LISAN AL-VIAN

typing...

[LISAN AL-VIAN @Pyanide]

WTS the weeknd jakarta CAT 5 DAY 2 1 TIX ONLY.
jual CEPET karna gw switch ke festival HARGA WEB AJA NO FEE dm if interested! klo gw nipu lgsg viralin akun gw pls ini gw jual cepettt

[Braindead Bird App @tragicbirdapp]

this made me emotional

[LISAN AL-VIAN @Pyanide]

anjing first time burnout bekerja

[ares⋆🎧 @crownjumpers]

This is why travelling IS political and I wish more people would realize it. Wdym an outsider cuma perlu 2/3 minggu untuk menjelajahi setengah negara ini, meanwhile we as a local who was born and raised here, probably won't even have that chance.

[LISAN AL-VIAN @Pyanide]

shit’s poetic

[Fox News @FoxNews]

BREAKING: Two people have climbed to the top of the Empire State Building in New York City, holding a banner from the skyscraper's antenna reading, "When the power of love beats the love of power, the world knows peace."

As of now it's unclear how the pair reached the top of the building as police work to get them down from the spire, 1,454 feet above the ground.

[Michael @HolderOftheFire]

People in the comments saying "money" couldn't be more wrong.

Gandolfini has massive aura and charisma, that charisma was rooted in James and extended to his character Tony on screen.

When you have the right energy people will assume you have wealth even if you have 5 bucks in your pocket.

Management and alignment of energy is the cheat code to reality.

[LISAN AL-VIAN @Pyanide]

simpler times…

[Rakesh Kumar @Rakeshhkumaar]

“Until the lion learns to write, every story will glorify the hunter.”

-African Proverb

[LISAN AL-VIAN @Pyanide]

petaka gunung gede, a long ass sinetron

[helkum @he1kumwya]

them not being real brothers

[Sofie Angelie @stuckyabyssal]

@Shrek Sincerely, it's not about nostalgia or something but the design of Shrek was beautiful, we could even see the freckles on Fiona's faces, we could see the moles on prince charming, we could see every eyelashes and eyebrows so much detailed, I miss the realistic beauty of shrek

[TONY @TonyMichaelX]

A woman dressed as a man lecturing men on masculinity. Clown world.

[The Pink King @DayalSami]

Call me a hater but I think living in a world where both trillionaires and global poverty coexist is a sign humanity has failed as a species

[Gangster Cinema Central @GangsterCinema]

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography

Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles.

That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness.

Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution.

He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible.

First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky.

Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity.

He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.”

They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image.

The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

[owl @surreaulism]

so you saying kevin parker is spiritually muslim

[L🖤🦢 @swAn_girL7]

julian casablancas subway take will forever remain relevant.

[LISAN AL-VIAN @Pyanide]

@lecipasteour dictatorship PIG resemblance? yes

[LISAN AL-VIAN @Pyanide]

YES WTF

[enji @lecipasteour]

ini negara persis kondisinya kayak di novel george orwell 1984, pemerintahnya persis kayak animal farm. live action ceritanya?