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Amateur things

edgar

179,189 subscribers

17,001 views • 1 year ago •via X (Twitter)

Comedy Arts Education

Anya Rossi• Live Now

Private livecam show

3 Comments

brad1 year ago

🐎🐎🐎🔥👑

Shaun L. Tait1 year ago

Sheer magnificence at its primal finest

DarkAlleyFFboy1 year ago

💪🏻💪🏻🔥🔥 Newer using thighs at Gym?

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SpaceX's first employee Tom Mueller Tom Mueller says he first met Elon Musk by making amateur rockets in his garage: " I've done a few things in my garage."

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“One of the worst things you can do on the golf course…” Padraig Harrington shared some great advice for amateur golfers about why it can be counter-productive to equate hitting fairways and greens to success.

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HELLO 😳🍿 Giorgio visioli welcomes Joe Howarth to his old amateur boxing club Repton and has a few things to get off his chest ahead of Wednesday’s English Title showdown 🔥 Fight week well and truly underway in London 👀 #VisioliHowarth

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Isabella Higgins has completely roasted Jacinta Price the “amateur” on #ABCInsiders for her “racist” remarks against Indian ppl, Says she might be able to “destroy” things like #TheVoice but is a flop when it comes to “selling a vision”🔥💯 Totally correct.

Isabella Higgins has completely roasted Jacinta Price the “amateur” on #ABCInsiders for her “racist” remarks against Indian ppl, Says she might be able to “destroy” things like #TheVoice but is a flop when it comes to “selling a vision”🔥💯 Totally correct.

stranger

66,758 views • 1 year ago

An AI-powered robot has learnt to beat elite amateur human players at table tennis 🏓 The feat has been hailed as a milestone and a true test for robotics, as the sport requires quick reactions and perception-skills, which aren't things robots are usually known for. 📺 The race to create the ultimate AI - watch Global Eye on YouTube:

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BBC World Service

11,004 views • 5 months ago

Ingmar Bergman talks about the drawbacks of using amateur/non-professional actors in movies: "Bergman: As long as something unambiguous is required of someone in a film, an amateur will do. But the moment something complex has to be expressed, an amateur is no use. Actors are trained to express complexities. Interviewer: Are you saying, categorically, that an amateur is incapable of expressing anything complex. Bergman: Yes, I am. You may be able to do it with the help of an amateur; but you can never get an amateur, on his own, to express something complex. This can be seen very clearly in the film I like more than any other, and which I suppose I must have seen a hundred times: De Sica’s 'Umberto D' (1952). There he uses the old professor— who was an amateur— admittedly with a dubbed voice, the voice of a professional actor. One sees clearly how situations arose when De Sica wanted him to express certain things— and it's more than he can manage. That's why the film becomes flat and slack in a few places, particularly at the end. I don’t think one could find a single instance of someone having got an amateur to express something complex. It’s simply beyond them. The moment I find I’m out of rapport with someone who’s got to do something in front of the camera, I’m utterly lost. The whole situation becomes idiotic. If I get an actor— and it has happened — who becomes petrified in front of the camera, falls into a cramp, can't remember what he's got to do, or panics for some other reason, the whole film becomes extraordinarily hard to clear up." ('Bergman on Bergman', Stig Björkman, Torsten Manns, Jonas Sima, translated by Paul Britten Austin, 1973) Clip from: Umberto D. (1952) Director: Vittorio De Sica

Ingmar Bergman talks about the drawbacks of using amateur/non-professional actors in movies: "Bergman: As long as something unambiguous is required of someone in a film, an amateur will do. But the moment something complex has to be expressed, an amateur is no use. Actors are trained to express complexities. Interviewer: Are you saying, categorically, that an amateur is incapable of expressing anything complex. Bergman: Yes, I am. You may be able to do it with the help of an amateur; but you can never get an amateur, on his own, to express something complex. This can be seen very clearly in the film I like more than any other, and which I suppose I must have seen a hundred times: De Sica’s 'Umberto D' (1952). There he uses the old professor— who was an amateur— admittedly with a dubbed voice, the voice of a professional actor. One sees clearly how situations arose when De Sica wanted him to express certain things— and it's more than he can manage. That's why the film becomes flat and slack in a few places, particularly at the end. I don’t think one could find a single instance of someone having got an amateur to express something complex. It’s simply beyond them. The moment I find I’m out of rapport with someone who’s got to do something in front of the camera, I’m utterly lost. The whole situation becomes idiotic. If I get an actor— and it has happened — who becomes petrified in front of the camera, falls into a cramp, can't remember what he's got to do, or panics for some other reason, the whole film becomes extraordinarily hard to clear up." ('Bergman on Bergman', Stig Björkman, Torsten Manns, Jonas Sima, translated by Paul Britten Austin, 1973) Clip from: Umberto D. (1952) Director: Vittorio De Sica

DepressedBergman

28,017 views • 6 months ago

There is no better spokesperson, for me anyways, than Jimin. I want to travel to where he’s been, I want to eat the food he’s tasted, I want to wear what he’s worn, I want to listen to what he loves and watch the things that interest him. So, here’s my latest purchase, inspired by Jimin but is totally me. I am in love with it. 😍 Excuse my very amateur unboxing video Dior

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Nick Khan: The amateur system is something that the professionals do not support sufficiently. That's the pipeline. We have to make it easy fighters, just like we have a performance institute for UFC. We have a performance center for WWE. If you want to try to do one of those things, come our way and check it out. You don't have to sign anything with us. Same thing in boxing, grassroots system.

Nick Khan: The amateur system is something that the professionals do not support sufficiently. That's the pipeline. We have to make it easy fighters, just like we have a performance institute for UFC. We have a performance center for WWE. If you want to try to do one of those things, come our way and check it out. You don't have to sign anything with us. Same thing in boxing, grassroots system.

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18,752 views • 5 months ago

Asked Stewart Hagestad about what's different about golf for him now compared to 5 or 10 years ago. His answer was awesome. "It kind of goes back to the same answer that I've had for a long time of I love amateur golf, simply by nature of you have other things that give you satisfaction, that fill your cup, so to speak. And in an ironic way, if March or April rolls around, you're itching to go practice, and that's an exciting thing. So that's really cool."

Asked Stewart Hagestad about what's different about golf for him now compared to 5 or 10 years ago. His answer was awesome. "It kind of goes back to the same answer that I've had for a long time of I love amateur golf, simply by nature of you have other things that give you satisfaction, that fill your cup, so to speak. And in an ironic way, if March or April rolls around, you're itching to go practice, and that's an exciting thing. So that's really cool."

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233,401 views • 1 month ago

Edward Yang's "A Brighter Summer Day" (1991) features more than 100 amateur actors. Edward Yang spent a full year training and rehearsing with his largely non-professional cast before filming began. Debutant Chang Chen was cast to play the young protagonist Xiao Si’r. To put the fledgling performer at ease, Edward Yang also cast Chang’s father, Kuo-chu Chang —who was himself a professional actor—and his older brother Han Chang. ("10 Things I Learned: A Brighter Summer Day", Curtis Tsui, Criterion, 2016 & IMDb) P.S: On this day, 35 years ago, "A Brighter Summer Day" (1991) was released in Taiwan.

Edward Yang's "A Brighter Summer Day" (1991) features more than 100 amateur actors. Edward Yang spent a full year training and rehearsing with his largely non-professional cast before filming began. Debutant Chang Chen was cast to play the young protagonist Xiao Si’r. To put the fledgling performer at ease, Edward Yang also cast Chang’s father, Kuo-chu Chang —who was himself a professional actor—and his older brother Han Chang. ("10 Things I Learned: A Brighter Summer Day", Curtis Tsui, Criterion, 2016 & IMDb) P.S: On this day, 35 years ago, "A Brighter Summer Day" (1991) was released in Taiwan.

DepressedBergman

40,140 views • 2 months ago

Selling your crypto for liquidity is the amateur move. I’d rather keep exposure and borrow against it. What’s interesting me right now is Ratehopper not a passive “earn” tool, but an active loop where an agent is working to compress your debt using Uniswap V3/V4 fee flow. • Collateral stays intact • Yield is routed with purpose (debt reduction, not just farming) • Runs in your own Safe wallet no pooled risk • Built by (serious LP analytics pedigree) Already live on Base with real usage. TGE: May 12, 3pm CET Token: $ROO (Virtuals) Key detail: protocol fees → buybacks. If the loop holds, that’s where things get interesting. Not risk-free but structurally a smarter play than dumping your spot.

Selling your crypto for liquidity is the amateur move. I’d rather keep exposure and borrow against it. What’s interesting me right now is Ratehopper not a passive “earn” tool, but an active loop where an agent is working to compress your debt using Uniswap V3/V4 fee flow. • Collateral stays intact • Yield is routed with purpose (debt reduction, not just farming) • Runs in your own Safe wallet no pooled risk • Built by (serious LP analytics pedigree) Already live on Base with real usage. TGE: May 12, 3pm CET Token: $ROO (Virtuals) Key detail: protocol fees → buybacks. If the loop holds, that’s where things get interesting. Not risk-free but structurally a smarter play than dumping your spot.

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David Lean explains how one can learn Filmmaking by watching movies and what constitutes a good movie: "Interviewer: Do you believe that the same principles are involved in making a good amateur film as a good professional film? David Lean: Absolutely the same. The only difference lies in the ambitiousness of the production, but a good film is good on any level, amateur or professional. Interviewer: Then you believe that the amateur can learn something about film technique from watching good professional movies? David Lean: Certainly, if he watches them in the proper way. Interviewer: How would you advice an amateur to watch a film in order to learn from it? For example, how would you advise the amateur to watch 'Bridge on the River Kwai' (1957)? David Lean: I would hope that he would be quite incapable of appreciating the technique of the film. I think that really good filmmaking conceals technique. If a film is really successful, the audience should be so caught up in it that they do not notice how it was made. Interviewer: Do you think then that to really study a movie you should see it more than once, the first time for impact and to enjoy it, and the second time to learn from it? David Lean: This sounds like a plug, but I think so. To really study a film you should have reached the point where you are no longer involved in the dramatic action. In a sense you must become bored with the story before you can study the technique. Of course as you become more and more accustomed to watching films in this manner you will automatically become more sensitive to technique on the first viewing. Interviewer: Did you use this technique in learning? David Lean: In my younger days, I used to spend hours in movie houses to watch the cutting. Interviewer: From a Technical stand point what do you think is the mark of a good film? David Lean: It tells its story in pictures. This is always the problem of good filmmaking. This is one of the biggest things that can be learned from any good movie. The amateur who wants to learn from viewing the films should try to constantly notice how the director is telling his story in terms of visuals. 'How can I show it?' is the questing the director must constantly ask himself. Of course, it is faster in shooting and much easier to tell a story in dialogue, but it is not as effective. Dialogue compared to visuals is a bore; you are using a moving picture camera." (David Lean's interview with Charles Reynolds, 1958)

David Lean explains how one can learn Filmmaking by watching movies and what constitutes a good movie: "Interviewer: Do you believe that the same principles are involved in making a good amateur film as a good professional film? David Lean: Absolutely the same. The only difference lies in the ambitiousness of the production, but a good film is good on any level, amateur or professional. Interviewer: Then you believe that the amateur can learn something about film technique from watching good professional movies? David Lean: Certainly, if he watches them in the proper way. Interviewer: How would you advice an amateur to watch a film in order to learn from it? For example, how would you advise the amateur to watch 'Bridge on the River Kwai' (1957)? David Lean: I would hope that he would be quite incapable of appreciating the technique of the film. I think that really good filmmaking conceals technique. If a film is really successful, the audience should be so caught up in it that they do not notice how it was made. Interviewer: Do you think then that to really study a movie you should see it more than once, the first time for impact and to enjoy it, and the second time to learn from it? David Lean: This sounds like a plug, but I think so. To really study a film you should have reached the point where you are no longer involved in the dramatic action. In a sense you must become bored with the story before you can study the technique. Of course as you become more and more accustomed to watching films in this manner you will automatically become more sensitive to technique on the first viewing. Interviewer: Did you use this technique in learning? David Lean: In my younger days, I used to spend hours in movie houses to watch the cutting. Interviewer: From a Technical stand point what do you think is the mark of a good film? David Lean: It tells its story in pictures. This is always the problem of good filmmaking. This is one of the biggest things that can be learned from any good movie. The amateur who wants to learn from viewing the films should try to constantly notice how the director is telling his story in terms of visuals. 'How can I show it?' is the questing the director must constantly ask himself. Of course, it is faster in shooting and much easier to tell a story in dialogue, but it is not as effective. Dialogue compared to visuals is a bore; you are using a moving picture camera." (David Lean's interview with Charles Reynolds, 1958)

DepressedBergman

91,764 views • 10 months ago

This week everybody wanted to talk about what the bad things could be when you let College Baseball be the main source of elite amateur development. It’s time to highlight a good thing: “The only other person we talked about starting was Jason DeCaro — but he’s gonna be a major leaguer, he’s got a whole career.” North Carolina Coach Scott Forbes indicated that in good faith he couldn’t start his Ace in a win-or-go-home National Championship game no matter how badly DeCaro wanted the ball. Forbes’ Game 2 starter wanted to pitch through an injury and Forbes removed him from the game, then had to use his closer for 5 innings effectively burning him for Game 3. Forbes is a damn good coach and one day deserves a Natty.

This week everybody wanted to talk about what the bad things could be when you let College Baseball be the main source of elite amateur development. It’s time to highlight a good thing: “The only other person we talked about starting was Jason DeCaro — but he’s gonna be a major leaguer, he’s got a whole career.” North Carolina Coach Scott Forbes indicated that in good faith he couldn’t start his Ace in a win-or-go-home National Championship game no matter how badly DeCaro wanted the ball. Forbes’ Game 2 starter wanted to pitch through an injury and Forbes removed him from the game, then had to use his closer for 5 innings effectively burning him for Game 3. Forbes is a damn good coach and one day deserves a Natty.

Noah Bieniek (Bee-Nick)

196,732 views • 3 months ago

Scottie Scheffler elaborated on the Bryson DeChambeau rule incident from Friday and echoed Harris English’s comments about Bryson always being on TV and camera angles being different to what’s happening: “No. I've been really focused on the tournament. I think that opens up a greater discussion that -- all I can really say is I think maybe we need to be a little bit more strict in the way that we are policing guys, but it's a little bit of a balance because you've got certain guys like a Bryson who every shot he hits is going to be shown on TV. When you have camera angles that are far away, things can look different than they do when you're right there. “We've done a good job of -- I don't know, I hate saying stuff out here because I don't want anything to get taken out of context. All I'll say is Bryson, I've known him for a long time, and he's a lot of things, but he's definitely not a cheater. I've never seen him cheat once, whether we were having a putting contest on the putting green or chipping contest, or anytime we played amateur golf, I never saw anything suspicious. “When you're watching him there from that camera angle, maybe he was a touch careless around his ball, but I don't think he did anything intentionally. “We've seen penalties happen with -- like you remember Jon Rahm a couple years ago at the Memorial when his ball moved in the rough, and it's like to the naked eye, can you really tell that? “I think sometimes it's just a difficult position in the game of golf. When I was growing up, if this was the line between things that were -- like if this was the line, here are the rules and this was the right side of it and this is when you're doing things against the rule, you always tried to stray really far that way. I feel like at times, sometimes you see players maybe push it a little bit further than they should. “I think we need to kind of get back to the traditions of the game and maybe we do need to police things a little bit more stricter in the game. “But like I said, it's a tough line to kind of cross. So that's why it's hard for me to say anything like this. Bryson is a guy that I've known for a really long time. Like I said, he's not a cheater.” The Open

Scottie Scheffler elaborated on the Bryson DeChambeau rule incident from Friday and echoed Harris English’s comments about Bryson always being on TV and camera angles being different to what’s happening: “No. I've been really focused on the tournament. I think that opens up a greater discussion that -- all I can really say is I think maybe we need to be a little bit more strict in the way that we are policing guys, but it's a little bit of a balance because you've got certain guys like a Bryson who every shot he hits is going to be shown on TV. When you have camera angles that are far away, things can look different than they do when you're right there. “We've done a good job of -- I don't know, I hate saying stuff out here because I don't want anything to get taken out of context. All I'll say is Bryson, I've known him for a long time, and he's a lot of things, but he's definitely not a cheater. I've never seen him cheat once, whether we were having a putting contest on the putting green or chipping contest, or anytime we played amateur golf, I never saw anything suspicious. “When you're watching him there from that camera angle, maybe he was a touch careless around his ball, but I don't think he did anything intentionally. “We've seen penalties happen with -- like you remember Jon Rahm a couple years ago at the Memorial when his ball moved in the rough, and it's like to the naked eye, can you really tell that? “I think sometimes it's just a difficult position in the game of golf. When I was growing up, if this was the line between things that were -- like if this was the line, here are the rules and this was the right side of it and this is when you're doing things against the rule, you always tried to stray really far that way. I feel like at times, sometimes you see players maybe push it a little bit further than they should. “I think we need to kind of get back to the traditions of the game and maybe we do need to police things a little bit more stricter in the game. “But like I said, it's a tough line to kind of cross. So that's why it's hard for me to say anything like this. Bryson is a guy that I've known for a really long time. Like I said, he's not a cheater.” The Open

Flushing It

1,026,161 views • 2 months ago

Angela White reveals the technical difference between OnlyFans creators and porn stars "I think to be a porn star there's a level of technical ability and proficiency that you can only learn on set" "Some OnlyFans creators make more than porn performers, so I'm not putting them down... but they're not a porn star. A lot of it's amateur" "You don't learn the things that you learn on a porn set, which is how to position your body so that the camera can capture everything perfectly" "Your hand positioning's important. I have big boobs, so I want to make sure that the camera captures my boobs. So I'm moving my hand that's closest to the camera back so you can see the swaying of the boobs" "You're moving your right knee, if the camera's over here, forward a little so that then you can see the penetration better" "Anybody who's ever tried to do it themselves realizes really quick like 'oh... damn, why does my dick look so small right now, fuck'"

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Angela White reveals the technical difference between OnlyFans creators and porn stars "I think to be a porn star there's a level of technical ability and proficiency that you can only learn on set" "Some OnlyFans creators make more than porn performers, so I'm not putting them down... but they're not a porn star. A lot of it's amateur" "You don't learn the things that you learn on a porn set, which is how to position your body so that the camera can capture everything perfectly" "Your hand positioning's important. I have big boobs, so I want to make sure that the camera captures my boobs. So I'm moving my hand that's closest to the camera back so you can see the swaying of the boobs" "You're moving your right knee, if the camera's over here, forward a little so that then you can see the penetration better" "Anybody who's ever tried to do it themselves realizes really quick like 'oh... damn, why does my dick look so small right now, fuck'"

gee

530,164 views • 1 month ago