Rickey

it’s all happening

[bean smoothie™ @beansm00thie]

gonna prank my landlord when he come to collect rent tomorrow lmaooo gonna get him so good

[Will Sommers @WillSommers2]

The rest of the MLB: "I don't understand how the White Sox are so good"

The White Sox:

[Chicago White Sox @whitesox]

this angle is crazy 😱

[Pat McAfee @PatMcAfeeShow]

🎶I BE STROKIN'🎶 😂😂 #PMSLive

[Wemby @wemby]

Spurs family, I’m here to stay.
Whatever it takes🖤

[Paul Muad’Dib @trygraptor]

dude

[evil @EVILSCRE4M]

A Nightmare on Elm Street 3: Dream Warriors (1987)

[Emir Han @RealEmirHan]

In Lost Highway, David Lynch told the actor Robert Blake to “use your imagination” for the disturbing look

He shaved his eyebrows, cut his hair short, wore white kabuki style makeup, and dressed in black.

He never blinked once.

It was filmed in one take.

[Brett Hollander @BrettHollander]

This is out of Naked Gun or Airplane.

And one of the funniest things I’ve ever seen.

The internet has been redeemed for a day.

[San Antonio Spurs @spurs]

Proud of this team. GSG.

[MLB @MLB]

Please say hello to your 1st place @WhiteSox 😏

[MLB @MLB]

BRADEN MONTGOMERY HITS A WALK-OFF HOMER IN HIS MAJOR LEAGUE DEBUT!

[𓍝 @solovisios]

Me still believing in Wemby while the whole timeline turns against him

[San Antonio Spurs @spurs]

FINALS BOUND 🎉

@HEB | @Ledger

[Enza Altieri @EnzaAltieri]

a birthday cake

Cuba, 1997
Abbās Attār

[Anish Moonka @anishmoonka]

Michael Mann couldn't shoot Collateral on film. The cameras couldn't see Los Angeles at night the way he wanted. So he picked a digital camera no other major Hollywood movie had used. The crew was still building parts for it during the shoot.

Mann was chasing a specific look. Around 10 or 11pm in LA winters, a low cloud bank drifts in off the ocean and settles about 1,200 feet up. The orange sodium streetlamps below light up the bottom of those clouds and turn the whole sky into a soft, hazy glow. Mann said it looked like winter in England.

Movie film couldn't see that. To shoot a single downtown block clearly, the crew would have had to bring in massive lights and brighten up entire streets just to make the buildings visible. Even with the lens open as wide as it goes to pull in any available light, almost nothing outside the foreground would stay in focus.

The camera Mann picked was the Thomson Viper, brand new and not really ready for production. There was no memory card or storage inside the body. It had to be plugged into a separate hard drive with a cable.

About 80% of Collateral was shot digital. The other 20% on regular film was mostly the Korean nightclub shootout, where the bright club lighting gave the crew plenty to work with.

The coyote scene only exists because of the digital camera. Mann didn't plan it. A small pack of coyotes wandered across an empty street between takes, and because the camera could see in near-darkness, the crew just rolled. On film, that shot would have required lighting up the whole intersection first.

The helicopter shots over the city work the same way. Palm trees against the night sky, the downtown skyline lit only by the city's own light. On 35mm film, none of that would have shown up.

The movie cost $65 million to make and earned $220 million worldwide. It won Best Cinematography at the BAFTAs, the British version of the Oscars, and helped push Hollywood toward digital cameras for night shoots.

One catch. That orange light Mann chased is mostly gone now. Starting in 2009, LA began replacing its sodium vapor streetlamps with white LEDs. By 2013 the city had swapped out 141,000 of them. Today the lighting system is 98% LED. The Los Angeles you see in Collateral doesn't exist anymore.