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2022 2023 2024 2025 みなまで言うな

首都高SPLめっちゃいいな

Bruno Sacco looking at Mercedes’ new lineup from heaven

このサイドビューを作れたメーカーが…なんで…なんでなん…

【 #MBWallpaper Series 】 📅 毎週木曜日更新 ぜひチェックしてください。

自工会、GW連休の中日を稼働日に　27年度から車カレンダー見直し #日本自動車工業会 nikkei.com/article/DGXZQO…

MERCEDES-BENZ CLS 55 AMG (2003) 5.4L V8エンジン、出力350kW（476hp）を誇る4ドアクーペ。 2004年、新たなセグメントが誕生——。 クーペのエレガンスとセダンの利便性を融合。 それは、ジンデルフィンゲンのデザイン部門が「ブランドにさらなる情熱を」と切望し、導き出した一つの答え。 #140years

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.

RZ34の車高調は確かに10万以下ではゴロゴロないかもしれんが、ワイはおんなじ構造のV36用JRZの車高調を10万以下で買た(こおた)んですよね〜(隙有自語)(再現性なし)(リアコイルオーバーで差をつけろ)

Re- the Idaho Navy Jet Crash... As much as it sucks that 4 pilots almost died and we lost two very expensive jets... There is an upside. 4 more people get to buy this watch. Martin Baker "Red Barrel" Watch - only available to pilots who have used a Martin Baker Ejection seat.

めちゃくちゃ当たり前の話やけど、0.25で初速85狙いにしとくと0.2の弾入れるとちゃんと94m/sくらい出ててエネルギー保存則通りで感動してたところ

みんな驚いてるけどログインしたらケツが迫ってくるスキンがあるから今更だろ

そうはならんやろ

えぇ…？ 航空祭でグラウラー2機の空中衝突って…。 そうわならんやろって絡み合い方してるし、この絡み方してちゃんと脱出できるPさんのタイミング見る判断力との座席すごい…。 またマーチンベイカーのイジェクションタイクラブの会員が増えた。

スカイラインミュージアムいきてぇ

スカイラインミュージアム上ったら これは…！！！！！！！！

今日見たメルセデス達の中でいちばんの衝撃だったのはこちらのE280。 なんでもドイツ新車並行でごく僅か(一説には3台とも)のみ輸入された純正5速MTというトンデモ個体。 オーナーの洒落でスポーツラインバッジやシフトノブがあしらわれ、希少なグレーレザーも相まって素敵な一台でした。

17日、広島 安芸太田町加計で気温34.8℃を観測 県内5月の観測史上最も高い☀️ ひょ～🫨もぅ猛暑じゃん てか、北部の方が暑いんやね🥵 ndjust.in/PRy-Cva6

@rainblueiv お気をつけて〜！

こうして無事に帰れること自体が奇跡的なんですよね、、、ありがとうございました!!

これすき

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