal and steps through before it closes, leaving the four.
Nick - I think I want to sleep for a month.
Ivy - There's a room here you can both use.
Stacy - Thanks.
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Long after Ivy and Ava have left, Nick and Stacy lay in bed with Stacy holding Nick.
Nick - I wonder if this means the black hair will start to go.
Stacy - If it does, I'll miss it.
Nick - I just hope it grows out back to it's natural brown.
They both laugh as they talk into the night, and soon enough sleep takes them.
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MORELLA
Meeting with Tyril Starfury on a balcony, Valax gives him a nod.
Valax - They can't use him to open a portal anymore.
Tyril - Good. If we're to deal with growing remnants of the Shadow Court, we need to keep them in this realm.
Valax - Agreed. But if it should come to it, I believe Nicholas Taylor would make for a valuable ally...
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hes-a-plant · 10 months
Text
Make Filet Crochet Patterns!!!
I found this website called flosscross.com which is super awesome for making filet crochet and cross-stitch patterns from images.
Here's an explanation of how to use it for filet crochet:
Find the image that you want to use. It's important that your elements aren't too small, especially for filet crochet, as it's going to be pixelized. Also, keep in mind that your image will be simplified to only two "colours" - boxes that are filled in, and ones that aren't. If you have a more complex colour image, it might be a good idea to make it black and white ahead of time, so that you can have better control over what it looks like, and edit contrast. To do this, use Photoshop and "posterize" - this makes it so that there are only two colours in your image, black and white.
Go to flosscross.com. I would heavily recommend doing this on a computer, it works a lot smoother.
Import your image. It will prompt you to crop your image, you can also edit this later.
Select chart size. This is where it gets tricky. If you know how big you want your finished product to be, good for you. If you want it to be approximately a certain size, crochet a swatch to determine how big each stitch is and do some math to see how many stitches you would need. If you have absolutely no clue what size you want, and just want a pretty final product, pick an arbitrary size that looks kind of okay and bear with me.
Select your palette. If you were doing cross-stitch, this would decide which colours would be closest to the ones in your image. But, with filet crochet, there are only two colours. See the box where you can type in "Max Colours Count"? Do not erase what is in the box and type two. The website will crash. Instead, make sure that there is always a value in that box. Mine reads 30 to start with, so I will delete the 0, and replace it with a 2 so it reads 32, then use my arrow keys to go in and delete the 3 in front. Your pattern might show red and white, or blue and white instead of black and white, this is ok. It depends what colour is the most dominant in your picture. You can change this later.
Brightness and Chart Size. If you haven't picked a chart size yet, this is when you will do it. You're going to go between the chart size tab and this one, changing the chart size and the brightness. You want to find a balance between image resolution and project size. Changing brightness will make the lines heavier or lighter, and can help all elements of the image be seen. This will take a bit.
Reduce Colours. You don't really need to do anything here. Do not make your white transparent. You won't be able to count your number of stitches when reading the pattern.
Editing. Here, you can get rid of any pixels that are out of place. Make any final edits to chart size under Edit>Change Chart Size. Select the symbol that you want to represent your colours with, I'd recommend going with the white square for your white (or "empty") stitches. You can change your symbols by clicking on the little box or square under the colour that is selected.
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9. Make sure the symbols look okay. Click on the box with an x in it on the top menu, and view symbols. Make sure they are legible.
10. Export your finished pattern! I like doing mine as a PDF, as it's the easiest. At this point, if you have a weird colour instead of black, you can un-check the Colored Pattern box under pattern setup.
Here are some screenshots of the pattern that I made.
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Here's the first page.
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Here's the second page, the actual pattern. When I print this out to use, I plan to highlight the squares as I do them.
Enjoy! Let me know if you have any questions! :D
-Cactus
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claraswald · 9 months
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hi, idk if you take gif tutorial requests or not, but how did you make the text appear in the ghost story set with thobm? thank you!!
Hi!! I'm more than happy to explain :D Making a text fade in is, in my opinion, is a relatively simple process that you can do both on video timeline and frame animation, but I have a tendency to overexplain things, so this tutorial is probably longer than it should be. I hope you can bear with me lol
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with video timeline
okay so, if you are working with video timeline, go to your text layer and click the little arrow. so that this list of options will pop up.
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click on the little clock next to the word opacity and a little diamond will show up where your indicator (the blue arrow) is. That is your first keyframe, where the fading in will start. Go to the layer window and change the opacity to 0%.
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then move the blue arrow to where you want the fading effect to end and then change the opacity to 100%, photoshop will automatically create a new keyframe. And it's done, that's your fade effect!
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You can move the keyframes too, if you want to change the length of the effect. Personally I prefer to have the first keyframe a little later (not at 00:00), I think it looks smoother when it doesn't start right at the beginning of the gif, but that is a personal choice.
If you want your text to fade out, the process is the same but reversed. You go to the end of your gif (or to whatever point you want your text to fade out at) and create 2 keyframes. Make first one have 100% opacity and the second have 0% opacity.
with frame animation
if you are working with frame animation, first you need to make sure that this little box is NOT ticked off (basically make sure it looks like in the picture). This is important because otherwise any change you make to the first frame will apply to the rest and that would be a mess
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Now, with frame animation you have to manually change the opacity of each frame. So say you want to use 5 frames for the effect, for example, since 100/5=20 the opacity would increase by increments of 20% for each frame. Select the frame where the effect will start and then change the opacity to 0%
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Then select the next frame and change the opacity to 20%, etc etc. Here is what it would look like:
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if you want the effect to be slower, the increments will have to be smaller. So, for example, for 10 frames it would be like this:
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Depending on the amount of frames you want to use, you might not be able to use the same increments. For example, here I used 7 frames and the increments sometimes were 14% and sometimes 15%, but it is not noticeable, the gif runs just as smooth.
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If you want the effect to start later, not right at the first frame, just make the frames have 0% opacity until you reach the point where you want the fading to start, then start increasing the opacity. And of course, if you want the text to fade out, the process is the same, but you decrease the opacity with each frame.
And that is it! I really hope that was understandable, especially the frame animation part. If you need me to explain myself better, or you would like more screenshot to see what I mean, feel free to ask!
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creativexspirit · 3 months
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Rolling playlist gif for GIMP: a tutorial ▬ by Joy from @creativexspirit​ 
Credit where credit is due, I fell in love with this gif tutorial but EH I don't use Photoshop anymore so I made it my mission to recreate the effect in GIMP.
This tutorial uses AnimStack, a Script-Fu script for GIMP to give you tools for the creation of animated GIFs. As it's super useful, even if you don't follow this tutorial I highly recommend to download. How to install AnimStack to GIMP in tumblr's FAQ: https://animstack.tumblr.com/faq
This tutorial uses my playlist template.
Tutorial with screenshots is under the cut.
Like or reblog if you download. Please don’t request as your own, respect my work. Don’t hesitate to tag me if you follow the tutorial! I would love to see your edits.
STEP 01.
Change the titles, the colors, the icons. Tip if you want to change the song title that are not visible: move the layers group "Song list", so you can see the text you modify.
Add songs by copy/pasting the "Song 5" layers group. Keep this layers group inside the "Song list" group.
Try to move the layers group so that it is aligned with above songs.
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To place back correctly the "Song list", here's a tip: use the align tool and click on the "Song list" group. In the tool's options, in the "relative to" drop down menu, choose "Selection". Back to the layers window: in the "Background" group, right click on the "Color nuance" layer and choose "Alpha to selection". Now you are free to align your "Song list" layer group to the top and center of that selection, and it should be alright!
STEP 02.
Now the tutorial actually begins. Flatten all layer groups using Image > Flatten Layer Groups. (Don't mind my GIMP language, it is in French but the AnimStacks tools are in English, you should have the same menu.)
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And now your layers window should look like mine, minus the links on the layers.
Now, see the linked layers? Merge them all together. You should end up with only 4 layers: "Song list", "Background", "GUIDE MASK SONG LIST FOR GIF", "Arrière-plan".
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Note: you don't really need the "Arrière-plan" layer, so if you want to, you can delete it or you can merge it with the background layer. In my case, I will delete it.
STEP 03.
Reorder your layers. This is very important as AnimStacks will process the layers from top to bottom, so the layers order counts.
Put your "Background" layer on top, your "Song list" layer under it. As for the guide mask, we don't really care as we will delete it later.
STEP 04.
We are now going to add AnimStacks tags to our layer names. Here you'll have to do a bit of maths because you can choose the number of frames your gif will ultimately contain and adjust the tags parameters accordingly. This might seem complicated but it really isn't. I'll start by showing the tags to add, and explain how this will be processed. I will then give you the maths to choose your parameters accordingly.
Below, the tags I have added to my layers. You will have to write the same things as I do but what you might change is:
the number of "30" in Background.
the y parameter of the offset tag "-12".
YOU ARE NOT ALLOWED TO REMOVE THE [copy:0] and change it.
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OK but what does each tag do? Remember, AnimStacks process is from top layer to bottom. Here the first layer is our Background layer: [*30] means it will duplicate the "Background" layer 30 times.
Now, onto "Song list" layer: [copy:0] will check all layers above the "Song list" layer that has no tag (at this point, all of our 30 "Background" layers have no tag), create a group for each found layer and place the "Song list" layer at position 0. Ok this explanation is wacky, for better explanation, please check the documentation.
The offset tag is necessary for the rolling effect: at each addition of the "Song list" layer, it won't just be a simple duplicate of the "Song list" layer, but the layer will have moved a little by (x,y) = (0,-12), allowing us to get that "rolling" effect in our gif. (And now you get why I said "y parameter".)
OK now, but how did I choose my parameters? So for reference, I only have 5 songs - I didn't add any song to the song list. For my maths, you need the height of the "Song list" layer. Check it with the scaling tool.
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The height of my layer is 353 pixels (awful number meh). I choose to have 30 frames. So the move of the layers will have to be of 353/30 = 11.77 pixels. I choose 12 pixels because you can't have floats for the number of pixels, can you?
DO NOT FORGET the minus in front of the y parameter. My y parameter is "-12". Otherwise, the playlist will roll towards the bottom.
STEP 05.
We are now going to add a mask to the "Song list" layer to avoid seeing the title songs where we shouldn't see them. See that obnoxious orange layer "GUIDE MASK SONG LIST FOR GIF"? Yes, it is its time to shine.
Right click on the "GUIDE MASK SONG LIST FOR GIF" layer and choose "Alpha to Selection". (Well in French it's Alpha vers Sélection.)
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Now, we are going to use that selection to create a layer mask on the "Song list" layer.
Right click on "Song list" and choose "Add a layer mask". /!\ Your selection must still be active. (Well in French it's "Ajouter un masque de calque" but you can see the icon right? By the way, you can also add a layer mask by clicking on the icon in the layer window, see circled icon in red.)
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Now, choose Selection for the creation of the layer mask.
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If you don't have the above results for the mask, it might be that you foreground and background colors are not the same as mine, meaning black and white respectively.
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If you don't have the same colors as me above, click on the small pair of squares the blue arrow I draw is pointing to. It will default your foreground and background colors to black and white. Keyboard shortcut is D. (I don't think I changed it.)
And now, we don't need the orange guide mask layer anymore, so you can delete it.
STEP 06.
Last check before process: make sure you have no area selected (or you will get a weird result). Cancel all selection with Selection > None.
STEP 07.
We now begin the AnimStacks tags process.
In Filters > Animation, find "Process Animation Tags" and click on it.
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The process might take a while depending on the number of frames you have.
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If everything is correct, you should have something similar to that. Now, we can check if the gif is correct and if we liked the number of frames and y parameter by previewing the animation in Filters > Animation > Playback...
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STEP 07.
This step is optional but you might want to change the time of our first frame to be longer so people have time to read the beginning. Do so by changing the layer group name by adding (800ms) to it. This means the frame corresponding to that layer group will be 800ms.
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You can check if it's long enough by doing the playback again.
STEP 08.
Now, we have to flatten all layer groups if we want to export to a GIF. In order to do so, we will just use the same trick as the beginning: Image > Flatten Layer Groups.
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STEP 09.
Optional, but good to do: to make our gif lighter, we are also going to optimize the gif. In order to do so, do Filters > Animation > Optimize (for GIF) I don't know personally the difference with the other optimization method. Choose either you'll have similar results it's a difference in the implied algorithm I guess.
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This step might take a while, but it's ok. When it's done processing you should have a new image created with the same results as me above. You can playback to check if everything is correct but here our job is done! We will now export the GIF.
STEP 10.
You can now export to GIF! Go to File > Export as..., choose the name of your file and end it with the .gif extension.
If you get an error message because some layers are not cropped, no worries: just choose the "crop" option (but you should not with the optimization).
Now, don't forget to check "as animation" when saving the GIF, if you haven't done the optimization, choose the delay between frames (the first frame will still be of 800ms), and choose "replace".
WITHOUT OPTIMIZATION:
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(With the optimization process, all layers already have delay and animation replacement type thingy specified.)
AND VOILA, YOU HAVE YOUR GIF! If you mess around more with AnimStacks, you can do cool stuffs with it!
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Now, how do you pronounce the G in gif? Also shh, don't say you saw the mistake I made when changing the title's songs in the tutorial, I wanted to write Everybody Talks by Neon Trees.
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