daren

É exatamente essa a sensação que eu tenho hoje... E ficou muito, mas muito evidente com o trailer de HP. Não estou nem dizendo que antes era melhor, porque coisa totalmente saturada também pode ser bem ruim. Tb não tô dizendo q o trailer de HP tá feio. Só não entendo mesmo.

A re-grade of the teaser trailer! Do you think this looks better?

This would be so much better.

@Gol_D_Retweeter It's mastered for an OLED in a pitch black room. You should go to your TV settings then turn off eco mode, set gamma to 2.2, and set colour to 55/100.

I'm sorry, big production HBO studios, but can we just fokin a little bit pretty fokin please, thank you very much

I stopped guessing why my AI video generations weren't achieving my desired output. Now I use Gemini as an Assistant Director. 🎬✨ Instead of blindly tweaking text and hoping for a better render, I feed the broken video clips directly into Gemini for visual analysis. The workflow: 👁️ Analyze: Upload the busted clip. Gemini watches it and spots exactly what went wrong (dropped continuity, jarring jump-cuts, floating characters). 🛠️ Diagnose: It breaks down why the generator misunderstood the spatial layout or pacing. ✍️ Rewrite: It reconstructs the prompt using advanced directing techniques—like forcing "micro-cuts" to guarantee dynamic action, or scripting "seamless threshold transitions" to fix clunky scene changes. Prompt in comments below👇

Now you can use AI agents to design directly on the Figma canvas, with our new use_figma MCP tool and skills to teach them. Open beta starts today.

I'm not sure designers are keeping up...

I can not describe how much i hate this kind of color grading.

we’re going to start seeing AI-like aesthetics start to bleed into mainstream marketing a lot this year hyper-reality performs so well

The highest-performing hooks have one thing in common: They create massive tension. • “Wait… what?” • "How tf is this legal?" • “Why didn’t I know this?” • “I’ve been doing this wrong?” • "How did no one ever tell me about this?" Curiosity leads to conversion

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.

This was the best thing I’ve read on the Iran war, hands down. The second scenario it sketches out (grinding but bounded war, 30-35%) should have lower probability. That’s because Iran made this war more broadly regional from its first hour on Feb 28 by bombing Gulf Arab states.

@levelsio Hi there

Okay let's see who can reply to this

Give Claude a Blue Bubble! iMessage Channel now available.

I was a big Harry Potter kid and was always disappointed about everything the movies left out. Doing the same movies again but 5x as long so you get every last detail is, I am sorry to say, neat.

Bob Iger had a private IG account for IRL friends and family where he shared kayaking photos with his wife and this is how the Daily Beast framed it

We used to like light.

I’m honoured to be joining 𝕏 to lead design. I believe this is the most important platform in the world, and I can’t think of a more exciting place to help shape the future. I’m looking forward to working closely with @elonmusk, @nikitabier, and the rest of the team. I’m grateful for the opportunity, humbled to be part of it, and can't wait to get started!