Training

Along the Way: The Credits

Above: The Credits -- De Groote Weiver, Wormerveer (last night). Lead-singer Chris Palmen, is a neighbour and seen here whilst playing with the band. Click on photo to start 'Sleepy Time'', tribute to Drakula-actor Bela Lugosi and the 1931 version of the Tod Browning and Karl Freund-film 'Drakula' - clip.

More 'The Credits': www.thecredits.nl

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Above: Footprint after Saturday's 32K SAR

"The effect of the successful adventure [...] is the unlocking and release again of the flow of life into the body of the world." - Joseph Campbell, in THWATF (page 40, 'The World Navel')

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Above: Footprint after completion 32K SAR14

"We are human. When our ego is not engaged, we turn passive." From: 'Forging an American Grand Strategy: Securing a Path Through a Complex Future. Selected Presentations from a Symposium at the National Defense University', chapter 7, 'GRAND STRATEGY AND HUMAN THINKING' by Evan M. H. Faber (link to full publication below)

"Abenteuer im Fleische und Geist, die deine Einfachheit steigerten, ließen dich im Geist überleben, was du im Fleische wohl kaum überleben sollst. Augenblicke kamen, wo dir aus Tod und Körperunzucht ahnungsvoll und regierungsweise ein Traum von Liebe er- wuchs. Wird auch aus diesem Weltfest des Todes, auch aus der schlimmen Fieberbrunst, die rings den regnerischen Abendhim- mel entzündet, einmal die Liebe steigen?" (Adventures of the flesh and in the spirit, while enhancing thy simplicity, granted thee to know in the spirit what in the flesh thou scarcely couldst have done. Moments there were, when out of death, and the rebellion of the flesh, there came to thee, as thou tookest stock of thyself, a dream of love. Out of this universal feast of death, out of this extremity of fever, kindling the rain-washed evening sky to a fiery glow, may it be that Love one day shall mount?)

From the epilogue of Thomas Mann's 'Der Zauberberg' ('The Magic Mountain'), published in 1924.

As posted along the way: SAR training is Kick-Ass-training, taking-over from previous 'management' (that led to overload and injury -- usually fear driven management) and re-establish control ("Get in, get it over with and get out!").

Change requires collaboration on all levels. Trough the creation of unity the runner leads/inspires/guides/informs/balances the transformation at hand. It requires growth from egotistical overload-behaviour towards- and transformation into- an Alert-balanced runner, who emphatically and sensibly controls his behaviour.

SAR training (bottom-line) is trail-training, focussed upon improvement of technique and effeciency. NO MATTER WHERE, NO MATTER WHAT: create optimum character-exposure and accelerated progression (run, built, jump, plunge, climb, fall, swim et cetera). Evolve alert and creatively and efficient and technically sound. Trough strategic use of available resources, including time, terrain, weather, technical-support (and injury treatment, food and rest).

And the ego better has some (controlled = trained!) kind of job in the accomplishment or it will (being bored) start to run things amuck, frustrate healthy control -- trough destructive, passive, negative, (self-)injurious and greedy behaviour. If the ego is a flip-side of the coin, money should keep on flowing, generating powerful results. Unmoving money stinks, but that is another story!

Our bottom-line-training gives us the tools to kick fat egos lazy ass. If it takes an injury to get us aware and start doing the work that needs to be done passionately -- we embrace that, doing so.

Welcome to SAR training!

What is optimum (character-)exposure?

Let's look at the technique of motion-picture storytelling: it refers to the full use of the recording-system's latitude (film) or dynamic range (digital) to visualise the story at hand, from beginning to the end.

Roger Deakins, ASC, BSC: "For film I will take a meter reading to judge my exposure. With digital capture I will do the same but have the added advantage of checking that exposure on a calibrated monitor. I would surely do the same if I were working [with the Blackmagic camera]. I take a meter reading of a face, when I am shooting a medium or close shot of an actor, and I judge my exposure from the way I want that face exposed within the balance of the shot.

In a situation where sunlight is hitting a surface and bouncing light into a character's face, I will expose for the face to be where I want it to be in the final image. If the sunlight is in shot and it 'blows out' I am not worried by that. There are plenty of situations where I have lit a shot with a direct artificial source and where the highlights of that light source are completely white. I have lit like that when shooting film and continue to do so with digital capture. The idea of 'clipping' does, I think, come from a time when some cameras could not deal with extreme contrast ratios. The latest digital cameras can deal with extreme contrast in a far more natural (film like) way. That is why I was shooting film until quite recently."

See more: http://www.rogerdeakins.com/forum2/viewtopic.php?f=6&t=2379

"Black is black and I am only concerned with exposing the 'bits' I want to be seen. The rest can go to black or to white when it feels right for them to go that way. For most of my time I struggle to reduce the light in a shadow, a task that becomes even more difficult [with a sensitive camera]"

See more: http://www.rogerdeakins.com/forum2/viewtopic.php?f=22&t=2938&sid=2381d5e2ee4c2edacb6c4e623c09e2ef

SSI publication: http://www.strategicstudiesinstitute.army.mil/pubs/display.cfm?pubID=1177

Great Black Magic camera test: http://bastiaanhoutkooper.com/blog

Black Magic experience in Amsterdam: https://bartvanbroekhoven.com/en-US/running/166-25fps-black-magic-shoot-amsterdam