Studies, signed.

2026-09-07

Sixteen Worlds, One Grading Discipline

A practical reconstruction study of Ffern: sixteen image-construction problems, twelve documented nodes, and a different set of decisions for each film.

2026-09-07

Everything Ffern

Sixteen films. A changing palette. A remarkably coherent way of looking at the world.

2026-09-06

The Architecture of White

Cinema does not have a highlight roll-off. Measured over 52,527 shots and 9,856 re-measured frames, 95% of the variation in how much a film clips is between shots of the same film — but the colour of a film's whites, and the number of distinguishable steps it spends inside them, do belong to the film.

2026-09-06

Black Geometry

Two thirds of cinema sits below L* 20. The shape of a film's toe is not a property of the film — its intraclass correlation is 0.003 — while whether a film lets pixels reach absolute zero has 0.23, four and a half times the equivalent number at the top of the range on the same films.

2026-09-02

Same Fire, Different Green

First Cow is said to have been modelled on Frederic Remington's nocturnes. Measured on colour against 36 other films it is one of the least Remington-like in the corpus; measured on seventeen axes that are not colour it is middling. Its firelight and Remington's are the same to the limit of what a reproduction can resolve.

2026-09-02

A Ceiling Below White

Eight frames from the darkest and least chromatic corpus in this repository, where daylight stops at a third of the scale, shadows are almost neutral, small warm sources carry all the chroma, and nothing clips.

2026-09-02

The Shape of a Palette #4

Seven classical hue arrangements fitted to every photographed shot in forty-two films. The fourth edition adds seven films, reports what their arrival did to the corpus, and keeps between one and three reviewed specimens per shape instead of filling a quota.

2026-09-01

Forest Light, Winter Blue and Rooms by Lamplight

Thirty curated active-picture midpoint frames from The Assassination of Jesse James by the Coward Robert Ford (2007)...

2026-09-01

Lantern Black, Winter Blue and Burning Gold

Thirty curated active-picture midpoint frames from Django Unchained (2012)...

2026-09-01

Mountain Green, Mirando White and Slaughterhouse Teal

Thirty curated active-picture midpoint frames from Okja (2017)...

2026-09-01

Basement Green, Lawn Daylight and Sodium Water

Thirty curated active-picture midpoint frames from Parasite (2019)...

2026-09-01

Toxic Green, Municipal Teal and Jaundiced Daylight

Thirty curated active-picture midpoint frames from The Toxic Avenger (2023)...

2026-09-01

River Grey, Forest Green and Candle Amber

Thirty curated active-picture midpoint frames from First Cow (2020)...

2026-09-01

Coral Offices, Amber Rooms and Blue Distance

Thirty curated active-picture midpoint frames from Her (2013)...

2026-08-27

Snow Is the Light Source

Eight frames in which snow becomes a luminous environment, small colours acquire narrative force, and pale skin, dark rooms, red-green interiors and underwater cyan each demand a different separation strategy.

2026-08-27

Neon Held Against Black

Eight depictive frames showing how practical signage, low exposure, restricted colour families, contaminated optics and selective density make Tokyo feel luminous without turning every surface into an effect.

2026-08-26

The Shape of a Palette #3

Seven classical hue arrangements fitted to the full photographed corpus. The third edition separates source rows, photographed shots and eligible candidates; shows the purest, louder and third-film examples; and measures how often each film departs from one hue family.

2026-08-26

White Cloth, Coloured Air

Eight frames in which near-white costume, dense period interiors, mauve spectacle and enormous reconstructed spaces are made to coexist through value design, palette subtraction, protected texture and careful foreground-background integration.

2026-08-26

Voltage in the Walls

Eight frames in which colour is not a wash laid over the picture but a negotiation between painted rooms, narrow-spectrum lamps, costume, exposure, optical contamination and an unusually fearless finish.

2026-08-25

Black Cells, Blocked Colour and a Grey Man Walking

Thirty-seven curated active-picture midpoint frames from Point Blank (1967), each read against scope baselines built from all 693 photographed shots of the film.

2026-08-25

Slate Water, Gilded Icon and Rooms That Decide

Thirty-three curated active-picture midpoint frames from Leviathan (2014), each read against scope baselines built from all 490 photographed shots of the film.

2026-08-25

Amber Rooms, Blue Night and White Daylight

Thirty-four curated active-picture midpoint frames from Another Round (2020), each read against scope baselines built from all 452 photographed shots of the film.

2026-08-25

Snow Light, Sodium Rooms and the Red That Arrives

Thirty-five curated active-picture midpoint frames from Let the Right One In (2008), each read against scope baselines built from all 703 photographed shots of the film.

2026-08-25

Neon Grid, Flash Frames and the Long Drift

Twenty-eight curated active-picture midpoint frames from Enter the Void (2009), each read against scope baselines built from all 2,391 photographed shots of the film.

2026-08-25

Harvest Light, a Green Machine and the Road at Walking Speed

Thirty curated active-picture midpoint frames from The Straight Story (1999), each read against scope baselines built from all 794 photographed shots of the film.

2026-08-25

White Cotton, Sepia Rooms and One Mauve Stage

Thirty-six curated active-picture midpoint frames from Gangubai Kathiawadi (2022), each read against scope baselines built from all 1,558 photographed shots of the film.

2026-08-25

Grey Atlantic, a Yellow Coat and Firelight in Stone Rooms

Forty curated active-picture midpoint frames from The Banshees of Inisherin (2022), each read against scope baselines built from all 1,342 photographed shots of the film.

2026-08-25

Teal Rooms, Ochre Walls and One Green Tunnel

Forty-one curated active-picture midpoint frames from Super Deluxe (2019), each read against scope baselines built from all 1,390 photographed shots of the film.

2026-08-25

Cyan Nights, Scorched Days and the Jacket Between

Thirty-six curated active-picture midpoint frames from Drive (2011), each read against scope baselines built from all 877 photographed shots of the film.

2026-08-20

Blood, Desert and Motel Neon

Thirty curated active-picture midpoint frames from No Country for Old Men (2007), each read against scope baselines built from all 1,382 photographed shots of the film.

2026-08-20

Red Saab and Grey Asphalt

Thirty curated active-picture midpoint frames from Drive My Car (2021), each read against scope baselines built from all 875 photographed shots of the film.

2026-08-20

Fire, Sand and Sea

Thirty curated active-picture midpoint frames from Portrait of a Lady on Fire (2019), each read against scope baselines built from all 423 photographed shots of the film.

2026-08-20

Dust, Sepia and Dry Corn

Thirty curated active-picture midpoint frames from O Brother, Where Art Thou? (2000), each read against scope baselines built from all 1,125 photographed shots of the film.

2026-08-20

Blue, Black and Cyan

Thirty curated active-picture midpoint frames from Moonlight (2016), each read against scope baselines built from all 712 photographed shots of the film.

2026-08-20

Green Rooms, Amber Skin and Images Inside Images

Thirty curated active-picture midpoint frames from Oldboy (2003), each read against scope baselines built from all 932 photographed shots of the film.

2026-08-19

Moss, Snow and Red

Thirty curated active-picture midpoint frames from Kwaidan (1964), each read against scope baselines built from all 894 photographed shots of the film.

2026-08-19

One Story Told in Red, Blue, White and Green

Thirty curated active-picture midpoint frames from Hero (2002), each read against scope baselines built from all 1,782 photographed shots of the film.

2026-08-19

Red Rooms, Blue Rain and Two Eyes in the Dark

Thirty curated active-picture midpoint frames from Suspiria (1977), each read against scope baselines built from all 814 photographed shots of the film.

2026-08-19

Pollen, Basement Light and the Red Room

Thirty curated active-picture midpoint frames from Bugonia (2025), each read against scope baselines built from all 1,178 photographed shots of the film.

2026-08-19

Neon Red, Blue Rain and a White Fog

Thirty curated active-picture midpoint frames from The Conformist (1970), each read against scope baselines built from all 713 photographed shots of the film.

2026-08-19

Green Light, Dark Edges, One Red Coat

Thirty curated active-picture midpoint frames from A Short Film About Killing (1988), each read against scope baselines built from all 462 photographed shots of the film.

2026-08-19

Neon, Sodium and Peat

Thirty curated active-picture midpoint frames from Skyfall (2012), each read against scope baselines built from all 2,619 photographed shots of the film.

2026-08-19

A Warm Room, a Red Corridor and One Blue Sky

Thirty curated active-picture midpoint frames from In the Mood for Love (2000), each read against scope baselines built from all 438 photographed shots of the film.

2026-08-19

Dark Wood, Garden Green and Light Through Glass

Thirty curated active-picture midpoint frames from The Handmaiden (2016, Extended Cut), each read against scope baselines built from all 1,373 photographed shots of the film.

2026-08-19

No Colour, Long Takes and a Sky Above White

Thirty curated active-picture midpoint frames from Roma (2018), each read against scope baselines built from all 303 photographed shots of the film.

2026-08-17

The Shape of a Palette #2

Classical colour-harmony templates fitted again to every measured shot, now across eleven films instead of six. Each shape is shown by the frame that fits it best, the corpus's most forceful legible example of it, and a third example from a film neither of those used.

2026-08-17

One Hand at the Top of the Scale

Blade Runner 2049, Sicario, Skyfall and 1917 share a cinematographer and a show LUT and almost nothing you can see. Forty frames of how unalike they are, and the single measurement — agreement at the top of the tone scale — on which all four behave the same and the rest of the corpus does not.

2026-08-17

Chalk, Fire and Grey Rooms

Thirty curated active-picture midpoint frames from Oppenheimer (2023), each read against scope baselines built from all 3,460 photographed shots of the film — a corpus that spans both of the film's photographic strands.

2026-08-17

Amber, Ash and Rain

Thirty curated active-picture midpoint frames from Blade Runner 2049 (2017), each read against scope baselines built from all 1,901 photographed shots of the film.

2026-08-17

Amber, Dust, Sodium and Chalk

Blade Runner 2049, Sicario, Skyfall and 1917 pooled into a single 8,975-frame corpus, and thirty frames climbing from the darkest of the four to the brightest — every scope read against the body of work rather than against the film the frame came from.

2026-08-16

Dust, Dusk and Muzzle Flash

Thirty curated active-picture midpoint frames from Sicario (2015), each read against scope baselines built from all 1,205 photographed shots of the film.

2026-08-16

Chalk, Flare and Green Fields

Thirty curated active-picture frames from 1917 (2019), each read against scope baselines built from all 3,250 photographed samples of the film — a corpus taken on a clock, because the film barely cuts.

2026-08-15

The Shape of a Palette

Complementary, split-complementary, analogous, triadic, monochromatic and achromatic — each illustrated by the shot that fits it best out of six films, shown as frame, hue fit and vectorscope, and set beside the corpus's most forceful legible example of the same shape.

2026-08-15

Reading the Grade

What luma, L*, chroma, saturation and warm balance actually mean; how to read a waveform, a parade, a vectorscope, a hue compass and a grade fingerprint; and where each of them stops being evidence.

2026-08-14

Indigo, Straw and Blood

Thirty curated active-picture midpoint frames from Zatoichi (2003), each read against scope baselines built from all 945 photographed shots of the film.

2026-08-14

Gold Dug Out of Black

Thirty curated active-picture midpoint frames from Sisu (2022), each read against scope baselines built from all 1,410 photographed shots of the film.

2026-08-14

Thirty Rooms of Colour

Thirty curated active-picture midpoint frames from The City of Lost Children, each read against scope baselines built from all 1,252 shots of the film.

2026-08-13

The Warm Axis

A shot-by-shot colour study of four Jean-Pierre Jeunet films graded by Yvan Lucas across the photochemical-to-digital transition.

2026-07-09 · mirakle.dev ↗

What do Shopify's unnamed stores tell us?

5,515 App Store reviews written under default store names in 20 languages. The placeholder is not anonymity — it is onboarding.

2026-07-09 · mirakle.dev ↗

The Shopify App Store has professional reviewers

0.55% of reviewers wrote eleven or more reviews. They are tougher than the crowd, still overwhelmingly positive, and mostly cross-category comparers — not snipers.

2026-07-09 · mirakle.dev ↗

Are Shopify reviews keeping up with the app flood?

App launches exploded in 2026 while posted-review demand did not: reviews per launched app collapsed from 58.3 in 2024 to 11.5 during the May–June 2026 flood.

2026-06-20 · readertwo.com ↗

Warhog: comparative model evaluations

Identical passages run through multiple frontier models — grammar, translation, discussion — judged by an independent evaluator that scores accuracy, artistic taste, and empathy.