lyss

just here for the natural light. she/they. filmmaker + photog 📸

[lyss @wikipedia_blk]

so glad gender isn’t real

[DiaBia @mommabiia]

Naomi Ackie my IT girl

[lyss @wikipedia_blk]

I wish people would stop asking questions like this and just think. Sitcoms play on cable. Who has cable?

[Madeline Fry Schultz @madelineefry]

Why are there no Gen Z sitcoms? Gen X had Seinfeld and Friends; millennials had The Office, New Girl, and How I Met Your Mother. Gen Z has...also The Office

[Madeline Fry Schultz @madelineefry]

Why are there no Gen Z sitcoms? Gen X had Seinfeld and Friends; millennials had The Office, New Girl, and How I Met Your Mother. Gen Z has...also The Office

[Kristin Raworth 🇨🇦 @KristinRaworth]

I've never sen anything more accurate

[lyss @wikipedia_blk]

this is so wrong I wish yall would stop explaining color grading/lighting/cameras when you know nothing about it

[Anish Moonka @anishmoonka]

Warm colors increase your heart rate. Cool, washed-out tones lower it. Every remake you’ve watched in the last decade has been deliberately color-graded to flatten that signal.

It started in 2000. The Coen Brothers shot O Brother, Where Art Thou? in Mississippi during summer, when everything was, in Joel Coen’s words, “greener than Ireland.” They wanted a dusty Depression-era look. Cinematographer Roger Deakins tried every trick in the book: chemical treatments, lens filters, old darkroom techniques. Nothing worked. So they did something no one had done before: digitally scanned the entire film and recolored it frame by frame. Deakins spent 11 weeks turning lush greens into burnt yellows. No feature film had ever been entirely digitally color graded before.

Every major studio adopted the technique within a few years. And then the problems started.

Modern film cameras don’t capture what your eyes actually see. They intentionally record flat, grey, washed-out footage to capture as much detail as possible. The plan is for the color team to add vibrant color back in later. But the people doing that work stare at grey footage for weeks. Their eyes adjust. One filmmaker admitted he’d bring saturation up to 120% and feel satisfied, then realized the image still looked desaturated to everyone else. He had to crank it to 200% before it looked normal.

That’s just eye fatigue. The color draining also happens on purpose.

Muting colors hides bad CGI. If a computer-generated background doesn’t quite match the actors, draining the color smooths over the mismatch. The Lord of the Rings extended editions look flatter than the theatrical cuts for exactly this reason: the added scenes had less polished effects, so they were washed out to cover it.

Then streaming made it permanent. Bright colors look messy when video gets compressed for phones and laptops. Dull colors look consistent whether you’re watching on a 75-inch TV or a 6-inch phone screen. So studios color their movies for the smallest screen in the room.

Your brain registers the difference even if you can’t name it. Your eyes are wired to perceive warm, rich colors as closer and more immediate. Washed-out tones create emotional distance. When a studio drains color from a scene, they’re dampening the emotional signal the image sends to your brain.

Old film stock didn’t have this problem. Kodak and Fuji films had rich, punchy color built into the physical chemistry of the film itself. Each brand had a distinct look you could recognize. Digital cameras capture flat, neutral data by default. Getting that warm, vivid “film look” from digital requires skilled work that costs time and money. Most productions don’t invest enough of either.

Modern cameras can capture a wider range of colors than film ever could. The technology has never been better. The choices have never been lazier.

[shoushou @notanarch1ve]

there will never be a reasonable natural hair vs wigs/relaxers conversation until everyone is ready to admit we treat ugly people poorly. When we're ready to admit we abuse ugly people, then we can try to tackle the things people do to escape the fear of being called ugly.

[Nate Rogers @Nate_Rgrs]

It sounds like an exaggeration but you really do regularly come across people in LA over the last few years who will straight up tell you that it’s no longer viable to work in film/tv and they’re looking for a new career. $900 million against that backdrop is unconscionable

[★ @thematrixwizard]

how it feels to walk into 2026 knowing that whatever happens was written and meant to be

[kendall @filmbitten]

somehow i picked the worst possible decade to try to have a career in filmmaking

[⚜️Sovereign⚜️ @sauvamemte]

This is my personal library called Do The Knowledge it’s fairly comprehensive. it’s a working library which means things will be added to it and organized but everyone is welcome to it, for anyone who wants to read. Enjoy and happy reading ❤️

https://t.co/pCO3tPjHDc

[Andrew Woods @JimJarmuschHair]

“Oh wow this company will mail me three DVDs at a time and I can return them whenever? That’s incredible! Nothing horrible will ever come from this!”

[Minnie @saintdutchess]

I went to see Sinners FOUR TIMES mind you

[soybigboi @SOYBiGBOi]

NO!

[Coastal Elite @polarctrl]

RHOP cast arrests

[charlie @chunkbardey]

time to choose a halloween costume! first things first: what is my relationship to my gender sexuality and body

[Cheyenne is on 🪡 @CheyenneTheGeek]

I hear folks are looking for accessible Black stories with Black women leads! I have a sitcom called “The Comic Shop” that you can watch on YouTube right now! Full season is up. Don’t just talk about it—be about it. Pull up!

[kay ⋆˚✿˖° @jasimisinclair]

I also want to acknowledge that there are black creatives that are working very hard to get their projects off the ground. A lot of them are pitching stories that we want to see and are getting turned down. There are a lot more nos than yeses.

[Cindy Noir✨ @thecindynoir]

SOUTHERN fried rice…..

Southern FRIED rice……..??

Southern Fried RICE…..?!?!?!?!

[sean @nenefcknleakes]

RHOP camera crew rn