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let's talk about Bridgerton tea, my ask is open

η₯ζ₯ / Permanent Vacation
noise dept.
$LAYYYTER

Kiana Khansmith

β£ Chile in a Photography β£
will byers stan first human second
i don't do bad sauce passes

PR's Tumblrdome
Keni
Jules of Nature
Misplaced Lens Cap

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"I'm Dorothy Gale from Kansas"
Sweet Seals For You, Always
Sade Olutola
he wasn't even looking at me and he found me
RMH
Three Goblin Art
Show & Tell
seen from TΓΌrkiye
seen from Indonesia
seen from United States
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seen from Singapore
seen from United States
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seen from United States
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seen from Italy
@itsmg3d
Flight videos Decontructed. http://tabletopwhale.com

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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The bar has been set.
MAD MMX - Opening Title Sequence
Letris
Onward Internet

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The Illusion of Life
The dim lighting was Steven Soderbergh's brilliant choice and it was real. This was not an era when you had high wattage light bulbs and everything was lit. It was an era when this was all new and not everything was wired for electricity and we wanted the reality of the darkness and the grit and what life really was like. Technology ironically helped with this because Steven uses the camera called the Red Dragon and it has such an incredibly sensitive light sensor that you can be in a room where two characters are only lit by one candle in the center of the table and you can shoot that scene. It can bring more light or less light. It is extraordinary. And so Steven really took advantage of that and allowed us to see what the darkness really was back then. And I think it's wonderful. I think it's something you don't see in anything else. Steven also mentioned something that I thought was really interesting - which is that he kept trying to figure out why there was a different quality to the show than anything he'd done before. And when he was editing it he kept looking at it. And what he noticed was that the actor's eyes were different and it was because they weren't in bright light. So instead of dialing down their pupils, they were wide open. And it had a whole different effect and a sense of openness that I don't think many other productions have ever been able to capture.
Series co-creator Jack Amiel on The Knick. Soderbergh is badass.
Siggraph 2014 Rewind - Tomasz Opasinski: Cinema 4D for Movie Poster Design
2014 MTV VMAs
Making of "Urgences"

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Jingle TV "Urgences"
How a Bean Becomes a Fart
The Story of a Story

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