a mystic deepweb of olives’ sip

 
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We go and we go and almost there and suddenly it’s all just past, paste tense, je je… life’s fast but olives will forever remain stuffed sexy ladies. This is not really the way I wanted to say, but’s already happening.

You know when you go to the supermarket and buy something, say olive oil; can you imagine where does that greenish thick liquid come from and I don’t mean which country, but how did it happen? How was the trip ( ’cause it’s totally a trip), where and how did it transform? What was involved, what was needed and whom and how did that people learn and got mixed up in the process? You know, all that

In this disposable era, I feel the world’s rapidly forgetting where do dings ( the word originally meant “assembly”) come from… we have access to so many stuff, too much if you ask me, and yet that new short-lived stuff doesn’t bring happiness, peace. Well, I’m all forward the development and (good) use of technology, nevertheless there’s some ancient, very refined and supercool technology that “needs” to be kept alive. Everybody and their dog knows romans’ secret souce to success in their conquering was the olive oil… the amphoras, the amphoras!! Coincidentally the healthy process of learning, practicing and ameliorating that same technology carries on a lot of fun, challenges and humbleness ( the looking up kind); so we could say it’s very practical, ja ja ja

Last december I went to the olives’ pick in the property of some friends of mine – they want to remain anonymous and we’d respect that. This was their first ( from beginning to end) time too, so a lot of learning during the process. Despite the photos below don’t show it, a huge amount of sharing and exchanging was involved; as a deep sense of belonging ( nothing to do with ownership) with its disctint sticky residue. Most compussively I wrote a lot of stuff, an orujo/bagaço ( olive’s marc) of portuguese, spanish and english extatic poopoozas, yiiihhaa!!

Anyhow, today I got delivered the olive oil and my oh my dear gunter grasss, that I have received the whisky from atop of the trees and already drunk, I see the light, I embrace the saviour and most of all I scream virgin virgin!!!! Yes I’m happy, proud, grateful… the process, the loop is complete, closed and so we can start all over again =)

I clumsily rescued some P&S’ quick snaps ( people no, sorry no pebbles) from back then/there. Hope you like it, but I wish you could also taste this… this nectar divine

 

{extract}

Do por os pés na cabeça da árvore, da magia em cada ramo, haja vento ou deixe de haver do equilibrio e da dança-balanço, da escorregadia pele ao abraço, da cabeleira verde, do suave cheiro a folha rija, azeitona espachurrada e musgo fofinho mas traiçoeiro.
No fruto do movimento o som da rede amparando os cocozinhos pretos e compactos, na conversa filtrada pela penugem fotosintética, a paissagem triádica, aparentemente sossegada, enganadoramente simples é sempre pano de fundo, cenografía ilimitada e, claro, orgánica.

Da variedade dos tons, texturas, densidades e formas de cada azeitona. Do preto sem esperança, tão saturado que absorve o ar, ao preto satinado, o azulado batiscafo, ao purpúreo que se funde em burdeos… já para não falar do infinito verde tão tosco na sua pureza que o pantone não consegue catalogar. Os cinzentos que fazem da pequena galega uma deusa persa, os castanho manchado, indecisso que salpica umas tantas e outras deixa.

Das oliveiras destemidas, acostumadas, ambientadas, lutadoras do seu spot que não tem frío, que mexem os braços ao ritmo dos ventos com a ponta dos dedos molhadas durante muitos muitos tempos, sem frutos, se encolhem, mirram, viram-se p’ra dentro ate chegar a hora do salto ao vazio…

Um gesto, um simbólico gesto que têm muito de práctico. e a natureza é só praxis, e o amor é só praxis, é saltar ao vazio, é lançar-se ao desconhecido sem comprobar primeiro se há rede, se existe alguma coisa que ampare a queda… Mas a queda também é amor, não como contrario mas como fé, palavra tão manchada, tão cheia de burbotos por uma praxis enganosa, falsa.
No amor tudo é verdadeiro, é a luz que faz as sombras, e se calhar aprender a reconhecer as fontes de luz, descubrir uma passagem por entre a escuridão, por entre o nevoeiro… na mente, perdidos…….. e de repente o salto, o salto ao vazio… como fazem as azeitonas desde bem antes do homen conseguir se equilibrar nos seus pes.

 

{extract}
 
 

gashô

 

 click, click - ramdom order gallery

 

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biu_vp_serralv_2003
biu_vp_nabahia
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  &

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free micro OSX app to stabilise footage

 

 
SOUNDTRACK
Clean Cut Kid Vitamin C | at the Mahogany Sessions
 
 

Hi there everybody shakin d soulz =)

The following text is a slightly modified CC of my last entry on a thread over at Personal-View dedicated to mac free stuff

 

DL >> rx_STAB         

 

 
So, what is rx_STAB?

A micro-app for OSX that invoques ffmpeg’s vidstabdetect & vidstabtransform to stabilise footage.

 
Where does this come from?

 
I’ve been editing footage that needed stabilisation and warp didn’t cut it. So I searched for alternatives. Though I didn’t find the holy grail, the Pythons got there before me, I stumbled with a script at videoHelp forums; this one

I know nothing about almost everything, it’s not humbleness it’s the ugly truth, nevertheless I figured that pasting the code into an automator bash wouldn’t be too difficult. And that’s what I just did.

 
What do you get out of using it?

 
The end of the world is inminent – as predicted by the oracle mr @K – it seems just logic that some sort of stabilization for the masses will be needed, who in hell wants to see catastrophes in shaky 4k?!!!

It is not the cure for cancer or the substitution for 15 axis gimbals, but at least it’s free =)

 
Usage, Indications, limitations, credits and disclaimer
 

  • Usage: simple, drag and drop files onto the app (droplet), OSX only
  • don’t know why but doesn’t work with movs, .MTS and .mp4 are just fine.

  • the app is open so you can change anything you wanna wanna want. Just drag it to automator, use the “document.wflow” inside or the bash below.

  • one thing you probably would have to change is the path to “ffmpeg’s” build (just drop ffmpeg’s unix file into a terminal window) or add a PATH. In the bash I used /usr/local/bin/. If you don’t have a recent ffmpeg build the easiest way to skip compiling is to download hybrid and with the Show Package Contents navigate to and use the ffmpeg exec found in Hybrid.app/Contents/MacOS

  • I used the -an -f null NUL version that Selur (developer of Hybrid) indicates, so it does not create the dummy video you can see below (the part of the black squares and vector dancers). Also lazily added a command that deletes the .trf file with the stabilization analysis info.
    If you want the dummy just add "${f%.*}_dummy.mov" -y after show=1 and delete the previous. If you also want to keep the .trf file, delete the find . -name '*.trf' -type f -delete before echo

  • The result file is a proRES 444 with 16le PCM audio, again change it to you heart’s will

  • All credit must go to ffmpeg developers and racer-x and Selur, see first link in post

  • The disclaimer is simple, the app it’s provided as it’s, use it at your own risk.

     
    If anyone manages to understand why doesn’t work with movs I’ll love to know. No payed software was used in the app or video ,-)

 
The bash itself

for f in "$@"
do
/usr/local/bin/ffmpeg -i "$f" -vf vidstabdetect=shakiness=10:accuracy=15:result="${f%.*}~na.trf":show=1 "${f%.*}_dummy.mov" -y
/usr/local/bin/ffmpeg -i "$f" -vf vidstabtransform=crop=black:input="${f%.*}~na.trf" -c:v pix_fmts=yuv444p10le -sws_dither none -q 0 -quant_mat hq -c:v prores_ks -quant_mat 4 -alpha_bits 0 -profile:v 4 -vtag ap4h -c:a pcm_s16le -f mov "${f%.*}_stab.mov"
find . -name '*.trf' -type f -delete
echo "$f"
done

 
 

DL >> rx_STAB         

 
 
gashô

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MB_dargonfly

 

Today I woke up and saw my father

He was there, looking back at me… with this expression … funny, sad, tragic even, peripatetic, wise, the I’ll hear you alright but most definitively I wont believe you sort, with abandoned puppy but ever sparkling kind eyes… that was so him.
For a man that didn’t know how to laugh you had an outstanding sense of humour.
In depite all, or maybe ’cause of it all you kept going on; I salute you Pachus, father.

 
Then I toasted a couple slices of homemade rye bread and boiled a moka of Chiapa’s coffee. Went outside to have a smoke, to hear the neverending gossip of the birds, to say yellow to the sun, to the wind, to the clouds.

 
Took a very hot shower, washed my teeth, came down to the suite, put my colourfull skull t-shirt, lighted an incense, offered the merit, connected the hard drives and deleted all the timelines.

 
Now lets start again, fresh, newborn baby Jesus on anphetamines power editing
 

gashô      

 

 PS
 For the true geeks without frontiers

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5 days with Paulinho // 12 photos I like (IV-2016)

PM_ses

Pau making the sun shine more, sweat even  

 
 
Hey there, how are you?

Very recently I had the opportunity to spent 5 days with enimitable Paulo Morais, a true Jartist and close friend of mine, hey where’s my wallet?!!!

Paulo was doing an artist residency in Alemtejo at the beautifull Moinho Fonte Santa (link) and so I went to help, to film, to cook, to nag, to shout, to dream, to assemble or destroy… whatever was needed and of course also what was not needed, this is my nature…. perhaps

It were 5 good days, busy, challenging, teasing, rewarding, humbling, surprising and all of those mouth-filling adverbs that may make this sound like a cool thing, because it was actually very nice. I also met the 3 beautiful people Ema, Manel and Mafalda who run the show and a pack of very old dogs, one of them was the reincarnation of the formidable Charlie Rivel (vid), it’s truuuuuuuuue.

Could but mention not Kayu his little samurai brother Joyu and their mum Marta, gashô

 

 photo by Marta Morais

joyumax
 
I didn’t write a single word and due to the fact that we were filming all the time I only manage to steal a handfull of pics. These I got affectionate with =)

 

 

CLICK ANY IMAGE TO ACCESS GALERY VIEW

 

 

Well, that’s almost all, I wanna I wanna I wanna….
BTW finally it is possible to comment on each individual post, jajaja like it’s going to make any difference, yihiii, alright, shake it up, caracoles anarquistas!!

 
Case you feel like having a speeded up peep on the tragic clowns fighting for better visuals’ circus party aka first stage of the developing process, here you go:

 

 

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SOUNDTRACK
Cryogenia mixed with Sunny by Rocky Gresset and David Reinhardt

Merci a joethepro over at personal view’s forums

GH2 with Valkyrie 444 TYPE-ZERO4 BETA5 patch
mostly VFR 80% • Edited and graded in Resolve

 

Ok I stop pelling the potatoe and release a magnificent shake of pink poopooza

The starting point was very simple, once again I had ascertain that even at the lower ISO of my camera (160) there was already a lot of noise being cooked in. As in most if not all modern single-chip digital cameras, from the three R(ed)G(reen)B(lue) channels the stream output’s composed, blue is the noisiest, followed by red and finally green is the cleaner by a tyronosarius’ head. POC:

 

RGB

 

Without going into the properties of light itself (e.g. hue’s wavelenghs) this happens because the current technology mimics the physiology of the human eye, which already is an incredible subject for study – see cone cells. Thus the Bayer grid (named after its inventor, Bryce Bayer of Eastman Kodak) that filters the fotons, has 2 green “cells” for each Red and Blue. # See PS at the end for the analog process

 

There’s many many many implications/consecuences/”problems” deriving from the adoption and implementation of this technology; despite I have no degree in physics or digital image ingeneering, I could probably go over some of them in a reasonably informed way, but quite honestly I don’t think there’s any benefit (4 you or me) in doing so. Nevertheless and as a footnote, never stops to amaze me that digital images are just an algorythm’s interpretation (quite credible too) of an already constrained portion of what’s possibly there … and yet the human eye functions pretty much the same… so what’s realy out there that we cannot see? I shall ask my neighbor who is brazilian (???)
 

 

Ok, so coming back to my very concrete “problem”, in the proccess of trying to mitigate the noise, I end up testing a couple of several things:

A – Inspect, reflect, hollyflec and conspurcate each RGB channel separatelly to understand better the bitterness of my good seagul friend’s soul and how to ease it without robbing a boat

B – Use only the information in the green channel (again, the cleaner) to construct the luminance of the image

C – Blur the noise on the chroma side of life just a tiny fly-fart, chuf

D – If possible, adopt the technique into my already chaotic workflow, particularly experimenting with (cross-procces kind of) negatives

 
 
 

 

MAKE A PAUSE TO ENJOY LIFE WITH MONONEON

 

😛

 

 

After learning how to do the routing, omelette without eggs and of course much researching, I was left with a final issue; I had been employing free Tuttle’s ChannelShuffle OFX to achieve the green-luma thing and though this plugin works in Davinci Resolve it wasn’t build with the platform in mind which produces a slow and not as stable as desirable performance. So trying to mimic the effect while speeding up the process natively in Resolve I turned to PV forums. There the user joethepro suggested DR’s channel mixer, which if not e x a c t l y the same, producced a very similar result; my cow’s a photocopy of your ponny man!!
 

 Up mixer, down shuffle, stage before color grinding; once again thanks Joe

result

 

Maybe all of this sounds nerdy and complicated, but once the proccess was integrated I ended up having more control over the textures (imagine the threads that make a blanket), ditching some of the luma noise and bluring a bit the chroma one without compromissing the speed and quality (gypsy selling stolen women under-ware in sundays’ market CHIP CHEAP, 5 for 1, only best quality!!!!)… stone soup nevertheless; still difficult to accept how much coherent and pleasant my 10 year old pany dvpal 3ccds is colour wise =)

 

dr_grade

 

 

To finish this little chapter, now – and while there are some nodes that do nothing, too lazy to delete them and once in a while they alert from police – I can apply the franken-tree-grade to a group and then just balance a shot in the very first node and changing the whole look of it by exchanging the LUT node at the end. Worse enemies than noise also peep out from the footage but that battle, BandingLoo, I already fought it some time ago with mixed results.

cardo_comp

 

 

 

Joethepro also suggested trying the technopotatoe vintage strip colour thingie (basically “reverting” RGB channels to its complementaries – see spectral senttizers aka dyes below), so we stript and stript and stript, with this very well explained fashion by DIT Spot

The footage is from BlackMagic’s commercial shot by the good John Brawley, you might find it here, 11GB though!!! –Internal_House_Shot.zip

For just 1 DNG frame, 10 MB DL

gashô  

 

 Soft-stript-frame-grab-xample of quick and dirty grade

A

 

 

 

 

PS  

 

For comparison sake and because it’s such an organically balanced complex achievement of humans, here’s a basic layered structure of photographic panchromatic film before and after being developed and explanation of the process, courtesy of Rochester

filmstructure

 

Photographic film captures the image formed by light reflecting from the surface being photographed. The sensitive elements in the film are crystals of, most often, silver halide which can change their structure when excited by light (photons). In general less sensitive films (slower films) have finer grains that are closely packed and more sensitive films (faster films) have courser grains.  A film may have a distribution of grain sizes to obtain certain desirable properties.  The reason for the sensitivity relationship to grain size is related directly to how the grains are converted from a stable non-developable state to another stable state (latent state) from which they can be developed chemically.  This happens in something like the following way.  When a photon of light strikes a grain it dissipates its energy in the crystal (grain).  This energy may or may not be enough to flip the crystal into a latent state.  Generally it takes a few photons to flip the grain (depending on its size and sensitivity). In the meantime, thermal energy is jiggling the grain and tending to drop it back into its normal state. If enough photons strike the grain in a given time, the grain flips to a latent state and sticks thereWe then have a grain that can be turned opaque chemically. Thus the photons build up a latent image that is later developed. The darkness of the image is more or less proportional to the light striking the film. It takes about the same number of photons to flip a large grain as a small one. Since the larger grain intercepts more light more of the larger grains will be flipped and thus less light is required to create a latent image. This later phenomenon makes coarse grained films faster (more sensitive). All the silver halide salt particles reside in some emulsion layer depositing on the base layer of films. Color film has three layers of emulsion for three kind of silver halide which are sensitive for the light of 3 different light wavelengths.

 

And a diagram showing how the photons make it through, literally flipping our allies, I mean hallides, exciting ONLY the layer which contain crystals’ grains sensitive to their wavelength; those layers have been dyed with organic molecules known as spectral sensitizers that help with the “colour blindness” of the crystals. If the silver-halide crystals get crazy they’ll go looking for holes to make unstable silver (uuuhhh); given the miracle that enough photoelectrons and positive holes gather in the crystal lattice’s party club (at least two to four silver atoms per grain combine) a stable latent-image site will be borned.

You’ld never want to “see” that, cause you’ll end up killing the baby; it is only when the film’s processed – using reducing chemicals that make exposed silver-halide grains develop to pure silver (later bleached) and washing away the crystals that hadn’t change at the fixing stage – that it gets inverted to its complementary colours and the overall orange-brownish looks (from further dyes to fix stuff). That’s so because of the oxidized developer reacting with chemicals (couplers) in each of the image-forming layers (like in life, many insensitive layers in there too). This reaction causes the couplers to form a colour which varies depending on how the silver-halide grains were spectrally sensitized (dyed for traumatised people)

  • Red-sensitive layers form a cyan-colored dye.
  • Green-sensitive layers form a magenta-colored dye.
  • Blue-sensitive layers form a yellow-colored dye.

After washing and drying, there’s no silver anymore, ohhhh… just a substractive based colour long delicate magic band we now “have to print” and print real good and then we restart the process with exposure and contrast tests’ strips and meet our miracle silver workers again… pure TAO, cho biuchiful… sniff

For an in depth explanation see – How Photographic Film Works

film

 

A last nostalgic tearful, heart bleeding, soul ripping angst look at the faces of our good hard working little crystal meth friends, I miss y’all crazy dudes =(

halides.jpg

 

 

 

Finally a quick aniso vs iso tropics’ grid 😛 or how apparent chaos can be more diligent than rational order or still how intuition caught a giant tuna with a lullaby song.

From masteringfilm  

masterinfilm copy

 

 

As now you might want to replay the video and it’s so up there, here:

 

 

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just a couple more… videos

 

 
This one was borned quite “naturaly” and efortless. I had some unused public domain footage accumulated in a hard drive and then there’s Cyrille’s beautiful cover. While the baking proccess, got to stay overnight at my good friend Dani, somehow the sharing of conversations, dreams, goals and fears also made its way into the video and that truly is the cherry on top of the seal.

Of course I had to sprinkle a little bit of grading tests to reasure the unfolding of time wasting itself 😄

 

otter_circles

 
 
From 2013, I also rescued the full version of RUNCHI, which is nothing more than a poor recollection in the form of a visual diary reflecting (from a mirror POV) the passage of a brand new friend (Runchi) together with a brand old one (Alex) onto Lisbon’s urban landscape. Maybe there are not definitive traces left on the asphalt, but those our hearts gathered are surely clear. Sometimes Alex’s a pain in the ass, but truth to be told, without him there would be much less magic in my life, seal the deal maaaan!

For a small gallery of pics (updated with the full version) you can visit the original post – HERE

gashô    

 

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