Bourben 🥃

@SchlupfSchelle Leider unhatebares Ding

Der große Unterschied zwischen Dr. Ulf Poschardts Fans und mir ist, dass ich DJ Culture tatsächlich gelesen habe.

@BonerWizard Hey Brute, don't make it stab

@RMarsonet @AnnaK_4ever So basically SFerev

@AnnaK_4ever ha, right after he lost, i was wondering if we should nickname him SF Zverev lol. this makes it even more obvious that im right. btw hard to blame him for the last 6 losses to SinCaraz lol

Zverev's last 10 semifinals: ❌ Cobolli - Munich ❌ Sinner - Monte Carlo ❌ Sinner - Miami ❌ Sinner - Indian Wells ❌ Alcaraz - Australian Open ❌ Sinner - Paris ✅ Musetti - Vienna ❌ Alcaraz - Cincinnati ❌ Khachanov - Toronto ❌ Medvedev - Halle

@Reckoner_13 @anishmoonka Only polished by ai it would seem otherwise original, thats what makes it compelling

@anishmoonka Is this written by AI?

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.

@hierkoenntedein VOR aus Minga

Der Toiletten-Code bei Zeit für Brot Savignyplatz ist 1432 falls ihr vor Schnickmanns Lesung noch Heroin nehmen wollt

@josemorgado Fonseca-Kecmanovic up there

Most interesting Men's R1: Alcaraz-Opelka Shapovalov-Fucsovics Bublik-Cilic Musetti-Mpetshi Perricard Cerundolo-Arnaldi Djokovic-Tien Mensik-Jarry Norrie-Korda Rune-Van de Zandschulp Khachanov-Basavareddy

@qikipedia Quite interesting, in the sense that it is patently false.

In 1509, German Renaissance artist Albrecht Dürer argued with his patron about his fee for an altarpiece. He retaliated by painting himself in the middle of the work, holding a sign to advertise himself.

With Stefanos’ switch to Babolat confirmed, 2025 is already a nightmare for Wilson. Demon now the only top ten ATP player left, and both Madison and Stefanos having improved significantly, with fanfare, after switching away.

@james_jacoby I‘m sure you‘ll miss the weather.

5.5 years in Berlin done. Just landed in SF. Ready for this.

@BastienFachan Against as prime a Rafa as there ever was no less

Possibly the greatest tiebreak anyone has ever played, by Fernando Verdasco.

@AhdirVrai @BastienFachan You're quite right! I keep fortgetting that.

@bourben_de @BastienFachan It was the semis. Great match indeed.

Every Australian Open match Novak Djokovic entered as an underdog in his career: 2005 first round vs Safin (lost) 2007 round of 16 vs Federer (lost) 2008 semifinal vs Federer (won) 2011 semifinal vs Federer (won) 2025 quarterfinal vs Alcaraz (pending) Five matches out of 108!

@BastienFachan Safin vs Fed final 2005 my fav match of all time

In any case, the winner of the match always won the tournament 👀

@vierpferde Im Weinberg des Textes Sonnenbrand grkriegt

Unterwegs zur Sprache einen Platten eingefangen

@hah__weh come back stronger

gestern trump sieg heute corona positiv aber nichts hat natürlich wieder mit nichts zu tun klar...................

@vierpferde Das große Lalulā

Overheadprojektor: *gibt elektronisches Summen ab* Berliner Medienwissenschaftler: Hört den Gesang der Sirenen

@vierpferde Lass mich

*Berliner Medienwissenschaftler Voice* In meiner Dissertation versuche ich eine Dekonstruktion des Overheadprojektors mit besonderem Bezug auf Kittlers Rezeption der Antike

@GregoryBesharov @proffwolff Wow

@proffwolff End up ghosted either way

texting back the governess from turn of the screw

@BastienFachan @TennisLegende You can tell he wants to come forward and finish them so bad…

The way Federer plays tennis like that’s what he was put on Earth to do will never cease to glue me to the screen, even when he's 80 and the equivalent of Rod Laver in young people's minds 🎥 @TennisLegende

@michaelmiraflor They’re usually done to show potential, getting a sense of what could be. Using them externally, eg on LinkedIn, is something else though

Question I've been meaning to ask out loud about synthetic / Faux Out of Home (FOOH) ads. Does it matter that some people will think this is real? Like, should brands have ethical considerations as to if they are intentionally tricking consumers? Or is it not that serious?