🗒️5v5 Playing Forward CPs -Play Forward- Timing- Bounce Passes... -Run Forward- Off the Shoulder/From Deep -Space- See It, Leave It, Attack It -Body Position for 1st Touch Any feedback welcomed. RTs & Likes appreciated TacticalPad® ⚽️show more

just tried dips for the first time, how's my... form? things I need feedback on: - how to make it less painful for my palms - head up or down? - body angle fine or need to be more forward? - amount of arm bend - back position/scap retraction etc (shoulder safety) - arm lockout ❤️show more

Don’t take the bat into the red. Send it... there. There’s a big difference. So, I have always had a problem with down and back behind for a barrel cue. I’ve always felt that it makes hitter stuck and uphill. That’s not what I’m promoting here. The energy is created next to the back shoulder so the space is not behind, it’s to the side. So it may feel like you’re swinging out toward the first base dugout, but the body is turning sideways to home plate and taking the barrel forward. #hittingtalkshow more

I know FM26 has taken a bashing, but I... can’t stop playing it. I think mainly because of the IP/OOP changes and tactical possibilities. I’ve changed my style of play this year. Less focussed on possession and having the ball. More focused on getting the ball forward with pace and purpose. It's working out nicely for us so far. Although this wasn't a goal, it's exactly how I want us to play. Vertical passes through the lines and into the big man up top as quickly as possible. #FM26 #FM26betashow more

Salman Khan came and did Ganpati Darshan at Ambani's... house. Look at the abuses he is getting from his bulla fans for doing this. I am yet to see any secular coming forward and supporting Salman Khan like people supported Kriti senon the other day. In India a minority person can't do anything of his own choice? Ganesh Ji is for everyone, why these bulla have problem in itshow more

PRE - SEASON ‘Forward running 4v4’ Designed on UltimateplayerHQ... HOW IT WORKS: - Coach passes ball into blues - Blues to combine and make a forward run into reds zone with a pass as they arrive and look to score in any 4 red goals - Likewise situation for reds - Practice is continuous Practice ⤵️ Tom Erskine - Pro Academy Drills Peter Johnston Ryan Hall Philip Connolly Nick Smallridge Tactx Steven Ventura Mo Hicham Souisse 🇺🇸 🇲🇦 🏴󠁧󠁢󠁷󠁬󠁳󠁿 Scott Martin Battocchi Luca Kieron Button Kevin Middleton @HAbdullah215 Michael Foster @EWCoaching SessionShare Neil Adair Marshall Islands Soccer Federation Daniel Abrahams Gary Piggott Mark Jenkins @CoachingSharing Michael Stauber Breakthrough Soccer PSV Coaching Academy UltimateplayerHQ The Sokkr Coach - In The Technical Box Keepitonthedeck @ExchangeCoachesshow more

"Lay it off to Ronaldo who is right in... front of you in the most obvious large space ever for a shot from outside the box?" "Nope!" "That's extremely baffling, but I guess you want personal glory and will cut into said space and shoot yourself?" "Nope!" "Cut in and pick Mendes' wide run?" "Nope!" "What Then?????? I'm lost" "Play a super cool, Joga-Bonito backheel to Mendes that entirely halts and kills the attack 👌"show more

Looking through old projects... Some time ago, I was... working on a project that was 1st person. Typical issue: weapons penetrating into walls when close. In a deferred pipeline, everything is rendered from one camera, so classic multiple camera and multi FOV tricks are problematic. Clever line trace and IK systems to animate arms and weapons out of the way were off the table. I am sure that I am by far not the first to think of this, but my solution was to flatten the character along the camera's forward vector in a shader. Here it is viewed from 3rd person so you can see how it works. Fun. #gamedev #unrealengineshow more

11 years ago, a Japanese train floating four inches... off the ground shattered the world speed record, hitting a terrifying 603 km/h (375 mph). While the original 1964 Shinkansen "Bullet Train" became famous for running on rails, Japanese engineers spent decades secretly developing something entirely different: the SCMaglev. Unlike normal trains, it doesn't use wheels or engines. Instead, it uses super-cooled, superconducting magnets to physically lift the entire train into the air and shoot it forward without any friction. The technology is so powerful that the new Chuo Shinkansen line, currently being dug deep under the Japanese Alps, will eventually connect Tokyo and Nagoya, a distance of 286 km (178 miles), in just 40 minutes. It is essentially a magnetic plane flying through a tunnel.show more

Was This a Stonewall Penalty? Breaking Down Khusanov’s Challenge... on João Pedro The Positioning: Joao Pedro is in full control of the ball, driving into the Manchester City penalty box. Rather than trailing behind, Khusanov has actually recovered enough ground to get alongside and slightly ahead of Joao Pedro. Khusanov is cutting across Pedro's running path to get his body between the attacker and the ball. The Contact: In this exact moment, Khusanov is not pushing Joao Pedro in the back. Instead, Khusanov is leaning his body weight leftwards into Joao Pedro to shield the ball. It is actually Joao Pedro who has his left arm extended with his hand resting on Khusanov's back/shoulder area as they battle for position. In football, a defender is allowed to step across an attacker and use their body to shield the ball once they have established position, provided it is within playing distance of the ball. Since Khusanov is using his body to block the run and it's shoulder-to-shoulder (with Pedro's hand on him), this changes the dynamic completely from a "push." Looking at this specific angle, it looks much more like a standard physical battle where the defender successfully "boxes out" the attacker. Because Khusanov uses his body positioning legally to ease Pedro off the ball rather than illegally shoving him from behind, the referee’s decision not to award a penalty is the correct one.show more

A friend of mine just recently got his first... gun, a striker fired Glock 19. He is terrified to leave a round chambered. To anyone reading this who has this same fear, I want to alleviate your concerns. I'm going to explain why there is nothing to be afraid of. First and foremost, I fully understand your concern. It's not irrational. And you're not stupid for being nervous about a bullet being aimed at your leg with the striker cocked back under spring tension about an 1/8 of an inch from the primer. I get it. I shared this concern when I was new to carrying. But your fear is due to a lack of understanding of the internal safety features of a modern striker fired handgun. On a properly maintained modern striker fired pistol the striker CANNOT hit the primer on the chambered round without the trigger being pulled. Can't. Not shouldn't. Can't. (If you have any good Sig P320 jokes, this is the proper place to share them) There is a block that the striker will hit and stop if it is released without the trigger being depressed. It works just like a lock and key. There is a channel in the blocker that the striker can pass through if it is in the fire position. It only goes into the fire position if the trigger is pulled which pushes the blocker into the fire position. A spring keeps the blocker firmly in the block position until then. The blocker is a solid piece of steel that won't break. And if your gun is securely in a hard sided Kydex holster nothing can move the trigger unless it is unholstered. Many guns like Glocks have a trigger safety that prevents the trigger from moving due to force of dropping. Your finger has to be on the trigger safety to move it. So the gun cannot fire unless you pull the trigger. And it's easy for you to test this safety feature to see how it works! See the video below. You can try to push the striker forward by moving that piece at the back of the slide forward. That piece is the back of the striker. Push it forward and it will stop. The tip won't come out through the breach. You see it trying to come through but it gets stuck. Now push that little button in. That is the actual blocker. When you push it in you will now be able to move the striker forward through the breach and see how it will strike the primer. You can test this easily every time you disassemble your pistol to verify it is still working. You can break this safety feature by removing the blocker or losing the spring. But if it's there it will work. (You would be the first person in firearms history who has ever lost a spring. Literally the first one. It has never happened before. 😐) But it doesn't come out as part of regular maintenance. You have to disassemble the firing assembly to get it out. That won't happen by accident. And if you do that on purpose you should do this blocker test when you reassemble it to make sure the safety feature is working. My video shows a Glock slide. All Glocks will look like this. Other brands may put the blocker in a different spot or it may be a slightly different shape. But they all (mostly) have the same design. If you test yours as demonstrated and it works like mine does, your gun WILL NOT fire without pulling the trigger. (If you just thought of another P320 joke, this is another good place to toss that out there)show more

🙏🇺🇸🙏 He ran uphill into machine gun fire and... grabbed enemy grenades with his bare hands. Robert McGovern did not stop until his final breath. Robert McGovern was a U.S. Army lieutenant in Korea. A platoon leader. Responsible for his men in the worst conditions of war. On January 30, 1951, his unit faced a heavily fortified enemy position on a rocky slope. He gave the order. Fix bayonets. They moved uphill into fire. Machine guns tore into them. Rifles cracked from above. He was hit early. Wounded. Bleeding. He kept moving. He told his men to keep going. Then the grenades came. Rolling down the hill. Exploding around them. He stepped forward and grabbed them. One after another. He threw them back. His men were shaken. Taking losses. The attack was breaking. He refused to let it end there. Weak. Losing blood. He charged alone toward a machine gun position firing into his unit. Within 10 yards, a burst knocked his rifle away. He kept going. Pistol in hand. He pushed forward, fighting alone, stopping the enemy position. He fell there. His men saw it. They surged forward with everything left. The hill was taken. He died at the front of the fight he refused to abandon. Most people will never know his name 🙏🇺🇸🙏show more

ハロウィンダンス🎃...踊っちゃうんだ... #Grok Imagineの動画プロンプトはプロンプトは下記を参照してください...#ハロウィンダンス ↓ ↓ Action + Camera Work... (10 seconds): BGM is hip-hop music. [0–2 seconds] While conversing naturally in Japanese and facing the camera, the subject abruptly shrugs both shoulders up and drops them forcefully. Immediately after, they thrust both arms straight forward to shoulder height with elbows locked, then sharply snap both wrists downward at a 90-degree angle. They open their hands, extending all fingers straight down to create a classic zombie silhouette. Maintaining this arm posture, they take two short steps forward (right foot, then left foot). With each step, they forcefully jerk their shoulders—first right, then left—while their head tilts unnaturally in the same direction, lagging slightly behind the shoulder movement. Finally, keeping their arms extended forward, they bring their body to a complete, momentary halt, then quickly tilt their head to look directly into the lens. Camera framing is a frontal medium shot (framing from the knees up). A brief push-in occurs in sync with the initial shoulder jerk; the camera follows slightly sideways during the left-right shifts, followed by another short dolly-in as the face thrusts forward at the end. [2–4 seconds] With arms extended forward and wrists bent 90 degrees downward—fingers straight and pointing down—the subject advances toward the camera for four consecutive steps in a zombie-like manner. They walk with a heavy gait and slightly bent knees, stepping right, left, right, then left. Instead of a standard walk, the movement follows a "stop-and-go" rhythm: take a step, momentarily freeze the body, then sharply execute the next step. With each step, they add accents to the upper body: right shoulder jerk, left shoulder jerk, chest jerk, and finally a jerk of both shoulders. Throughout this sequence, the arms remain extended forward. However, with each "hit" (accented movement), thrust the entire arm forward by only about 5–10 cm to create a motion resembling a zombie reaching for prey. Maintain the 90-degree bend at the wrist and the specific finger shape throughout the movement. The camera slides quickly left and right in sync with the steps. It pulls back slightly each time the subject steps forward and performs a brief push-in only at the moment the arms are thrust out. Although the movement is rapid, keep the subject positioned near the center of the frame at all times. [4–6 seconds] Pull both hands sharply toward the chest, using the recoil to swing both arms wide open to the sides. Immediately follow this by swinging the right arm diagonally downward and the left arm diagonally upward, then reverse the positions on the next beat. Drop into a low squat with knees apart and shift forcefully from right to left, accenting the movements of the shoulders, elbows, and hips in succession. Finally, bring both hands to a sharp stop beside the face. The camera pulls back slightly to a wider framing that includes the thighs. It performs a brief arc movement matching the wide swings and comes to an abrupt halt the moment the arms stop. [6–8 seconds] Rise quickly from the low stance and sharply accent the shoulders twice. Immediately shift the upper body rapidly from right to left, then to the front. Fully extend both arms straight ahead, keeping them parallel to each other. Clearly bend both wrists 90 degrees downward, with all fingers straightened and pointing down. Holding this arm position almost static for two seconds, bend the knees slightly, lean the body forward a bit, and take four quick steps toward the camera. Shift the body weight significantly forward with each step (right, left, right, left), adopting an unnatural "zombie walk" where the body seems to follow with a slight lag rather than a standard walking gait. For each step, rapidly repeat the sequence: STEP → shoulder hit → FREEZE → STEP → chest hit → FREEZE. Maintain the silhouette of a "zombie with both arms thrust forward" at all times. The camera lowers to a slightly low angle and dollies back in sync with the subject's forward step. Incorporate a very slight pan with each hand movement, locking the composition to the center the moment the subject returns to a frontal position. [8–9 seconds] Suddenly stop walking while keeping both arms extended upward. Spread the knees, squat deeply, and drop the body down in one motion, keeping the wrists bent at 90-degree angles. After a complete freeze of about 0.2 seconds, snap the body upward in a wave-like motion: legs → hips → chest → shoulders. The momentum causes both arms to thrust forcefully forward another 10–20 cm, though they remain pointed straight ahead. The camera pulls back slightly as the body drops, then executes a rapid push-in at the exact moment of the upward snap. [9–10 seconds] Take a strong step forward with the right foot and thrust both hands rapidly toward the camera. Spread the fingers wide. Stare intensely at the lens from between the hands. Instead of a standard smile, briefly flash a sharp, playful, and provocative expression, followed by a slight smile just at the corners of the mouth. The camera performs a rapid dolly-in matching the step forward. Zoom in quickly from a chest-up shot to a tight close-up on the face, making the hands appear large in the foreground. Hold a complete freeze for the final 0.3–0.5 seconds. [Overall Dance Direction] The tempo is quite fast. Minimize soft, swaying movements; instead, build the choreography around "hits," "stops," "direction changes," "steps," and "arm thrusts." Move the shoulders, chest, neck, elbows, and hips independently and precisely, ensuring a clear, sharp stop at the end of each movement. Rather than executing movements in a continuous, fluid flow, repeat a rhythm of "sharp movement → complete stop → sudden switch to the opposite direction." 【Overall Camera Direction】 A single-shot sequence primarily from a frontal angle. Synchronize short, quick dolly-ins, dolly-backs, lateral slides, slight low-angle shots, and brief arc movements with the "hits" in the dance. The camera should not move continuously; instead, it should pause momentarily to match the subject's "stops." Rapidly shift the camera's direction only at the moment the dance changes direction, creating a strong sense of the beat throughout the visuals. Utilize wide-angle perspective to make hands thrusting toward the camera appear larger. Avoid excessive camera shake, random swaying, violent spinning, or meaningless zooming. Connect the sequence in a single 10-second shot to create a hard-hitting, sharp aesthetic reminiscent of a Halloween dance music video. 【Key Movement Keywords】 hard-hitting dance, sharp isolations, powerful hits, fast arm strikes, precise stops, strong body accents, shoulder pops, chest hits, rapid directional changes, aggressive footwork, sharp head movements, rhythmic freeze poses, high-energy choreography, crisp motion, strong beat synchronizationshow more

MONSTERS… You ever see something so real it shakes... your nervous system? I just watched a grown man sitting still… while baby Shoebills climbed onto his lap like it was nothing. Then the adult came forward. Slow… deliberate… eyes locked. That beak opened wide enough to crush bone. Then came the sound. Not a bird… not anything soft or natural… It started clattering its bill like a machine gun… then let out a deep, guttural call that sounded closer to a lion than anything with feathers. For a moment you realize… That’s not a “bird” in the way we think of birds. That’s a prehistoric predator… still walking this earth. And the only thing separating calm from chaos… is whether it decides you’re a threat. That video wasn’t fake. Your instincts were just telling you the truth. Credit Mahender Kalyanashow more

The S3XY Dash from Enhance - S3XY Buttons is... one of the coolest Tesla accessories I've seen yet. I know many people want Android Auto/Apple Car Play, and this gives the OPTION to use those with your Tesla, along with tons of other info. They have 20% off for preorder, and you can get an additional 10% off with my link: I love using Waze on road trips, and this looks like the way to do it going forward. On top of having a customizable sized android auto experience, the Dash can display charging, vehicle, motor, battery and tons of other info. Enhance was also smart enough to not force it directly in front of the air vents. You can place it where you'd like with their included kit. All the widgets are also customizable, so you can add any you like and resize them. You can also make multiple pages to quickly flip through different info. There's SO much you can do with this *if you want it*. Great job on this one.show more

.GreenVersity #WoSFL Fourth Division Side Newmains United Community FC... new goalkeeper Ben McAllister had a dream debut for the Dallies today as he saved a penalty from Giffnock SC WOSFL in the 32nd minute with the scores locked at 0-0, he then watched his side run out 0-3 winners, and to top it off was voted as player of the match with a clean sheet. Ben joined Newmains from Saturday morning team River Nevis, but rather than stopping goals, he was banging them in for the amateur side where he finished the season on 21 goals, winning their top scorer award for the second season in a row as a forward!. What a debut at the other end for the Dallies!show more

It is disappointing that Amorim still hasn’t changed the... biggest concern in his model. I don’t see enough upside to justify the trade-off. Amorim continues to push the central center back, De Winter or Gabbia, into midfield from goal kicks. It hasn’t generated any meaningful advantage. Instead, it forces the wingbacks deeper because the wide center backs are narrower, leaving Milan without width on the last line in deep buildup and making them easier to press. A much better solution would be using the 4-2-5, with the keeper alongside the central center back and the wide center backs going wider. This would allow Milan to maintain constant width with the wingbacks high while creating more space in the buildup. The issue carries into settled possession. Because the wingbacks start deeper, they have to travel from deep to high once Milan exit deep buildup, making it easier for the opposition to trap them in wide areas and jump aggressively. This hasn’t caused Amorim as many problems as it did in England, primarily because Milan have a much greater qualitative advantage over most of their opposition than United did.show more