VID/PICS | The green, not-quite-hobgoblin Rabbinic Hobgoblin demon

A close inspection of randomly acquired video footage made two days ago revealed a demon standing next to my armoire, talking to other demons. He stands just to the side, showing only the front half of his face, and that, only its profile. Still, his disproportionately large, green head (as compared to his body), makes him easy enough to see, particularly, on video, which is clear enough to see his facial expressions change, head turn and mouth move as he speaks (non-stop), provided you're viewing the original. When coupled with his beard and hat, he sort of reminds you of a Jewish rabbi; but, overall, he looks like a cousin to a species called hobgoblin demons—at least on this blog:

A variety of demons akin to hobgoblin demons in appearance, the species for which I have dubbed Rabbinic Hobgoblins

The quality of the video, when played on an iPhone 6s Plus, is astounding, even though the demon is semi-cloaked.

NOTE | For demons, that means looking half-visible, moving faster through time, and wearing a coat of slithering tendrils made visible by chroma.

As a consequence, the demon's mouth moves incredibly fast, even after cutting the playback rate by half; not only that, but he is also caked by a layer of even faster, slithering chromatic tendrils:



These hindrances to optimal viewing, which are common to nearly every video made during a period of high demonic activity, require that you either view the YouTube version of the video at 1080p HD or download the original from MediaFire and view it with Quicktime Player.

TIP | When viewing the original video in Quicktime Player, you can see a couple of other demons hiding, for example, in the white laundry bag, by skimming it frame-by-frame. (i.e., by stopping playback and then by pressing the left and right arrow keys on your keyboard to reverse and forward  the video one frame at-a-time.

About the video
One of the best places to stage a video camera during a period of high demonic activity is through a crack of some kind. The video above was made while my iPhone sat upside-down, while pointing through the crack made by the bottom of my bedroom door and the floor, which extends into the living room where the demon was spotted.

The reasons for positioning a camera in this way, and the reasons why cracks and pinholes work best for focusing and otherwise seeing hard-to-see demonic activity are explained in various posts to this blog, one of which is Demonic Feng Shui. Although it is somewhat dated, and incorrectly defines a portal's constitution, this clip taken from that post fairly sums them up:

Effect of interplay between objects' surfaces and geometry and light and shadow

Chroma, the red, blue and green "snow" that fills the air during periods of high demonic activity, is the stuff that hyperdimensional portals are made of (apparently), which is why it's always present wherever demons are passing to-and-fro between states. Just like snow, it drifts into piles, clinging to surfaces (walls, door frames), and becoming more and more concentrated as it collects; this higher concentration of chroma allows for demons situate portals. It's why most demons can be found near corners, inside closets or under beds, in trees, clothes, and wherever multiple surfaces are close to each other (and, therefore, creating a high concentration of chroma). It's why Santa Claus uses the chimney to enter your home—chroma is funneled down the chimney (yes, it flows) and into a square box, i.e., your fireplace, making it the easiest place to create a portal. (How does he fit? Whenever transferring via portal, you become microscopic in size, even if your destination is another part of this world.)

Demonic Peep-Eye shows a video of a demon peeping into a pinhole aperture fitted over the lens of my camera, in order to decloak demons, whose green-yellow eyeball can be see very clearly, straining to see what was inside the aperture:

Check back later for more links to posts that discuss how demons of the Rabbinic kind, as well as others, 

VIDS | Sucker demons (finally) crawl on someone else

Two videos made this week show a pair of shoes jumping at Long and a 5-foot long sucker demon jumping into Long. That kind of stuff usually happens to me, and me only—and that for years on end. Needless to say, seeing it happen to someone else who didn't specifically request it was surreal.

The shoe attack happened just a few days ago, during which both shoes in pair worn by Long each take a swing at Long's legs as he walks past them:



Apparently, the shoes were spring-loaded with sucker demons, who must have mistook Long for me, as—to point out once again—I am usually the only one with demon-possessed clothing.

Then, as if that wasn't astounding enough, two days later I inadvertently recorded a 5-foot long sucker demon, snaking up and between Long's legs (and, perhaps, beyond):

Most of the sucker-demon slithering—and the gaping-hole opening—happens within five frames

The video was made inadvertently, and when I left my laptop video recorder on as Long and I slid past each other in order to exchange places in the crowded room:



I am processing several hand-picked still frames taken from the second video for clarity, so check back soon. In the meantime: here are two versions of the same still frame, both chroma-mapped(TM) to reveal the various and tiny entities illuminated by chroma: one, oversaturated and over-contrasted; the other, less so. The image was enhanced using only copies of the blue channel from the original in a variety of layer blending modes; as demonstrated in Enhancing demon faces made anywhere, at anytime, from anything, this emphasizes the chroma by which such entities are best revealed:

It looks like a ruffle in Long's pants in still images; but, it's clearly a fast-moving, demonic snake in the video; above, is the oversaturated and over-contrasted version of its still frames (intended for seeing entities normally unseen)

The same still frame shown above, but with less saturation and contrast (for realism)

To see other posts that show and discuss sucker demon-infested shoes and shoestrings, search for shoes on this blog, and then read Sucker demon-possessed shoestrings attack legs on verbal command; you can also search for sucker demons for a better look at them via images and videos, which show how they are used by demons and their people for the purposes of torture.

PREVIEW | The Desktop of a Demoniac II

My desktop has tidied up a bit since The Desktop of a Demoniac, this gallery showing images that reflect some of the progress I've made since I decided to make the most of a bad situation, and started to develop ways to make visible otherwise invisible demons.

Demonic Sea-Monkeys

In each window, from right to left: the original image of a water bottle, an enhanced version, followed by its luma map (for clarity of detail)

A video made last night of hundreds of demons, all emerging from within a water bottle on my kitchen table, is going to keep me busy for some time, and that in two respects: for one, I have plenty of images to show, but it takes some time and work to make them presentable, as suggested by the above snapshot of my desktop; for the other, I want to know why and how so many demons came through in just that particular way. As for the latter, that would be hard to accomplish for anyone in my shoes, let alone for someone else living in a more peaceful (non-violent) setting; I really don't have the luxury of pondering matters not directly linked to my survival and basic needs. Even still, I believe that the observations I made from the video could be useful to people who dislike disease and injury, and who want to take a stab at that and other problems resulting from the demonic plague, but who have no access to that which I do. I think my best bet along those lines—at least for now—is to simply take notes on what I saw, and impart them via this blog, so that's what I will do. They'll be plenty enough for anyone so inclined to build on. As to what, I don't know.

Regardless, here's what I do know: the specific combinations of various properties of light and shadow (and interplay between them and matter) that either make suitable entry points into our world for demons or that makes their entry suitable for capture on camera, as they emerge from their world to ours.

How I determined that was simple enough: I walked around the apartment with my camera during last night's period of high demonic activity, and pointed it at everything, everywhere—even at a water bottle; and, what I observed—besides demons, everywhere, and in everything—not only solidifed my prior understanding of the role of light and shadow and certain kinds of demonic activity [see Demonic Feng Shui; see also Comparing demonic activity in light and shadow], but allowed me to expand it quite a bit. Enough to actually make something happen, in fact (or make something not happen, depending), such as control over access to our world by non-benevolent invaders (again, see image, above). Since it's not hard to turn off the lights and point a camera at a translucent water bottle backed by the reflective surface of food packaging, also made of translucent packaging, will make it easy for me to find out for sure. The fact there are no shortage of demons or related activity around me, and, if there were, I can produce them at-will, anytime, anywhere, will make it even easier.

NOTE | The one condition of production being, of course, what is referenced in such posts as Demons, their people continue to exploit, cause suffering via open portals and Christians, victims reeling from demonic activity aftershock.

In addition to the set of observations holding so much promise for future safety, I made two other less relevant observations that confirmed what I already knew about portals, specifically, that traveling through them involves a reduction in size by microscopic proportions [see Wormholes], and that there is a direct relationship between the conditions that create the entry point and a given species of demons. Some come in one way, others in another.

Demonic possession and the Green Channel
In TECHNOLOGY | Highlighting demons possessing a human as shown on video, instructions for using color data from the red channel to reveal demonic possession; in METHOD #1 | Finding hidden demons in digital media | Mapping multispectral digital image sensor data, the blue channel. Now, for the green channel:

The green channel of an image showing demonic possession reveals the texture of a demon's skin

Per-channel processing of images showing demonic possession reveals distinctly different textures and portions of the demon that would not otherwise be seen by processing all channels at once

Note the contrast between the red chroma and the green-yellow scales (skin), especially compared to the original still frame:

The original still frame

Mask with color
For the most part, mask-wearing demonic species never decorate the outside of their masks with coloring. Take, for example, the hobgoblin demons. Even though each mask is carved in such a way as to afford each wearer a unique face, there is otherwise nothing else to differentiate them using color. They are all white.

A demon captured on video recently, who, apparently, applied color on top of his masks' white base, explains why hobgoblin demons leave the white (at least to me):

Painting facial coloring characteristics on a white mask creates a pale, sickly appearance in its wearer

It's because they don't want to look sick or like a zombie, like the demon shown above. No matter how well you apply the make-up or paint, the ghastly, ghostly white underneath begs for more fresh air and sunlight (or something).

Spectre imaging (pardon the pun)
So, you're not a nerd, and don't get the joke (it's spectral—not spectre; but, since these images of the paranormal were processed using spectral imaging techniques...):

A still frame from a video made in a room full of demons, hence the thick layer of chroma over my face

Edited so that only the cloaked matter that is rendered green digital camera sensors

Spectral imaging, in part, involves processing image data for each channel, individually; it's ideal for processing images saturated by chroma, in that each channel shows different demonic entities and types of cloaked matter: the red channel usually shows facial features of a possessing demon; the green channel shows embedded sucker demons and various forms of cloaked equipment; and, the blue channel shows—if anything—a portion of the original image. Editing just one channel allows you to view its unique offerings within the context of the entire image, depending on which channel you edit, and the edits you make. This is important due to the similarities between the color channels due to the overlap between them.

For example: changes to the edited version of the still frame shown above, obviously, were made to the green channel. Because the red channel is stacked over the green one, the red channel had to be removed so the green channel could show through. Even still, the red channel was used to enhance the green channel data by intersection (i.e., creating a new channel where red and green were overlapped wherever they jointly produce a color), thereby allowing the green channel data to be shown in context with the remaining channels in the image.

About channel image data overlap. Fortunately, the overlap between channels doesn't necessarily diminish the unique offerings of each; rather, the overlap can sometimes be used to enhance the details provided by other channels. Case in point: the blue channel, which offers very little image data  and rarely contains anything unique to the other two can be used to sharpen the red and green channel data, as demonstrated by the following:

The blue channel was combined with the red and green channels (specifically, the sharpen them), allowing for greater detail than possible for those two channels alone

In the image above, blue was more or less extracted, which created deep pockets between red and green elements that blended together in the original; it also sharpened the elements on the red and green channels wherever they intersected with that of the blue channel.

Sharpening, differentiating color with one channel on the others. In addition to adding depth and clarity to other channels, the image data of one channel can also be used to unveil elements within the other two that could not otherwise be seen. In the image below, the blue channel was used to amplify the weaker image data in the red channel, as well as to create a stronger differentiation between the various shades of red in that channel:

Sharpening the red channel with the blue revealed a very disturbing object positioned over my left eye, the frequent target of attacks, which are a part of an ongoing campaign to blind me

The same color channel that sharpened another can also be used to soften the results, which may be more suitable in some cases

The unedited original still frame, which shows a pink band running down the middle of my forehead, but which cannot be seen in the same detail as shown by the edited versions

Cheating with Emboss
As I worked on images like the following, the Voices Demons said, "Hey, no cheating!" That was as I applied an emboss filter to an image saturated with chroma, in order to make it stand out more:

Emboss filters raise heights and deepen depths on chroma-saturated skin, revealing things both embedded in and crawling on it (left); the unprocessed original (right)

It's not the presence of chroma itself that creates an interest; rather, it's what it can reveal that you're concern with. That course has a lot of different paths on it; and, I've found that when you find one shorter than a demon, no fair becomes the phrase du jour.

Sharpening without statistics-based image processing...
...sucks:

A crappy sharpened version of the original shown below 

Believe it or not, things can be done to turn this blurry still frame into a clear picture of the demon shown therein

Other works of crap:

An improved version of the first still frame, above:

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