Listen, I can move in all kind of circles, but I’m a n**** at heart. Now, can I talk intelligently? Can I- I could be. So, I black because I don’t understand the type of black that they are. “Honestly, these ain’t the same type of black people that I grew up around. This is the only way you’re going to change the dynamics in South Carolina.” We need people to run as Republicans in these local elections. Like you need, we need them to run as the other side, even though they for our side. We know that because Project Veritas Action obtained a recording of a February 15, 2022, phone call that Matthews had with David Solomon Ballard, an inmate at Perry Correctional Institution. It turns out, though, that Matthews isn’t above “toxic politics” when it comes to plotting a Democrat takeover of South Carolina’s strong Republican leanings. She makes no secret about the racist core of her campaign, although it’s phrased very tactfully: “She was inspired to run for office in 2018 because she believed that people who look like her and come from backgrounds like hers are often affected the most and heard the least.” Matthews also explains that she wants to change the “toxic politics that rob our most vulnerable communities of their power.” Senate (who’s now in a run-off with Catherine Fleming Bruce) presents herself as the all-American Black candidate for the little people: She’s a single mom of five, the daughter of a Vietnam vet, and the granddaughter of a sharecropper. If you go to Krystle Matthews’ campaign website, you’ll see that this Democrat party candidate for the U.S. Yet again, it comes to us via Project Veritas. One link which, given the momentous news about the Roe, Bruen, and the equally important Makin decisions, would have otherwise got completely lost in the sauce is quite illustrative of the pickle we find ourselves in. Wade both in rhetoric and in acts of violence fomented by same merely underscore the situation.
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Certainly not when the American left seeks to destroy the very institutions and culture with which we are supposed to find the common ground to work out our differences in the interest of "live and let live." As a dear friend of mine would say, "Ain't happenin', babe." The reactions to the overturning of Roe v. Monday and continuing a theme from the end of last week, given the absolute and complete divide between the two ideological camps in this country, I am increasingly of the opinion that there can never be any reconciliation whatsoever.
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This difference in grading behavior is being provided in response to colourist requests for behavior more similar to that of traditional legacy log film scan encodings when grading using a working space from the "ACES" family of colour spaces.The Morning Report - 6/27/22 -J.J.
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The addition of a "toe" results in a more distinct "milking" or "fogging" of shadows when a lift operation is applied (and compared to the same operation applied in ACEScc). This is a description from Scott Dyer (ACES Mentor at Aces Central) :ĪCEScct is very similar to ACEScc across most of the range, except that it adds a "toe" to make it more akin to traditional "log" curves (e.g. This means that grading tools respond in a more predictable fashion and allows for the use of ASC-CDL’s to be used in the workflow. The preview is removed before the Display Transform is applied.Īpplies a standard log type encoding to the ACES data. This allows the colour tools to respond in a more familiar way to the colourist than they would in a linear space. It was developed by hundreds of the industry’s top scientists, engineers and end users, working together under the auspices of the Academy of Motion Picture Arts and Sciences. In addition to the creative benefits, ACES addresses and solves a number of significant production, post-production and archiving problems that have arisen with the increasing variety of digital cameras and formats in use, as well as the surge in the number of productions that rely on worldwide collaboration using shared digital image files.ĪCES is a free, open, device-independent color management and image interchange system that can be applied to almost any current or future workflow. From image capture through editing, VFX, mastering, public presentation, archiving and future remastering, ACES ensures a consistent color experience that preserves the filmmaker’s creative vision. The Academy Color Encoding System (ACES) is the industry standard for managing color throughout the life cycle of a motion picture or television production.