Kodak first announced the rebirth of Ektachrome way back in January at CES. Along with Kodak Alaris—who will distribute the 35mm Kodak Professional Ektachrome film for stills shooters—the company said it would bring back Ektachrome by the end of 2017... and then promptly stopped talking about it.
But if you were worried that Kodak had given up on the idea, fear not: in a new episode of the Kodakery podcast, a few of Kodak's higher ups (including Marketing and Product Manager Diane Carroll-Yacoby) updated the world on the progress of the Ektachrome reboot, how they're making it, and what testing still stand between your hands and a fresh 36-shot roll of the stuff.
The first half of the podcast is mostly a photography and history lesson: discussing the origins of Ektachrome, its 'characteristics' (read: limitations), and how Kodak has managed to bring it back to life after discontinuing it in 2013. But if you want to get into the "how and when" of the matter, you'll want to skip to the 22 minute mark.
That's where we get to learn about how difficult it is to bring back a film like Ektachrome—which is made up of 80 ingredients, some of them no longer available to purchase—and how Kodak is making the economics of Ektachrome work by creating it in smaller, more sustainable batches.
Kodak has managed to either find or manufacture all 80 ingredients required to make Ektachrome.
Much of the process so far has involved retooling the formula so it will work on the machines available to them, because they no longer have all of the equipment they had when Ektachrome was being developed previously.
They've already produced some 'pilot coatings' that they are testing to ensure they're ready to mass produce Ektachrome that's up to snuff.
When they're ready to go, they will be making rolls using a coater that produces the film on sheets that are 4 feet wide and 6,000 feet long. The first of these 'wide' rolls will be produced before the end of 2017, and will be used for internal testing.
Kodak will be making a single (4ft x 6,000ft) roll for the first production run, so they don't have to hold on to too much inventory at one time.
Kodak Ektachrome's market release is planned for 2018.
Eastman Kodak itself will produce all of the film and plans to distribute the Super 8 cinema version of Ektachrome, while Kodak Alaris will distribute the 35mm slide film for stills shooters. For now, we still don't know exactly when Ektachrome is coming back in 2018, but as soon as we do, we'll let you know so you can mark your calendars.
Have great slides from Kodachrome 25 and 64, as well as on Ektachrome Pro and Extra Color. Also found a box last year with a mix of mounted Kodachrome and some version of Ektachrome Professional, either 64 or 100, taken decades later, but certainly from the E6 era. While the Kodachrome slides are all intact, the Ektachrome slides mostly show some level of color degradation. Note, these were all stored in less than perfect circumstances. Maybe Ektachrome wins out under ideal conditions, but in my less than perfect setting, the Kodachrome rules. I suspect processing variables have an effect in this degradation, but I need to say than I used the best lab- by reputation- in San Francisco for all my work (the New Lab) Lastly, going to pitch the great Ernst Haas who died in the eighties, but was first a great B&W photographer, then the father of great color abstracts, mainly shot on Kodachrome 1. Galen Rowell also mentions him as a huge source of inspiration for his own work.
I hope all this is true. We have been expecting Ektachrome for a year now and, nothing!!! We need it, we want it, we love it, we will shoot Ektachrome in our Realist 3D cameras and put away our digital cameras. Also, we will bring back our 42 year WideLux F7 panoramic camera. All this means REAL PHOTOGRAPHY.
Great article on the complexities of bringing back a chrome. I have retained my film cameras for two and a half decades 'just in case.' But I wouldn't haul them out for Ektachrome, only for Kodachrome, the Zeus of chromes.I know photographer who is 92 and the K-chrome he shot in the 1940s is pristine.
If Kodak doesn't go bankrupt again, hopefully Ektachrome, like the revival of 33 rpm records, like stimulate an excellent photographic medium.
I am curious what digital camera you were using 25 years ago to replace your film cameras. Also, a lot of photographers preferred Ektachrome and various Fujichromes, Velvia in particular, to Kodachrome. Kodachrome was on a decline way before digital photography.
Important jazz recordings have been lost simply because at the time, the excellent analog tapes were misfiled or stored in poor conditions. Fortunately, music by people like John Coltrane and Thelonious Monk were re-found due to the persistence of archivalists who believed in finding holy grails.
Lessons for photographers: keep your old materials in archival level storage; if in digital, upgrade your files to the latest operating system; don't sell off your older equipment. Commercial industries won't do this for you. Commerce follows profit, not necessarily the preservation of your work.
I have a lot of 70 year old Kodachrome slides in almost pristine condition - and not stored in particularly good conditions. I Know of no other color film ( and very little similarly old B&W ) that has held up so well.
Of course, my little Panasonic "P&S" digital beats all of that: I won't be buying Ektachrome, sorry.
@Micheal Why won't digital files last for lifetime and more if it's kept properly? You can store these things in dozen other digital medium in multiple remote locations, multiple copies 1000000000th times easily than just one copy of film in one location. In fact, one snap shot from your phone are copies instantly to cloud if you set it up from the get go.
How will we ever get by? FWIW, I did the opposite... I scanned the film and threw it away to save space. No problem.
AlanG. I have to admire your confidence. Time will tell, but based on the evolution of digital technology to date, the odds don't seem to be in your favour.
I am not interested in preserving my images for all time. But if I were I would do that with on-line storage. There is no way that my descendants will want to deal with several file cabinets worth of film nor do I. Having all of those images as high res Jpegs on a few hard drives is manageable and makes them accessible. To give you an idea of volume, every year or so I post an on-line submission to the Copyright office of around 20,000 images. I couldn't manage that with film.
Also your statement that motion pictures are stored on LTO is a red herring, First we are not using LTO but on-line storage and disk drives that can easily migrate the volume we have to new locations if necessary. I have tesn of thousands of images always accessible to me and my clients on Photoshelter.
And when Hollywood digital movies are put on film for archiving, they do not use Ektachrome. Instead they make B/W separation negatives.
What will be interesting is to find out how large a market there now is for Ektachrome. I can't see the Super 8 market being very big, and it seems that filmmakers' needs are better served by scanning color negs and editing the digital movie.
At one time a huge percentage of commercial photography was shot on E6. Virtually all of that was replaced by digital. I can't think of a single commercial application today that is best served by shooting on E6 vs. digital capture.
So that leaves the niche market of film enthusiasts and some "artists." Do they want to shoot E6 and project slides? Are they planning to directly print from color transparencies... how? Are they planning to scan it? If so why not just shoot C41 film and scan that? Is there something special about using Ektachrome for a certain result that they can't get any other way that justifies the cost and hassle? Archival arguments are B.S. IMHO.
It seems to me that this is a "solution" looking for a problem.
Archival arguments are BS because that is not a major factor in the purchase.. Digital with its ability to make unlimited originals and on-line storage makes it far superior. How do you think banks store financial records?
When I shoot tethered I back up to the camera and computer. Before I leave the job, I copy to an external HD. So I have 3 copies almost immediately. Then I load the SELECT files onto my workstation that has a RAID and internal and external BU. Finished files are uploaded to Photoshelter and downloaded by my clients. So there are many copies.
If you are banking on what Kodak "hopes" will be viable, you should look at the company's track record of numerous mistakes and failures.
The problem with film in general is that it is costly, overly complex and rigid in use, problematic in every way, has limited ISO choices, there is a delay between shooting and viewing, risk of damage and loss at every step, bulky to store, hard to label and annotate, difficult to share, impossible to make exact copies, needs to be scanned to be adjusted and retouched, has color and density shifts in long and short exposures, has a tone curve that can only be adjusted by digital intervention, will need to be scanned into digital form to be reproduced, your final scanned adjusted image will need a digital archive also, and on and on.
Against this I can't think of a single "universal" benefit thus I see trying to get photographers to have any kind of serious long term commitment to use a significant amount of slide film as unlikely.
First of all you can like what you need to know about how film reacts. I am an expert in that and don't miss needing that skill in order to take a photo. I shot color critical architectural interior 4x5 transparencies under mixed light for decades.
Slide film is rigid in use because you can't change the ISO, contrast, saturation, or color balance on the fly. And there are limited choices of those things anyway even if you can change backs or have several camera bodies.
It is complex because critical usage of transparency film requires extensive understanding of the spectrum of light, using color correction filters, the specifics of reciprocity failure characteristics for each type of film, how to light for the limited dynamic range, and every emulsion varies enough that I had to buy in large quantities and test each emulsion in advance. The only way to backup is to shoot several versions of the same photo on different rolls or sheets... something I did on every commercial photo.
Yes slide film is very easy to shoot if you have limited requirements and don't mind being sloppy with a lot of misses. Try using 10 different view camera lenses each with a shutter and see if you can get the exposure within 1/3rd of a stop on all of them... assuming one even knows exactly the "best" exposure for the look one wants for that particular scene.
Archival issues are a BS argument... I don't see Kodak making an archival argument in their press releases about Ektachrome. And if this were important in the buying decision of choosing film over digital then slide film usage would never have declined so much in the first place.
And Hollywood does not archive onto Ektachrome and I don't think they ever did.
Ektachrome is OK and may be the best film for cross processing - good on them. If they brought back kodachrome, that would be headline news. Kodachrome is the only archival color format - that means something.
Kodachrome is actually less archival then the last Ektchromes that were produced.
It is not a matter of less or more - it tis archival or not.Kodachrome color is not derived from photosensitive dyes. It will not degrade when exposed to light. The most obvious manifestation of this is in movies: extachrome and other color processes fade to a magenta cast and kodacolor maintains its rich full color.
I would be very surprised to hear otherwise.
probert500. Kodachrome excels in dark storage but degrades while projected.
According to testing, recent Ektachrome is better. It isn't open to your denate.
"Kodachrome excels in dark storage but degrades while projected." As I understand it, all colour reversal films degrade to some extent from being projected. I wasn't constantly projecting my slides enough for any degradation to become noticeable, so the ability of the film to excel in storage would be more important.
However, whilst none of my K25/64 slides going back to 1966 presently exhibit any issues some, but by no means all, of my Ektachromes are showing some signs of fading. This doesn't prove it is the film per se, but could be down to the processing and perhaps some labs pushed too many films through a batch of chemicals. So from my personal experience Kodachrome has proven to be the better archival storage medium.
Ektchrome is the 60's and 70's is a differrent process. Like I said, Ektachrome E6 after 1988 is more archival than Kodachrome in proper storage. This was tested and isn't open to debate. 185 years vs 225 years before density and color shifting impacted image retention according to Wilhelm Research. People here can talk about their slides from the parents, etc, etc,....that is irrelevant.
And nobody has done any archival testing on this new film that does not even exist yet. If this is a factor in photographers' decisions to choose film over digital it only applies to a tiny segment of the market. That's ok because this is a niche product.
Alan, that isnt the topic. The topic was Kodachrome vs Ektachrome...and from 1988 onwards, Kodachrome loses. End of discussion. The latest Ektachrome formula is designed to match and even exceed that last E6 version for archival properties. Some of us have been privy to the discussions...so please, stop arguing.
I thought the topic is clearly about the new film. Archival qualities of old discontinued film is known.
What I think is relevant is discussing the potential market for this film. Presumably Kodak has a market in mind that will buy enough to justify the production levels they will start out with. But if many photographers are considering it for its archival qualities, Kodak is not targeting them at this point by touting that as a feature.
What is really peculiar to me is the idea of Super 8 Ektachrome. Is the idea that filmmakers are supposed to splice the original film and then project it? Or are they supposed to scan it and edit it on a computer? If the latter, why not just shoot negative stock.
If they are going to project the Ektachrome, then it will get scratched and degraded pretty easily. Are they expected to make film copies of the spliced film? If so, how?
Why not also Ektachrome 120 format?
My Horseman VH 6x9 waits for it.
Ektachrome in 35mm was more the amateur film as it was considered too small for commercial publications, for which 120, as a minimum was demanded. It was thus favoured by professionals. But today it makes more sense to release it in 35mm where the demand will be. I agree, though, MF slides look fantastic when projected, but I would doubt their commercial application today when a scanned MF slide has to compete with MF digital.
I look forward to seeing all the slide shows. Anyone want to buy a working Carousel?
This is a potential problem. For slides to be seen at their best they need to be projected, and with a high quality projection lens, onto a screen. Even screens impact on image quality. For the brightest image glass beaded screens were preferable, but suffered from a narrower viewing angle and slight loss in projected resolution. Matt screens could, depending upon quality, provide the best resolution with a wider viewing angle, but a slightly less bright image.
But is a modern audience so used to the convenience of digital going to put up with the hassle of setting up a slide projector and screen to go through the rigmarole of viewing a few slides?
I wish they just did 100,25, ISO colour and BW and keep at it.
It is Kodachrome we all miss. I don't remember any popular songs about Ektachrome or E6.
While I loved Kodachrome's color, I preferred the finer grain of Ektachrome for landscapes.
David610, you're right on. I would only add that there were several Kodachromes: Original (ASA 10), Kodachrome II (ASA 25), Kodachrome 25, Kodachrome 64, and Kodachrome 200. Of these, Kodachrome II was the hands-down champ... best IQ slide film ever.
Davinator, I agree with you about Ektachrome color. I found it festive but unnatural, with oversaturated blues and reds. Hence I preferred the more balanced Kodachrome colors. But I don't know where you got the idea that Ektachrome had finer grain, unless you were comparing it to Kodachrome 200. The slower Kodachromes were the finest-grain slide films available. In fact, when you sent a 35mm Kodachrome slide to Kodak for an internegative, they made it on medium format film so as to capture the Kodachrome detail.
Kodachrome 64 grain RMS 11. Ektachrome 100 grain RMS 8. That is where I got my idea.
Well, there were a lot of different Ektachromes as well. Just from the last generation there was plenty of variety. For example E100VS which I really did not like, and E100G which was gorgeous. But that's just me. Hopefully new Ektachrome will strike a reasonable balance.
I agree that Kodachrome II was the best. But ASA 25 is not easy to use except in sunny weather.
My recollection is that Ektachrome in medium and large formats had lower contrast than the 35mm. Results could be very good, but it easily shifted toward a magenta cast if at all out of date.
I won't buy any, although I got through a few rolls back in the day, It was good in its time but things have moved on. I miss doing black and white print, not enough to resurrect the darkroom. which is full of hassle. but colour slides not so much, not interactive and crafty like print, you send the roll away and slides come back, you project across the room to bore your neghbours with over long presentation of your family expeditions.
As silly as I find this to be, because really when you can get a Nikon D3300 kit for $300 (I got mine for $200 last August 2017) and it easily outdoes what 35mm SLRs gave us, what's the point, there is this--it is promising in that-people who are worried that smartphones will cause the SLR market to dry up can look at this as evidence that it won't.
I had to read your comment three times.
I read it only once and didn't get the logic of the argument.
I wonder what is going on in this photo that accompanies this article.
It looks to me like they're inspecting a section of processed film (4 feet wide?), possibly on a light table (which would account for the dimness of the other parts of the photo).
Not a very compelling photo to use to illustrate the article.
Eastman Kodak makes the film for Kodak Alaris. The film division is profitable. Why in the world would they cease film production when it is profitable. Oh...ya...because you're trolling.
How is it profitable if it hasn't even hit the market yet?
The film division is profitable. That is why new emulsions are being tested. Pretty badic stuff.
Consumer and Film Division (CFD) revenues for Q3 were $55 million, flat compared with Q3 of 2016. Operational EBITDA was negative $2 million, a decline of $3 million compared with the prior-year period, driven primarily by lower volumes in industrial film and chemicals, vendor transition costs in motion picture film and the expected continued decline in the consumer inkjet business offset by a payment of contractual minimum royalties from a brand licensing arrangement.
Kodak's "new" stock has declined from a high of 38 a share in 2014 to $3.40. They have bigger things to worry about than getting Ektachrome and Super 8 cameras out.
First of all, that is one quarter. Second of all, it lumps their printing business and other sectors in with film...unless you think vendor transition costs and inkjet is film. The film category itself from Kodak Alaris is profitable. Man, some people love to argue....and then pull the wrong info to support their incorrect opinion.
How do you know it is profitable, Davinator?
And when you say it isn't true...that must be fact...over the CEOs of both companies. I think they know their market better than you. If the film market was not making them money...they would not of reintroduced Ektachrome. This is according to them...but of course, they are lying becajse you linked a Wiki article.
I think I'm done here. Too many stupid people.
Kodak stock has been declining at an alarming rate since it was issued... not just this last quarter. If this continues it won't matter if the production of film is profitable or not. However there is no specific film division as you stated and no mention in the financial report saying that film manufacturing is profitable or that film sales will turn around the company.
What they do state is that the division that includes film had declines in industrial film and chemicals is a contributor to the losses in that division.
Maybe they do have hope that Ektachrome and a Super 8 camera will help improve things. Through countless re-organizations, acquisitions, sales of divisions, Kodak has always represented that there was hope.
We are just asking for evidence of the profitability you mentioned. You haven't provided anything, and Kodak's own financial reports lump film in with the CFD division, which showed negative earnings in the most recent report. Yet, we are the stupid people?
I can't find any reports where Kodak's CEO states that film is profitable or that they anticipate increased sales. Maybe I missed something. Most of the company's reports feature information about their printing technology. Film seems to be a minor player at this point.
I suspect that it is profitable enough to justify its existence plus I don't think they want to totally abandon their roots. But Kodak is not depending on it for growth.
Davinator wrote: "If the film market was not making them money...they would not of reintroduced Ektachrome. "
That is your conclusion but is not proof of anything. First of all Ektachrome has not been introduced yet. Second, companies often introduce a product or service at a loss while working over time to establish a market that is profitable.
Amazon.com's investors stuck with Bezos' plan despite continued losses. Tesla shares have been soaring despite continued losses and poor forecasts by some analysts.
I shoot all important photos on film because I can archive it and know that 40 years later I will still have it. Have not been able to say that about digital files. All the early digital files I had have all been lost. I scanned some 40 year old Kodachrome slides recently and they looked like I took them yesterday.
how do you store all the 20 years traveling by using film for another 40 years ?. i guess not more than 100 rolls (less than 5000 pics) for DSLR you may still look brand new and just filled 8gb of storage . just clone to another 10 sd cards for back up.
next 40 years you need to use a camera to capture the film back with 50% lost of film quality.
My old Ektachrome slides of some decades ago have deteriorated, faded and color changed. My old Kodachrome slides are pristine, some back to the 1950's. I'm not happy with the archival ability at least of Ektachrome as it was, would like to see Kodachrome back again for archival.
@joni9 - Ektachrome from the 80's is more archival than Kodachrome. If you find deterioration from Ektachrome from a couple decades back...the fault is you...not the film.
Assuming this is true (and I've known Henry Wilhelm since the East Street Gallery days) why didn't Kodak announce Ektachrome had surpassed Kodachrome in permanence since they were getting hammered by Velvia and were eager to get rid of Kodachrome, anyway?
Between 2005 and 2007, I exposed about 200 sheets of 4x5" film in a large format field camera. Many were simply stunning.
All were destroyed in a home moving snafu. They accidently ended up in a mini-fridge for storing unexposed film. That fridge accidentally got unplugged by my wife when it started leaking water. A couple months went by. The insides of the mini-fridge all rotted with mold. All the exposed and developed film was destroyed (along with the undeveloped stuff).
My digital photos are backed up on both Google and Amazon's cloud.
@ppg677 Whilst very unfortunate for you, and I greatly sympathise, with respect this is not a natural occurrence to argue against film archival properties or versus digital. Archival discussions are normally concerned with a film emulsion's ability to resist or susceptibility to fading.
@guyfawkes I think it is an argument for archival storage, because digital files can be easily replicated. If society collapses, yeah, prints and film may out-survive files replicated in multiple clouds. But otherwise my money is on digital as the best format for long-term archives.
I have all my digital photos from 2001 onward.
Kodak please bring back Kodachrome processing, I got many rolls still in my possession.
What, you think they are going to make the film without a means to process it?
If I've understood correctly, LightBug was asking for processing for his Kodachrome films.
Ah. An article about Ektachrome and he was adding K-Chrome to the mix and I missed it. Thanks.
I still have two Nikon film SLRs and plenty of lenses for them. But I cannot think of a single good reason why I would want to shoot another roll of film. I don't begrudge those who would shoot Ektachrome, but I suspect not that many will, and that as film photographers and their equipment age and die, the manufacture of Ektachrome will cease and not enjoy a second resurrection.
Spread the joy and sell or donate what you aren't using! There are plenty that would love different film gear but it's in short supply (hence the niche kickstarters popping up recently).
@jrconner, "But I cannot think of a single good reason why I would want to shoot another roll of film"
Sit at the kitchen table surrounded by test prints, neg sleeves, contacts and preliminary enlargements; with a light box, a loupe, and a marker pen. Honestly, there's no feeling like it. Give it a go - what have you got to lose?
"Sit at the kitchen table surrounded by test prints, neg sleeves, contacts and preliminary enlargements; with a light box, a loupe, and a marker pen. Honestly, there's no feeling like it. Give it a go - what have you got to lose?"
I had a 2' by 4' light table propped up on my kitchen counter for years and years. I would roll out the sleeves of transparencies and sheets of negs and edit with marker in hand. I had multiple loupes so I could edit with friends and associates.
I did it because I was paid to do it. Did I enjoy it? Sure. But now that there is no money in, the interest has left. Film holds no nostalgia for me. I used it daily for a decade and times have changed.
And when it came to transparency, my test always led me to one truth: Shoot Provia!
I still have that light table.
The pilot coatings have gone very well. Film lovers will be pleased with the result. Can finally get away from Fuji's pepper effect.
"...how Kodak is making the economics of Ektachrome work by creating it in smaller, more sustainable batches."
It is interesting that a 4'x6,000' roll is considered a smaller batch. What size batches were they making before?
Some of the old "coating alleys" were over a mile long. They were really busy in the 1980s.
Yes that was my understanding also. So what about a 4' x 6000' batch represents a "smaller, more sustainable batch?" Is it that they can shut down the machine and switch over to another emulsion easily rather than run continuously for a number of large rolls?
I suppose it makes it easier to adapt production rates to market demand. If the demand isn't really there, then either they cease or move to the easier process of B/W.
I could see medium and large format but who shoots 35mm film ?
Mainly because 120 and 4x5 represent less than 15% of film volume. The vast majority of film use, not including cine film, is still 35mm. I get wonderful results from 35mm.
Loads of people shoot 35mm film - I guess they're experimenting with the idea that the quality of the photographs isn't defined by resolution or dynamic range, but by the vision of the photographer. Literally thousands of photographers, which is a nice idea right?
Arca45Swiss In some ways I agree since the IQ of Digital cameras are much better and cheaper as well. I'm glad people still shoot 35mm though but the biggest issue I find with the 35mm format is how few people can properly scan their film. Medium and large format hold up much better because it's much more forgiving in scanning due to the immense amount of detail to be had. I personally find 35mm a waste if your mostly just scanning your photos for digital but you don't have a proper scanner to do it. The other issue is that many of the top scanners are no longer made and buying used is an issue with software support.
I get that they have to go where the volume is, but here's hoping that the relaunch will be successful enough for them to make it in 120 as well.
Bring back Ektachrome for ART SAKE !!! Digital pictures are for the lazies and artless !!!
Really? Kind of stretching it aren't you? What are you shooting with now? If its digital, are you the aforementioned lazies and artless? And lastly, can you be either artless or lazy or is it both or nothing?
Fujichrome wasn't good enough for them?
Pictures are not all about art.
I take it as sarcasm.
Fujifilm has started a panic among film shooters. They are back cutting 135, 120 and sheet film sales. @AlanG obviously doesn't know that.
Keep hand cranking your car to start...bet you don't have one of this "artsy" cars. Digital is faster and film doesn't make sense in 2017.
Would Salvator Mundi have fetched that much were it not for name recognition? I bet it would end up in Goodwill.
"Fujifilm has started a panic among film shooters. They are back cutting 135, 120 and sheet film sales. @AlanG obviously doesn't know that."
I thought film use was undergoing a resurgence and growing. Why panic then? Is Fuji missing this? Film Ferrania's E6 film will let artsy people make art too... someday in the future. Super 8 Ektachrome will be ultta hip for the artsy artsy artsy hip hip hip hipsters. Where's Warhol?
How are your daguerreotypes going?
God darn it !!! Leave the digit photos to toddlers and teens FILM IS OURS !!!
It ain't the medium... IT'S THE MESSAGE. I used film from the time I was five until I was 50. Digital imaging ROCKS.
Does this mean a return of the photobug kiosks in the Kmart parking lot?
Yes, film are for old-fashioned pros.
It seems pretty promising that Kodak has figured out how to make film on a smaller scale. So this might be profitable and sustainable.
The chief financial backer of Eastman Dry Plate Company (later Kodak) back in 1881 was Henry Strong who had money from his family's buggy whip company.
They should advertise this by using the first 6 ft of that first production run to shoot an ultra large format 4ft X 6ft slide!
LOVE this idea haha. Processing that thing would be a huge pain though wouldn't it?
I think that works out to 35,000 - 38,000 36 exposure 35mm rolls.


text:
The BEST episodes written by Elizabeth Baxter
#1 - Love Letter
Relic Hunter - Season 1 - Episode 19
Event: A SMALL VILLAGE SOUTH OF PARIS 1789 Sydney and Nigel's graduate student Nicole Chamfort is convinced that young lovers from her ancestral hometown in France, were secretly married on the eve of the French Revolution, moments before the happy groom was murdered by revolutionaries. If true, the bride's illegitimate son would be the rightful heir of the de Bourdin family. With the imminent sale of St. Agnes Sur-Loire to land developers, the race is on to Sydney and Nigel to conjure up centuries-old church records believed to have been burned by anti-clerics during the Revolution. The land developers will go to any lengths to stop them.
#2 - Don't Go Into the Woods
Event: CARPATHIAN MOUNTAINS 1711 A.D. Author and conspiracy theorist Vladimir Bugos contacts Sydney and Nigel to locate the Golden Falcon of Maribor, a relic last seen the night Crown Princess Natasha, its owner, disappeared about 400 years ago. Not impressed by Bugos' reputation, they are swayed by a map he has discovered, and they head into the Carpathian Mountains despite of werewolves to bag the Falcon.
#3 - Eye for an Eye
Highlander: The Series - Season 2 - Episode 5
When MacLeod and Richie are witness to a terrorist attack on an Ambassador, Richie dives in like a Superhero, cocky with Immortality. In the resulting confusion, one of the terrorists is killed, and another, Annie Devlin, an Immortal, is captured. She swears revenge on Richie, and when she escapes from custody, MacLeod takes on the task of educating Richie so that he will have a chance in combat against her. Meanwhile, Flashbacks reveal an earlier friendship between MacLeod and Annie. Mac renews the friendship, and the two Immortals who have both recently lost their lovers find solace in one another. In the end, Richie defeats Annie but can't bring himself to kill her, and MacLeod convinces her to pursue the blood debt no further.
#4 - Saving Grace
Highlander: The Series - Season 1 - Episode 17
Grace Chandel has been a Good Immortal, working for the betterment of mankind as a midwife, doctor, and scientist over the centuries. Her one weakness is another Immortal, Carlo Sendaro, a former lover who is obsessed with her and refuses to let her go. He slays Grace's current (mortal) lover and, when she refuses to run off with him, frames her for the killing. She turns to her old friend Duncan MacLeod for help.
#5 - Reasonable Doubt
When a valuable DaVinci sketch is stolen from a friend of MacLeod's in a robbery that killed two guards, MacLeod offers to act as go-between to ransom it back. He discovers the sketch was stolen by Kagan, an Immortal he faced once before, when Kagan was a bank robber in 1930 Paris and MacLeod killed his mentor. Meanwhile, Maurice asks MacLeod to talk to his troubled niece, Simone. Simone turns out to be more troubled than Maurice knows -- she's a prostitute and Kagan's accomplice. MacLeod goes after Kagan, who protests his innocence in the deaths of the guards and who promises MacLeod that he'll change his ways if MacLeod will help him. When Simone, the only one who knows Kagan is the killer, is killed, MacLeod realizes that Kagan could never really change and confronts Kagan, taking his head.
#6 - Reunion
Running for his life from Immortal Terence Kincaid, Kenny runs straight into Anne Lindsey's emergency room. Stashing Kenny in the hospital chapel, Anne calls MacLeod for help. MacLeod agrees to harbor him for one night only, but when MacLeod gets him home, Kenny discovers his long-lost teacher there -- Amanda!
#7 - Living a Lie
#8 - Pharaoh's Daughter
MacLeod feels the Buzz coming from an ancient sarcophagus and opens it to find Nefertiri, Cleopatra's handmaid, buried 2000 years ago with her mistress. Now revived, she pursues a vendetta against the Immortal Marcus Constantine, who was her lover and her enemy. Mac believes Constantine, who claims that he no longer wishes to fight Nefertiri -- this former Roman General has turned his back on battle and is now a curator, working to preserve history and its lessons. But Nefertiri can't let go of the old grudge, and for the first time, MacLeod is forced to face a woman he loves in Immortal combat.
#9 - Inferno
Highlander: The Raven - Season 1 - Episode 15
An explosion at a chemical plant involves Immortal Talia, and Nick gets hired by Garrett, the owner of the factory. Garrett claims that a prototype plastics formula was stolen. Amanda investigates Talia, an acquaintance, and is told that Garrett, Talia's lover, had a sample of her blood and plans to chemically duplicate immortality. It turns out that Talia, a former revolutionary (and who saved Amanda's life during the French Revolution) is now simply in it for the money, and stole a viral plague from Garrett. She plans to sell it to terrorists. While Nick defuses a bomb Talia has planted as a distraction, Amanda fights Talia. She spares Talia's life because she owes her one, but when Talia comes after her anyway, Amanda takes her head. The resulting Quickening destroys the virus for good. Copyright 2002 Steve Crow
#10 - Bless the Child
Charlie and MacLeod come to the aid of Sara Lightfoot, an Indian woman on the run with a baby. She tells them Avery Hoskins is trying to steal her baby. Hoskins and his brothers come after them, and they are forced to flee overland. After a rugged flight through a mountain canyon, MacLeod learns that the baby is in fact Hoskins' son, taken by Sara in retribution for her own child, killed by runoff from Hoskins' mines.

redpajama_set_name: RedPajamaCommonCrawl


Calling Questions: What Should A Guy Do If His Elders Don't Like Him? - Am I Called?
In this episode of "Calling Questions", Dave seeks to answer this difficult question: What should a guy do if he wants to go into ministry but his elders don't like him?
You can listen to the podcast in iTunes, or with the player below.


Okay, today I am doing a little home work but the church button is on pause, I am not checking email or going in at all today but I will take a few breaks and play video games...I have loved video games from the days of Atari. Actually I just gave my old original Atari and about 50 games to good will 3 years ago...just saw that they were selling well on eBay...grrrrrr! Anyway, I have to give some props to the Nintendo Wii. I have been a Sony Playstation guy but he PS3 is too pricey and I just do not want an Xbox (unless it is free). Both of those systems are way better in the graphic department and other than the infamous Zelda there are really not great action games for the Wii like there are for the Xbox and PS3. However I am hooked on the Wii, it's remote is awesome, you are living in the game and you get a workout in the process. If you have never played you need to try! Also the price is about $200-$500 cheaper than the other systems. you can see in my picture that I bowled a 712 in the training area...super fun! I bowled a 768 as a guest...when I found out it did not save because i was a guest I was flipping out. Anyway, if you want a Wii...good luck in finding one. But if you have one and are looking to turn your video game vegging into a worthwhile workout check out these 2 blogs. Guy loses 9lbs in 30 days just by playing Wii sports. And this guy created a whole website devoted to a Wii weight loss program. If anyone know of any awesome games that get you moving please drop a note on the blog here and maybe a link the game. I hear there may be a "Wii Fitness" game coming out soon. That would be awesome.


We are very excited to announce that we will be running two intramural teams this year. There will be a men's 6-a-side football team that will play on a Wednesday afternoon and a mixed netball team to play on a Sunday evening.
Intramural is a fantastic way to get involved in the club outside of the pool and great fun too!
If you think you would be interested in joining either (or both) of our teams, then add yourself to the Facebook groups below.
The first fixtures are below and all following fixtures will be posted on the Facebook pages and website as they are released.
If you have any questions or queries about anything intramural get in contact with our intramural captains and they will be happy to answer them!
First Fixture: Wednesday (7th October) at 1:00pm on the rubber crumb.
First Fixture: Sunday (4th October) 8:20pm on the covered courts.


Editor's note: this post is from Jacob Rutski, an accomplished virtualization engineer who holds specialized certifications for technology products from Citrix, VMware, NetApp, Microsoft, and Cisco. You can connect with Jacob on LinkedIn, Twitter, and through his blog, SeriousTek.
For this post, I have decided to create a feature-to-feature comparison between EdgeSight 5.x, Desktop Director/Insight, and Goliath Performance Monitor. With this comparison, it should be clear that GPM is more than capable of replacing your existing EdgeSight deployment and Desktop Director, while a useful utility, it isn't and wasn't meant to be an Enterprise monitoring solution for Citrix XenApp and XenDesktop.
The following charts show a breakdown of features between Citrix EdgeSight products (not compatible with XenApp/XenDesktop 7.x and later), Citrix Desktop Director (see notes about specific version requirements) and Goliath Performance Monitor. A status of 'Basic' indicates that there is limited or basic support for that item.
The first category is general monitoring data – the basic metric gathering for the environment. The only area EdgeSight is lacking in this category is hypervisor monitoring.
Next, is the ICA session data – both EdgeSight and Director have a strong showing, gathering all ICA/HDX data.
The real time data and analysis capabilities of EdgeSight were excellent and are clearly lacking in Desktop Director – Goliath Performance Monitor has you covered with the added benefit of real time hypervisor metrics.
Troubleshooting performance issues requires historical data in order to draw conclusions about exactly what happened. Reporting was a strong suit for EdgeSight – while GPM may not have the sheer quantity of in-box reports that EdgeSight does, it does have a good number of quality reports without the reliance on SQL Reporting Services.
One of the most-missed features from EdgeSight is alerting – Desktop Director simply does not have any sort of alerting engine.
When you talk about monitoring software as a whole, it should be clear what the product is capable of doing. As I mentioned before, Director is a help desk tool first and a monitoring product second; and unfortunately Citrix EdgeSight is end of life. IT staff are being left in the dark when it comes to knowing exactly what is going on in their Citrix environment in the XenApp/XenDesktop 7.x world – Goliath Performance Monitor fills the gaps left by Desktop Director and adds much needed functionality to get a complete picture of performance.
As you can see from the above feature comparisons, Desktop Director simply cannot replace EdgeSight – and even if it could EdgeSight had some pretty significant feature holes. Goliath Performance Monitor is an agile monitoring tool that was purpose built to monitor your Citrix infrastructure as well as the virtual infrastructure as a whole.
Goliath now offers special pricing where they provide temporary licenses for one of the two farms so you can monitor both legacy and new environments as you cut over. This would allow you to use the Goliath product on the new environment for troubleshooting without disrupting the legacy environment monitoring or requiring the purchase of 2x licenses to support the deployment. I also encourage you to download a free copy of the official Citrix EdgeSight Replacement Guide to help inform your decision making.


text:
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Premature and Early Menopause
bone cognition energy environment female reproductive system heart hormone mood Aug 18, 2022
Premature menopause is when you reach menopause prior to the age of 40. Early menopause is when you reach menopause before you reach 45. The average age for menopause is 51 in Western countries.
Both premature and early menopause can occur...
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Uterine polyps are common problematic growths that occur in about 10% of women. They can be found in the endometrium, which is the lining of the uterine cavity, or in the cervix. They are made from clusters of endometrial tissue that extend into...
Preparation for the Menopausal Transition
blood sugar bone hormone muscle test thyroid Jun 29, 2022
The menopausal transition is a normal natural part of life, it's something that all women will experience, given that they live long enough. Even though it's a normal life process, it can take many women by surprise and can...
Zinc for Menopause
hormone mineral May 19, 2022
Many of you have probably heard of zinc over the last few years. It is a wonderful consideration when it comes to immune health. But even with its benefits becoming more widely known it's still thought that about 50% of the population is deficient...
Shatavari is more than a libido herb.
cognition digestion heart herbal medicine hormone hot flushes immune muscle night sweats sexual health stress Oct 31, 2021
Shatavari is the most popular Ayurvedic herb used for the menopausal transition. Ayurvedic medicine is possibly the oldest treatment system in the world, originating from India. The first recorded use of Shatavari dates back to 1500BC in the Rig...
Top Menopause Podcasts 2021
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Today is an exciting day. Exciting for me anyway, today is my podcast's 100th episode and I really want to thank you for coming along on this ride with me.
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Electrolytes, Dehydration and Menopause
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Water is the largest component of the human body, representing up to 70% of a healthy young woman, this percentage reduces with age, and a post-menopausal woman may be closer to 55% fluid.
Independent of menopause, aging has important...
Adenomyosis
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Adenomyosis is a benign uterine condition, where the uterine lining is found infiltrating into the muscle wall of the uterus.
This condition affects about 1 in 5 women. One of the biggest risk factors is being a female over 40 years old...
Mycotherapy for Menopause
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Mycotherapy is the use of medicinal mushrooms to improve your health, it plays a key role in Traditional Chinese Medicine but many functional practitioners like myself also use these mushrooms.
It is a factor to consider when looking at the...
Post Menopause Concerns
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For most women, menopause is a relief. After potentially years maybe even a decade of peri-menopause and its related symptoms of hormonal imbalance, such as hot flushes, night sweats, insomnia, anxiety, etc. The actual day that is 12 months after...
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Behne, Klaus-Ernst, and Wöllner, Clemens. Seeing or Hearing the Pianists? A Synopsis of an Early Audiovisual Perception Experiment and a Replication. Musicae Scientae 15(3): 324–42, November 1, 2011.
Rizzolatti, Giacomo, and Craighero, Laila. The Mirror-Neuron System. Annual Review of Neuroscience 27(1): 169–92, 2004.
Stokes, Richard. How English Composers Turned Minor Poems into Major Works. The Guardian , May 13, 2016.
Tempest, Kate. It's Difficult to Look at Words as Pegs to Hang a Plot From. The Guardian , April 1, 2016.


Alexander Street Press announced that it is bringing oral history to the forefront of research with Oral History Online, an index of English-language collections.
According to the announcement, oral histories contain rare and personal insights into everything from human rights abuses during apartheid in South Africa to life as a Japanese American after the attack on Pearl Harbor. Yet, trapped on cassettes and hidden in corners of the Internet, the personal stories of millions of people have been largely inaccessible to the scholars who need them most.
With 2,300 collections already identified and more to come, Oral History Online will help with the study of politics, women and gender, race relations, labor, immigrants, health and medicine, history, and more.
When it's launched early this year, the index will include direct links to more than 2,000 video files, 1,000 audio files, and 10,000 to 20,000 pages of full text. Oral History Online will provide a single point of access to these collections and give researchers deeper reach into the narrations with Alexander Street's Semantic Indexing.
Source: Alexander Street Press, Alexandria, VA, 703/212-8522; http://www.alexanderstreet.com.
The National Information Standards Organization (NISO) announced that it has published a white paper on Patents and Open Standards by Priscilla Caplan, assistant director of the Florida Center for Library Automation.
According to the announcement, this white paper is a timely reminder to everyone involved in standards development of the relationship between standards, patents, and the policies of standards-development organizations. Originally published as the feature article in the October 2003 issue of Information Standards Quarterly, NISO is making this information available as a free download from http://www.niso.org/press/whitepapers/Patents_Caplan.pdf.
•	What is an "open standard"?
•	What are the policies of other standards-setting organizations that govern patented contributions to standards?
•	What are the implications for NISO?
The paper concludes with an update from NISO on its recently adopted Patent Policy.
Source: NISO, Bethesda, MD, 301/654-2512; http://www.niso.org.
EBSCO Publishing announced that it has acquired the International Bibliography of Theatre (IBT) database. IBT is a comprehensive multicultural and interdisciplinary research tool available to theater students, educators, and professionals.
Initiated by the American Society for Theatre Research, IBT is a component of EBSCO's list of subject-specific secondary databases that cover the humanities. Since 1984, the Theatre Research Data Center (TRDC) at Brooklyn College has published 14 volumes of IBT.
These volumes comprise a fully indexed, cross-referenced, and annotated databank of more than 60,000 journal articles, books, book articles, and dissertation abstracts on all aspects of theater and performance in 126 countries. As an expert in the subject area, TRDC will continue indexing various titles for the database as well as coordinating international contributors.
Source: EBSCO Publishing, Ipswich, MA, 978/356-6500; http://www.epnet.com.
Swets Test International Sold to Harcourt Assessment, Inc.
Royal Swets & Zeitlinger NV announced the sale of Swets Test International (STI) to Harcourt Assessment, Inc., a U.S.-based provider of high-quality assessment instruments and testing programs.
STI, located in the Netherlands, France, Germany, and the U.K., is a leading publisher in the fields of human resource management, healthcare, and education. STI will be integrated into the existing operations of Harcourt Assessment International, the international unit of Harcourt Assessment, Inc., and will report to Ian Taylor, the London-based vice president of international operations.
Source: Royal Swets & Zeitlinger NV, Lisse, Netherlands, 011-31-252-435-584; http://www.swets.com.
Nstein Technologies, Inc. announced that it has signed an agreement with Health Canada to spearhead a new Global Public Health Intelligence Network (GPHIN) platform for monitoring potential public health risks and threats around the world. GPHIN is an initiative developed by Health Canada in collaboration with the World Health Organization.
The mission of the GPHIN platform is to monitor, aggregate, and disseminate health information to the international public health community. This will provide an early warning of potential public health risks or threats such as SARS or any potential chemical, biological, radiological, and nuclear-related public health risks or threats.
Nstein's technology solution will power the system, providing 24/7 real-time monitoring, aggregating, and translating information of public health significance in six languages (English, French, Spanish, Chinese, Russian, and Arabic) for dissemination to the public health community worldwide.
Source: Nstein Technologies, Inc., Montreal, 514/908-5406; http://www.nstein.com.
ContentScan, Inc., publisher of the Dome family of discipline-specific online information services, announced an agreement with Majors Scientific Books to distribute ContentScan's entire line of Dome services to medical and hospital libraries.
From one convenient, accessible location, each Dome increases research productivity while searching across content categories such as journal articles, books, grants, authors, Web resources, and institutions.
Resources included in each Dome are refereed and selected based on the relevance to their fields. According to the announcement, each item within the Dome is linked to related items, providing researchers with richly networked and easily navigable representation of their discipline's content and community.
Source: ContentScan, Inc., San Diego, 858/452-1264; http://www.contentscan.com.
The Special Libraries Association (SLA) now accepts membership dues in selected international currencies. Members may now pay by check to join or renew in Euros, British pounds, Canadian dollars, and Australian dollars. The expanded options offer flexibility for members without having to convert their currency to American dollars.
"Offering payment in multiple currencies gives our members improved flexibility," said SLA executive director Janice R. Lachance. "We will be considering more ways to enhance our global tools as well as continually evaluating our services for a growing global membership. This is an exciting first step in the globalization of SLA."
For more details on SLA's enhanced payment flexibility, go to http://www.sla.org/membership or call 202/234-4700.
Source: SLA, Washington, DC, 202/234-4700; http://www.sla.org.
Percussion Software, a developer of practical software solutions that enable customers to maximize the value and quality of enterprise content, announced that it has formed a partnership with Convera, a provider of search and categorization solutions.
The partnership is initially focused on utilizing Convera's RetrievalWare search technology for the content delivery environments based on Percussion's Rhythmyx 5 Enterprise Content Management system and the newly announced Rhythmyx Express Portal.
According to the announcement, the combination of RetrievalWare search technology and Rhythmyx Content Management System creates a powerful one-stop-shopping solution for organizations that want to roll out robust, secure, and highly scalable search capabilities for Internet, intranet, and extranet applications. Percussion will provide RetrievalWare to Rhythmyx delivery environments starting immediately.
Source: Percussion Software, Stoneham, MA, 781/438-9900; http://www.percussion.com.
ProQuest Information and Learning has signed a new agreement with The New England Journal of Medicine (NEJM) to distribute its full text electronically to libraries, hospitals, and educational institutions. ProQuest also announced an agreement with Verlagsgruppe Handelsblatt, a German economic and financial news publishing group, to distribute Schmalenbach Business Review (sbr).
According to the announcement, NEJM is considered the world's gold standard for keeping up-to-date on the best practices in medicine. A career companion for physicians, it also helps define and reinforce clinical care for physicians in training. Thousands of academics throughout the world use NEJM as a teaching tool.
The agreement with Verlagsgruppe Handelsblatt will bring sbr, the international edition of German business journal Schmalenbach Business Review, to ProQuest's ABI/INFORM suite of online business periodical databases.
sbr's goal is to publish original and innovative research. Its quarterly English-language issues focus on accounting, finance, taxation, marketing, neo-institutionalism, and more, bringing together the most important management areas.
Source: ProQuest Information and Learning, Ann Arbor, MI, 734/761-4700; http://www.il.proquest.com.
John H. Buhsmer, 71, of Gulph Mills, Pa., died of complications from heart disease on Oct. 4, 2003. He was founder of NewsNet, Inc.; an online pioneer; a former vice president of the Philadelphia Evening Bulletin; and a foundation president.
In 1973, Mr. Buhsmer, who had always loved newspapers, became vice president in charge of personnel and labor relations at the Bulletin. In 1982, he founded NewsNet, an early online business information services company. He retired in 1983 when he became visually disabled.
Mr. Buhsmer grew up in Wilkes-Barre, Pa. After earning a bachelor's degree from Kings College in Wilkes-Barre, he served in the U.S. Army in Germany for 2 years. In 1958, he married his high school sweetheart, Maurita.
In addition to his wife, Mr. Buhsmer is survived by his father, Charles Sr.; sons John Jr. and Dennis; daughters Mary Shannon, Patricia Tigani, Judith, Kathleen DeRose, and Caroline Peters; a brother; and five grandchildren.


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Bandit Culling: Knock Knock
Oda, Feari, Kazumi, Hotaru, Amata
Bandits are still a threat in the Land of Water, but thanks to Oda being assigned as leader to a random group of shinobi, a little less bandits now exist.
"Bandit Culling: Knock Knock"
Land of Water
The dead of night, that's the set time for this mission. Oda was requested for the first time since his oaths were given to lead. Normally, he'd just be tagging along as an attache. Now, he's stuck in the front. As he walks as quietly as he can along the cut path, he's keeping a slow, slow pace. The reason he was is obvious.
He's waiting for the rest to catch up so he can brief them.
It wasn't long before Feari was right next to Oda, one of the many that were selected to join Oda while running his first mission. The man wasn't sure if he was to be grading the individual, making sure they were capable enough as a Chuunin or not, but as it currently stood, the Swordsmans mind was else where. Several thoughts racing about the group before them and how he could better enhance their appearance.
Idly along she walks, her hands working string between her fingers as she moves. Amata looks at the leader of this group, idly pondering him as she walks along. Her fingers press together again and she forms a cat's cradle between her fingers before she goes for another manuver and then states, "Well, hello." SHe nods her head to Oda, "Is this then your first leadership position?" She hmms and then blinks as she spots Feari. SHe sighs as she spots him before idly looking back at her hands and the wire she is playing with…the end of which seems to slide up her arm into the eye of the needle like blade.
Kazumi was perfectly fine with the time of day, though he wished he had taken a nap earlier on. As it was, he made his way to stand just behind the others. Well, walk… The group was… interesting.
'Look at you, teaming up with Swordsmen. Better be careful,' he heard in his head, causing a trickle of sweat to run down the side of his face regardless of the cool air. Gulping a bit, the boy raises a hand and makes his presence known, "G-good ev-evening. S-S-Suzuki… rep-porting in…"
Hotaru comes along, last of the pack. He's carrying his coffin behind him on his back with his coat tucked around his front and buttoned in a few places. He grips the chains a bit tighter, not looking too happy, but stops as he reaches Feari, Amata and Oda. He lifts a hand and says, "Genin medic in training, Hotaru. Ready to serve."
Oda was looking calm, frankly that's because he's always much more comfortable at night. He clinks quietly along a moment as Feari joins him. He knows only that Feari is a Swordsman…And that gives them something in common. He only has issues with Ishino, personally. As he hears the others catching up and introducing themselves as they arrive…he motions for them to keep following.
"Keep pace, keep quiet."
Oda's stern, and it's just how he was raised. Anyone who knows him in the village knows he's not mean.
"It's my first time running a team, but I'm not leading it due to how strong I am supposed to be."
As Oda keeps going, he clicks his fingers twice against the side of his sheath. He gives a friendly wave back though to Kazumi and Hotaru still.
"You two are going to be valuable, just remember to keep your heads down."
"We are hunting…We are to track down the last few remnants of the bandits. Earlier teams have done excellent work in wearing them down, but we have word that a few escaped to a nearby farming town. They are keeping discreet, but we have a heading on them and know they stand out pretty obviously…They also expect to be hunted. That's why we are doing this in the dark, and that's why I'm here."
Oda clicks his fingers twice again on his sheath.
"From here on, our mission details are deemed secret in terms of ability. The Mizukage is looking forward to the outcome."
It not only was a hunt, but a proper assassination mission of the bandits.
With the group assembling, Feari's eyes would scan those gathered and a smile would cross his face. He'd want to say something, speak up to those, but decides to remain quiet. Following along Oda's orders. He didn't know the current mission leaders abilities and level of strength, but could tell Oda was a fellow swordsman and that was something he could respect.
Keeping pace, but slowing back to walk along with the others, a smile and nod would be given to Amata and Kazumi before catching up to Hotaru. Seeing the teens unruly hair, in desperate need of a cut…Feari would give a signal between the kids hair and a kunai that appeared within the Swordsman hand to see if Hotaru would be ok for a impromptu haircut.
"Oh my." Amata states as Oda speaks up and she idly keeps working with the wire between her fingers, running along with them before she glances over to the other sand nodding to Kazumi specifically before she keeps mvoing along. She listens to the briefing before nodding idly and finally she seems to release the wire idly into the air and pulls forth the blade. Even as she does so, she is idly spinning it around her person by the wire, flicking it this way and that with ease before it slides into her hand and she chuckles as she moves along, she seems to have nothing ot add.
The pale hand of the pink-haired teen laid over his own mouth when Oda mentioned keeping quiet. He was a sensitive kid, so he did sort of look chastised, but his eyes gave a tentative smile once the wave was returned. Kazumi did his best to keep quiet, even if he wasn't particularly stealthy. His hand dropped and he gave an awkward smile in return to Feari as he followed after and listened to Oda. More of these bandits… ugh. Hopefully he wouldn't get beat up like last time… Just thinking about it made him reach up to scratch his chest and then arm, two places he'd gotten sliced up last time he dealt with these guys. Seeing Amata's nod, he tentatively, uncertainly nods back.
'If I didn't know better, sometimes I'd swear she touched you wrong…'
The words in his head elicit reddening cheeks, causing the teen's head to fall in an attempt to let his hair cover his face.
'That's certainly helping,' came the sarcastic thought.
Hotaru tilts his head, watching Feari pull the kuani and only shakes his head. He runs a hand through his hair and grins before listening to Oda and the mission. He could use a hair cut but instead of asking, he was told to keep quiet after all, he waves a hand, indicating later.
"Have any of you fought them before, if so please…speak up so we can know what to expect?"
Oda glances back a bit. He is already pointing ahead in the distance. Just barely through the trees, a single lit window is visible in a small hovel town. The pitch blackness of the new moon night was making it all but impossible to see, but that was also on their side. Oda does something he doesn't characteristically does…he leaps up and slams into a tree, grabbing on with a gauntlet and digs in to hang there so he can see further away.
"We wait here for a moment…Just keep voices down low and we are fine. There aren't scouts, I don't feel."
Feari would squeal with delight, hands clenched into fists and shaking before as Hotaru signaled for a haircut at a later time. Something the man would not forget. For now though, the kunai would disappear once again as he moved closer to Oda to respond to his question.
"I fought them." He'd reply gingerly. "Or I should say more correctly, I was there. Kazumi on the other hand fought a whole camp of them and their leader as well. He has your answers." Kazumi will love Feari for that glowing reference…
The signal to wait, Feari would do so, while gathering a bit of chakra as well. Unlike usual, Feari was already dressed for battle. Open trenchcoat exposing his torso while Samehada was wrapped in bandages and strapped to his back. He may even use the blade this fight, but it was unlikely.
MOving to halt beside the rest, Amata would smile slightly, looking in the distance before she would look at the others. Amata looks to Oda as he speaks, nodding lightly to herself at his assessment before she'd stop spinning her blade. She would look at the blade, idly pulling it up to her hand and hmming as she looks at it before she would then glance forward and look at the distant sight. Feari's words about Kazumi would have Amata smiling ever so slightly as she would turn to look at Kazumi before chuckling and looking forward. SHe'd idly spin the blade twice more before pulling it to a hand and idly throwing directly through a tree, piercing all the way through it before yanking it back to her hand.
The pink-haired teen's head rose up a bit, face still tinged a little with color when Oda questioned whether anyone had fought them. He barely even gets a chance to hesitate before he's offered up as an example, so to speak. "U-um… w-well, it w-wasn't just m-m-me," he starts.
'That's probably fairly obvious…'
Kazumi's shoulders sag slightly before he adds, "Er, m-most of them w-were… k-kind of push… pushovers, honestl-ly. I m-mean… in comp-parison t-to… Y-Yuriko-" There's an awkward pause in which he fumbles with what honorific to use before blurting, "chan a-and N-Naoya-k-kun…" He looks fidgety about that honorific too. "Th-they… a-aren't sh-shinobi — the b-bandits. J-just… p-people. S-swords and, um… w-well, the… the m-main guy w-was huge. H-had a club, but… I th-think we got rid of h-him." Dear kami, he hopes they did…
Hotaru gives a small smirk as Feari likes the idea. Hotaru does need a cut and usually lets his sister do it. But she's not around at the moment. He shakes his head at the question, "I haven't fought them before." Or anyone else for that matter. As he travels, he adjusts the coffin on his back, making sure it's secure. Then he stops, looking up ahead he waits for something to happen. Before Amata puts the blade through a tree and smiles at such power. He nods his approval before watching Kazumi try to get out the information. Hotaru keeps quiet however, having nothing important to give to the conversation for the moment.
Oda hangs in the tree for quite some time, staring hard at the distant dark village. As he squints his eyes, the window light still remains. He nods some, that would make sense to where they most likely would be. He doesn't confirm that though. He's listening to Kazumi at first, thankful Feari pointed him out and that Kazumi was willing. He's fortunate he has two who knows them. He has the information he needed, these were fighters but not trained in any way past being brutes then? They would be easier to spot within villagers then.
Oda lets go of the tree, falling down to the ground…and rolls. If he would have hit the ground with his feet, the sound of his armor hitting together would have been too much. He keeps on one knee after the roll, pulling out four pieces of paper and begins to draw identically on them. He's drawing a map of the village, roughly, from what he was able to see from above.
It's only five buildings, and they are definitely not to scale, he could barely make it out.
"For this mission, we have to avoid harming innocents…and we must try to preserve the building structure too. I don't like wasting time rebuilding what could be protected."
Oda would finish his drawings, and then put away his quill and pull out another, red-tipped. He would clap his hands together once, then putting them back down at his sides, closing his eyes he goes silent for a moment. After a single, long breath he re-opens them.
"We are very fortunate to have you two, Feari, Amata. I want the Genin to lead the initial movement…This is going to be an exact operation, a single kill by each of you at the exact same moment of possible."
Oda was even including Hotaru!?
He keeps sitting like that, seeming to just stay as still as possible before he moves his hand down to the paper.
On the first paper, he draws an X inside the building that was designated as the one with the light in the window…right beside the window actually. Oda hands that paper directly up towards Amata.
On the second paper, he draws an X just to the inside of the 'wall' of the building. "I am assuming this man is guarding an entrance…he's awake too, like Amata's target." He hands that paper to Feari, assuming the man at the door would be the stronger of the bunch.
"Hotaru, Kazumi…do you have any techniques that can pierce walls or be exact?"
Oda looks towards the two, not familiar with what they can do…He can only study missions so much without knowing exactly who he's dealing with. It would be clear that by this time, he's using what he was acquired for—he's not hiding it either. He's waiting for Hotaru and Kazumi's answers before handing them the other two papers, but he's already drawing on them. One has an X in the far corner away from the window watcher, and the final one has an X on the exterior of the walls some distance away from the building.
Kazumi's response was exactly the amount of information Feari expected out of the timid kid. Luckily, it was just enough, if not more so. Bandits are bandits after all. Still, the Swordsman was going to have to work more with Kazumi to get him over that apprenhisive disposition. Later. Much like the hair cut for Hotaru ^^.
Turning his attention to Oda as he explains the details. A strike for each of them, it was quite precise and would take care of things perfectly, but what was Oda going to do? Was he going to watch the group and grade them like Feari had done to Yuriko, Naoya and Kazumi during his own Bandit Culling mission? Maybe he should summon a chair for the mission leader to sit upon. "Sounds like a good plan."
Flicking her blade about her, Amata places it to her shoulder and peers at the others before looking to Oda. SHe listens idly before nodding and idly nodding her head, "Ok." She states softly and then looks toward the village aand then at the X. She ponders lightly before moving toward the village a few steps and then saying in a quiet voice, "I will simply kill him through the wall, if I can." SHe nods her head, "I doubt it'll be too necessary for me to go too far further." SHe nods her head even as she focuses her chakra.
Kazumi licked his lips when asked if he had any particularly accurate moves. "W-well… yes, but, um… I use… acid," he remarks. That is probably the least helpful specialty when it came to leaving things intact. His hand rises to scratch the back of his head. "S-sorry…" Of course, if Amata is going to attack through the wall, surely he can manage it through the window… and hope the glass doesn't ruin the sill or even floor when it melts… Amata's attacks are almost certainly not going to cause much damage, though… Even so, he focuses a bit of chakra to prepare.
Hotaru looks nervous about having to take out someone with one hit. He's lucky to hit a target, let alone a guard in one hit. But, it never hurts to try. There are many here more skilled than he is. So he's sure to have his covered at some point. He speaks softly, "Depending on the thickness of the wall, my puppet's blades might. I do not carry anything bigger than a kuani though." He makes a hand sign and begins to surge his chakra since he'll be needing it.
Oda nods a bit, listening to Hotaru actually closer. Kazumi's information clearly led Oda to make the choice for him immediately. He holds out the paper of the X on the outside to Kazumi. He then holds the one of the X in the corner to Hotaru. He then does something off, he pulls his Omoide off of his hip and holds it up towards Hotaru.
"I have two. Use this one with your puppet to penetrate the wall. You know how to use blades, therefore you may can improvise with my Omoide no Taishoku. You will be able to get a deeper shot…Take a moment to attach it if you can."
Oda would stand after that, nodding at Kazumi.
"Acid straight into the mouth and throat, so there isn't a chance to scream…"
How brutal, but then he looks at Feari and Amata. He just gives them both a nod, he knows he doesn't have to tell them how to kill silently.
He would take a couple of steps, talking as he gives Hotaru time to think and do what he needs.
"These positions are not static…when we get closer, before we strike, I will take one more reading. I will point to each of you, and then signal if I sense them in the same spot or if they have moved…if they move, we will adjust accordingly. I want each death to fall within a 5 second interval…and avoid being spotted by anyone. I don't want to wake anyone."
Oda's mentality is simple. Get in, get out, don't get in anyone's way and make sure no one gets in their way. What he's doing is simple, providing intel and support.
For a first time mission runner, Oda was a natural, at least when it came to gathering intelligence and explaining it to those in the group. If the mission goes well, the Kuroyari would be charged with running several more after this.
Receiving a nod, Feari would do the same to let Oda know he was ready, even though the Swordsman wasn't exactly sure how he was going to achieve what was expected of him. Most of his current abilities required face to face confrontation. So this was going to be an interesting first time for the Swordsman as well.
A nod to the leader and Amata lets out a soft sigh before moving forward a step. Slowly, she pulls chakra into her limbs, strengthening their coordination and speed before she flicks her blade around. SHe then looks in the direction of her target, she looks over to Oda and then simply states, with an idle smile, "You're the boss, just say when to go." She nods her head with a soft smile even as she starts to run chakra through the blade and wire that she holds on to idly with her hand almost as if she were holding two seperate blades.
The teen gulps when the leader of the mission explained what he wanted done. Funny… when Kazumi killed rats by using acid to burn into their heads, he was questioned on why he did it and now he was being told to do much the same thing… to people. Oh well. He nods his head to Oda, indicating that he understood what his task was and how to go about it. He was ready.
Hotaru takes the wakizashi gingerly and the paper with the x on it for him. He looks at the weapon a moment, then sets down the coffin. He lifts a hand, twitching his fingers. Chakra lines run out to the chain and enter the lock. A second later it clicks and the chains fall away from the coffin. Hotaru whispers out, "Rokurokubi, rise and come out to play." A chittering sound comes from the coffin as the door swings open and a geisha with cat like deamon eyes and a fanged maw emerges. Hotaru twitches a few fingers and the puppet reaches out a pale skin hand to her master. Hotaru sets the wakizashi in her hand and says, "Use it well, Rokurokubi." The puppet flics the blade, testing it out before reverses it. Hotaru attaches his other chakra lines to the puppet for full control and then moves off quietly towards his position. He gives a signal that he's ready as Rokurokubi readies to stab through the wall marked with an x on his map.
"In three minutes, initiate no matter the situation. I will approach the door…Then make the move when it is the most opportune."
Oda would nod as he sees everyone taking their positions. Good, they were ready. Oda reaches up…and undoes his armor around his neck. It falls free, and soon does his greaves and even his extra blade. Oda puts his armor against a tree, leaving him in a grey tunic and slacks. He looks like a normal villager…and even reaches up to pull off his eyepatch. He doesn't open that eye yet.
"Feari, be ready, I'm relying on you for this…"
Oda would move closer himself towards the hut…and again freeze and breathe slow. He's focusing…His eye shuts again and then re-opens the other one. His covered eye looks completely normal, but he smiles slightly when it opens. It's an old trick his father taught him, a way to help with seeing at night. From here…he can see Kazumi's target. He stares hard at the bandit, a squat man holding a club…leaning against a tree. He looks asleep. Oda would bring his hand up and signal to Kazumi his target was there. Soon, he signals to Amata too that her target is still watching from the window he can now see. He cannot see the door, but Oda senses Feari's target is pacing back and forth in the room now…he's assuming impatience is kicking in. The one in the corner though now has shifted, moving instead to the opposite corner from where it previously was…the puppet would have to sneak under the window to avoid detection.
Oda, himself…brings his hands up now, and whispers silently.
"Transformation Technique…"
With a soft poof, he's transformed into a copy of the bandit that is Kazumi's target. With that, he looks over at Feari. And then he drops down to the ground and begins to walk towards the hut…He's moving slow, giving the others enough time.
In the back of his head, he's counting down the seconds…
Feari watched Oda undress, not even bothering to glance away for a moment. Fashion was his hobby after all and though the intent was to look less like a ninja, there are other more extravagent ways to do such, but Feari wasn't going to comment on the others choice on how to change between wardrobes. Not until after the mission, at least. Later…Lot's of laters to remember.
Oda would start forward and Feari would do the same, except moving along the outskirts of their location. Wanting to get a better vantage point for whatever Oda has planned.
For her part, Amata simply nods to the assessment that things would need to take place for her to act. She is already flicking her blade around idly, looking at it as it moves and then looking toward her target. She can't quite seem him the whole time, only when he steps near to the window, peering out but not able to see her behind the tree she is leaning against, only an eye peering out as she idly ponders how this man will die…it won't likely be pleasant, for him or the person ordered to clean it up.
Kazumi nods and heads off in the direction of the guard he was tasked with getting rid of. He did his best to be quiet, watching his step, ignoring any stray thoughts, careful… Three minutes… In three minutes, he would be prepared to attack this man with acid. The guy wouldn't know what hit him. Probably wouldn't… /want/ to know, anyway. The teen just stays out of sight, prepared and waiting.
Hotaru frowns, having to deal with a complication. His fingers give a twitch as the geisha puppet slides around close to the wall, moving to follow the target. Slowly, Rokurokubi slides along without a sound as Hotaru controls her from the shadows and large plants at the boarder of the small village. He's ready when the signal is given, he just hopes he won't be found out before everyone is ready.
Oda now is taking a risk. He's moving along the building itself now opposite of the exterior bandit. He's in plain view of Feari, and he can bet Amata knows his location too. He pauses for a second around the corner from where the door is.
"15…14…13…"
On the mental count of 12, he steps around the building. By the count of 8, he's at the door. By 5, he's knocked on it and then stepped away and faces towards where the exterior bandit is. This is the risk…
By 3, the door opens and the door guard has stepped out…a much larger man with a sword ready steps out quickly. He initially looks in confusion at Oda in his transformed form, but Oda was moving too quickly. He points directly at the real bandit that Kazumi is targeting, his own face looking alerted in a way of saying 'Look!'
Oda has moved far enough away from the man to give room…he knows just what he's doing as he can sense Feari's location.
The man by the window has stood up and turned away from the window, facing away from Amata as the knock drew his attention too.
Kazumi's target hadn't even noticed the sound…was he napping against the tree like a slacker?
Only Hotaru's target, the one unseen, no one can see. That risk is one that may need to be taken when it comes to location. The boy may have to improvise or simply go with his gut on the strike.
Initiate.
As Oda continued closer toward the building, Feari drifted behind while never allowing Oda out of his sight. When Oda moves around the building and approaches the door, Feari is waiting to strike, not too far away. Though no blade finds the swordsman's hands and Samehada remains affixed to his back.
When the door opens and the bandit appears on the other side, Feari is already there. The bandit barely gets out an alerted shout before finding himself having to defend against a quick palm thrust to the mans nose followed by a kunai swiping across the bandit's neck.
A look at her target, idly counting down in her mind, she loves the fact that he appears right near the window so she can at least partially see him. WIth a simply spin and then a flick, she sends her blade right through the wall and directly through his neck. The sound he makes is something like a gurgling gasp as the needle pierces through his spinal cord and then out his throat as he leaned against the wall. Nuibari stuck lightly into the wall on the opposite side of the room even as the man twitched and began to die but then Amata simply grabbed the wire in both hands and she flicked her arms downward and down the wire went…right through the man making quite the terrible mess.
Hotaru waits for the right moment, then at the right time, he curls his hands out in front of him, turning palms up as he does. He's reaching out, using any senses he could use to detect where the person is. At least he's trying. Rokurokubi takes the command and stabs with the weapon at the wall Hotaru picked. Hopefully, it works.
Kazumi was, for once, focused on something and was not distracted. At exactly the right time, he formed the necessary seals and an orb of acid was thrown from his hand, the thing curling in just the right way to hit the man's face. To be sure, though, he sprayed another gout of acid right after it, this one not so much damaging as it is sticky… and it splashes right over the guard's nose and mouth to make absolutely sure there isn't even the slightest noise.
Blood splattering, a slight yelp, the sounds of wood barely being split…And two sounds of bodies hitting a floor. Oda stood there completely quiet for a second, he was sensing again. His brow furrowed…he could sense the life leaving them.
He would turn towards the door, patting Feari on the shoulder as if to say 'Nice work.' As he stepped into the hut, he could see Amata's gory work. This caused him to actually close his normally hidden eye. Too much detail…
What he was looking for was the life that wasn't slipping away fast enough. He turned to the man in the corner. A younger bandit, barely even touched by scars or battle yet. Still, he was a target…
Hotaru had gotten lucky, the blade had shot straight through the wall and into the side of the neck of the bandit. Oda wanted to see Omoide's work first hand, that's why he made himself the bait so he could go right in himself. The man was still gasping breath though…And Oda walks over towards where he remains standing due to the blade sticking into the side of his throat. The thought runs through his mind, and then he turns his head towards the wall where he knows the puppet is standing.
He at first was going to tell Hotaru to push through harder to finish the kill, but the Kuroyari just shakes his head. That yell would wake someone. He just grabs the bandit's face and pushes…finishing him with a half-decapitation.
Oda then would just walk out the front door, wiping blood off on his grey tunic.
He motions for Kazumi and Feari to follow once they are finished in their silent kills…starting to dash around the corner back towards where his armor was.
He'd expect they'd know that's where he would want them to reconvene, since his equipment was left behind there.
Feari was quick in his strikes, but quicker still in making sure no blood sullied or soiled his outfit. "Icky" The swordsman would comment as the kunai disappeared, pulled back into one of the many scrolls that line the inside of his trench coat. The pat on the shoulder would be felt and the man squinted his eyes and furrowed his brows for a brief moment before a smile replaced it all as he glanced about the room. The rest had been dealt with. The bandit 'threat' had been stomped out? At least these for sure, Feari thought as he turned away and followed after Oda.
Pulling her blade back through the wall, she leaves only a hole at the top and a thin line going down. SHe smiles as she looks at it, hmming as she does. The line and the hole at the top kinda look like a needle. She hmms softly to herself before spinning her blade and wire around a couple of times to let the blood flick away before she slides the blade away and starts back to the return point and lets out a soft breath, seeming somewhat pleased with herself.
Hotaru slips out from his cover, looking at Rokurobuki, her jaw half open in an almost expression of a smile. He smiles at her and says, "Yeah, you did good. Common, time for a rest." He gives a hand a twitch and the puppet pulls the blade out of the wall a shunk sound. She hands the weapon back to Hotaru who gives it a flick to clear it of blood and even wiping it on his sleeve. Rokurokubi hovers with Hotaru back to the coffin which she slides into and scrunches down. The chains slide back into place and Hotaru lifts the coffin onto his back again. He waits for everyone to start heading off as well.
"Well done…Flawless."
Oda was still dressing at this point, finishing pulling on his eyepatch as Hotaru arrived. He clasps the rest of his armor on before looking over at Hotaru, then down at Omoide in the puppet's hand. He nods a moment at a thought before he extends a hand to ask back for his blade. Oda looks pretty happy, but let's face it. He had some of the most skilled with him, all he did was talk and be bait.
"I'll report to the Kage at sunrise. Let's head back quickly before the discovery."
Oda looked at Amata, nodding at her in thanks. He does this as well to Feari. He's still showing them respect as he knows they deserve. For the Genin, he claps Kazumi on the back with a heavy metal hand to snap him out of the trance he was in. He recognized it…
"You did fine, you saved lives by taking one."
Oda would look over at Hotaru, grinning in thanks to the medic as soon as his blade is given back.
"You should look into getting one for yourself, a longer blade saves you trouble…"
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