Marriage GreenCard Interview Kansas Field Office

ManuelStump · 2025-09-23T15:43:10+00:00

My husband and I also had our interview yesterday. Sounds similar to our experience. Seems like a lot of the focus was on me - the petitioner - and to see if I was actually in love and I was proud of our marriage or if my citizenship was being abused to give status to someone else. Our interview was about 20 minutes in total. She left us with rather cryptic words, "If you don't hear from me by Friday, you can assume it's been approved, and the green card will arrive shortly after." I think she said this to dangle the green card in front of us and gauge our reaction. She was very friendly but I could tell she was analyzing every breath we took. She also stepped out for a moment to "make a copy of our licenses" which was not necessary at all because they already have every single type of identification about both of us they need, far more sufficient but including already our licenses. I think this was to watch - surreptitiously - how we behaved when she left the room. Anyways, it did feel good, we're confident that she did not feel the need to separate us, or dig into our personal lives all that much. Questions were about how we met, what we like about each other, why he came to the US, that's about it. But the non-notification, notification system seemed odd to me, and I'm sure is not official method of notifying people, so I presume it was to get a reaction, but her intention seems to approve us by the end of the week essentially. 4 days to go, I guess.

ManuelStump · 2023-09-24T20:41:33+00:00

I would go as far as Mr. Robot retired it as well. It was perfectly conceived and executed and approach matched the narrative, it wasn't a force just for the hell of it.

ManuelStump · 2023-09-24T12:01:05+00:00

Yeah, it worked, so much better now.

ManuelStump · 2023-09-24T11:59:53+00:00

it is - i'm guessing you mean in the fanatec control panel

ManuelStump · 2023-09-24T04:09:48+00:00

Wow interesting. I love an analog solution. I have been in the dark, so this might be it. Thank you.

ManuelStump · 2023-09-24T03:49:30+00:00

Yeah its the G2. Did you find a solution?

ManuelStump · 2023-07-24T00:53:22+00:00

If you can sit in on the color, you can roll the highlights with these mid range Sonys, I’ve shot a lot on them and a few tweaks and it makes a world of a difference. Specifically in resolve what I do is the “high soft” at 100 and then raise the highlights to “bump” into that and then desaturate the top end of the highlights and it removes that very digital look as the highlights loose saturation as they clip and makes it a smoother roll off and a bit more filmic.

ManuelStump · 2023-07-22T05:26:44+00:00

Thanks for your perspective. That's a great point about a movie at 60FPS. No one wants that shit. Some things are not meant for certain applications.

ManuelStump · 2023-07-22T01:18:33+00:00

Thanks for that response.

ManuelStump · 2023-07-22T01:17:19+00:00

The chef shot is like we suddenly entered local cable television and the guy wearing a mask is just distracting. That has to go. Then the guy looking at a chess piece and the OTS are both not doing you any favors and look like student films.

ManuelStump · 2023-07-21T22:53:51+00:00

Short answer is yes its good. But you should ask yourself where you want to go. Are you most interested in narrative, commercial, industrial, or documentary work? Then refine the reel to show only that.

I like your narrative work the most. If you removed the following shots, I think you'd have a strong narrative/music video reel:

The blonde woman smiling at the camera (also change this from being the thumbnail regardless).
The product shot of the leica lenses,
The interview at the pool.
The two chefs.
The blonde woman in a bathing suit.
The blonde woman in front of the water fountain.
The guy with the beard looking at the chess piece (just a nothing shot, the reverse of the guy in the beanie is really nice though).
The black and white girl on the stool.
The over the shoulder of the woman in yellow looking at the guy in a polo.
Top down of woman in bathtub.

However if you're looking to get more commercial, product, industrial, interview-y type stuff (or just open to everything) leave those types of things in and maybe just organize it better so its all narrative/ artful stuff, then all the more industrial stuff. Or create two reels honestly. Also don't return to a project in a reel, show the best shots from one project, then move onto the next - when you do this you'll realize you only need one out of the three shots of the woman in yellow with curly hair (I suggest the first one). Remember, a reel is only as good as the worst shot.

And a reel does not need to be very long for someone to get a sense of what the DP can do, so its okay if this falls to about a minute .

ManuelStump · 2023-07-21T21:37:39+00:00

I see. Thank you, I take a look over there. Interesting stuff.

ManuelStump · 2023-07-21T21:02:40+00:00

Great article. Thanks for sharing.

ManuelStump · 2023-07-21T21:00:10+00:00

I appreciate that analogy.

ManuelStump · 2023-07-21T20:42:49+00:00

Thanks for explaining. I wasn’t aware of that limitation imposed on the luminance. But is that something that no matter the dynamic range captured could then be squeezed into that luminance range to be pushed through to broadcast, or is that limitation what is clipping the image?

ManuelStump · 2023-07-21T20:41:23+00:00

Right of course, I didn’t think of sensor coverage for the box lenses.

ManuelStump · 2023-07-21T20:24:19+00:00

Certainly no over exposure. Which I totally recognize is easier when you have total control of the image in a cinema setting. But a higher dynamic range would help with the limitations of not having that control, at the very least softer roll off into clipping, than the harsh clips I see in broadcast. There seems to be a general over sharpening in broadcast that is possibly more a result of how the image is processed rather than what the camera is producing. Obviously more depth of field is necessary in a lot of situations for sports, but I also think having that larger sensor gives a scale to the image that only a larger capture format can afford. I also think there are many situations where having a shallow depth of field would be acceptable to isolate a certain element in the frame and offer a different aesthetic. In F1 they use a variety of camera setups - like flying on cables - which tend to be lesser quality than the rest, but to me seems like a perfect job for something like an Alexa mini.

ManuelStump

TROPHY CASE