Otherworld Nomad

instagram: otherworld__nomad

[Otherworld Nomad @Leonissleeping]

My new creative project... #illustration #comics #scifi #drawing #art

[Otherworld Nomad @Leonissleeping]

Is nobody going to adress the elephant in the room???

[Nature is Amazing ☘️ @AMAZlNGNATURE]

Imagine explaining this to your insurance

[Otherworld Nomad @Leonissleeping]

Witch Hat Atelier is so dang beautiful oh my god.

[Otherworld Nomad @Leonissleeping]

@MarioNawfal That's not the only reason. He harassed strangers in public and deep faked girls kissing him. He showed no regrets and said he would do it again. He was actively antagonising Koreans for views. He's a dickhead and he deserves more jail time than this.

[Otherworld Nomad @Leonissleeping]

@OocTobeyM Gas！

[Otherworld Nomad @Leonissleeping]

@kevincarrico This is a fake and baseless headline and you've never spent a real second in hk so shut your mouth

[Joel Chan @kjoules]

Easter is approaching and you know what that means: It’s the Discovery Bay Cum Carnival

[Bill Masuku Art @billmasukuart]

Yes, other countries have supers

No it's not a stupid question

Please see my art here 🥹 I'm a comic book artist and writer from Zimbabwe 🇿🇼

[Otherworld Nomad @Leonissleeping]

@kintsugeist Imo what helped me was just drawing with confidence. Not trying to replicate the line perfectly but rather use it as a guideline

[Anish Moonka @anishmoonka]

Warm colors increase your heart rate. Cool, washed-out tones lower it. Every remake you’ve watched in the last decade has been deliberately color-graded to flatten that signal.

It started in 2000. The Coen Brothers shot O Brother, Where Art Thou? in Mississippi during summer, when everything was, in Joel Coen’s words, “greener than Ireland.” They wanted a dusty Depression-era look. Cinematographer Roger Deakins tried every trick in the book: chemical treatments, lens filters, old darkroom techniques. Nothing worked. So they did something no one had done before: digitally scanned the entire film and recolored it frame by frame. Deakins spent 11 weeks turning lush greens into burnt yellows. No feature film had ever been entirely digitally color graded before.

Every major studio adopted the technique within a few years. And then the problems started.

Modern film cameras don’t capture what your eyes actually see. They intentionally record flat, grey, washed-out footage to capture as much detail as possible. The plan is for the color team to add vibrant color back in later. But the people doing that work stare at grey footage for weeks. Their eyes adjust. One filmmaker admitted he’d bring saturation up to 120% and feel satisfied, then realized the image still looked desaturated to everyone else. He had to crank it to 200% before it looked normal.

That’s just eye fatigue. The color draining also happens on purpose.

Muting colors hides bad CGI. If a computer-generated background doesn’t quite match the actors, draining the color smooths over the mismatch. The Lord of the Rings extended editions look flatter than the theatrical cuts for exactly this reason: the added scenes had less polished effects, so they were washed out to cover it.

Then streaming made it permanent. Bright colors look messy when video gets compressed for phones and laptops. Dull colors look consistent whether you’re watching on a 75-inch TV or a 6-inch phone screen. So studios color their movies for the smallest screen in the room.

Your brain registers the difference even if you can’t name it. Your eyes are wired to perceive warm, rich colors as closer and more immediate. Washed-out tones create emotional distance. When a studio drains color from a scene, they’re dampening the emotional signal the image sends to your brain.

Old film stock didn’t have this problem. Kodak and Fuji films had rich, punchy color built into the physical chemistry of the film itself. Each brand had a distinct look you could recognize. Digital cameras capture flat, neutral data by default. Getting that warm, vivid “film look” from digital requires skilled work that costs time and money. Most productions don’t invest enough of either.

Modern cameras can capture a wider range of colors than film ever could. The technology has never been better. The choices have never been lazier.

[PLGR @PluviumG]

dragons, preemptive fire

[Otherworld Nomad @Leonissleeping]

@yurimaxed Robert Downy Jr

[Otherworld Nomad @Leonissleeping]

For those that don't know: South Africans call traffic lights Robots.

[Wow, He’s Tsonga! @_aboihasnoname]

South Africa is a dangerous country it’s not safe, spread the word so foreigners can see this and stay away. 🙏🏾

[Otherworld Nomad @Leonissleeping]

@Variety A bit soon for April fools?

[Otherworld Nomad @Leonissleeping]

@VacksceneGaming Ai

[Otherworld Nomad @Leonissleeping]

@RossTweetsGames Fuck this old man😂 he acts like he wants to talk to you after you persue him. Theen proceeds to kick my ass multiple times. Took a lot of restraint to complete his quest. Incredible game

[Otherworld Nomad @Leonissleeping]

@Maxx_Artist Both. Absolutely fire man

[Otherworld Nomad @Leonissleeping]

@CultureCrave The bubble begins to burst...

[Music Encyclopedia @blackguymfwethu]

No DNA just RSA 🇿🇦

[RYAN OTTLEY @RyanOttley]

A tale as old as time. Every artist gets to handle being compared to another artist that does issues on the same title. When I took over as the main artist on Invincible issue 8, many didn’t like it. I had to ignore the negative comments. This happens all the time, readers get comfortable with the “actors” from an artist, when I say actors I mean we each have our own stylized way of drawing people. And when a new artist comes in, it can feel like all new “actors” were hired for the book. And really, each artist has a different method of cinematography, action and composition. And that can all feel very jarring to a reader when a new artist jumps on. So the comparison seems to be people getting used to my art since I did the majority of issues on the series. I did 127 issues, while Cory did 20 issues. So fans are very used to seeing mostly my art. So they compare in a negative way instead of saying “both artists are different! Both are good!” Thats what I prefer is said, because Cory is one of the best artists I’ve ever seen, his technical precision and design skills are unmatched. We just simply are different people who do things differently. Todd McFarlane just did an interview and mentioned the trouble of comparison as well on Spiderman. We all get to feel the sting of fans saying “this new artist sucks!”. Best to ignore.

[Otherworld Nomad @Leonissleeping]

@hadmyback Bro Wukong was amazing for me. Just fahk hard😂 could neve get past chapter 4.