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Ben Affleck reveals he writes Python, understands convolutional neural networks, worked extensively with GPUs, and used his celebrity status to get private looks at Google and OpenAI’s video models “I’ve always been kind of into computers since I was young. Then, when film started to move from analog film... to digital, I became more interested in that aspect of it. The visual-effects workflow for many years has included machine learning, so I can write pretty shitty Python scripts and stuff like that. “With convolutional neural networks, which were the precursors to what the transformer can do, which is much more computation simultaneously, you would do things like look at what’s called a tensor. That’s the numerical translation of a visual image in numbers, like the batch number, the frame number and the red, green and blue values of each pixel in each frame. It’s just that simple. That numeric is called a tensor. “You’d use a convolutional neural network to identify patterns that reveal what’s called edge detection or feature extraction, which is identifying patterns well enough to know, this is where the window ledge is, so we can more easily take the green-screen image out and replace it with something. “That was familiar to me early on because, prior to Artists Equity, I had a small visual-effects company. I’ve worked with GPUs a lot too. The visual-effects guys said, ‘Hey, you should see. There are a couple: Google and this other company, OpenAI, are doing really interesting stuff with transformers in video.’ “I’ve learned that I can actually just call up and go, ‘Hey, it’s Ben Affleck. Can I come see what you’re doing?’ Sometimes people say yes, to my astonishment.”show more

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33 Yorum

owen profil fotoğrafı

owen6 gün önce

Sober Ben Affleck is like a whole different animal.

G profil fotoğrafı

G6 gün önce

he speaks more coherently than many so called tech founders.

CryptoBrOsho 🐩⛅ profil fotoğrafı

CryptoBrOsho 🐩⛅6 gün önce

he was the real Good Will Hunting all along

Alvaro L profil fotoğrafı

Alvaro L6 gün önce

Never thought I'd see batman talking about Convolutional Neural Networks

Max Rovensky profil fotoğrafı

Max Rovensky6 gün önce

bro can join a frontier lab as L6 at this point

T Shirt n Jeans profil fotoğrafı

T Shirt n Jeans6 gün önce

Ben Affleck is the real Will Hunting. My childhood was a lie.

Jerry profil fotoğrafı

Jerry6 gün önce

Ben is from Cambridge, Mass. That's home base for brainy kids - no wonder!

Rob Williams profil fotoğrafı

Rob Williams6 gün önce

🤡 sure Ben, you totally get CNNs... and they were precursors to LLMs.. what an absolute poser clown, but then, some actors act everywhere....

kodenark profil fotoğrafı

kodenark6 gün önce

my boy's wicked smaht

agentically profil fotoğrafı

agentically6 gün önce

Don’t forget this guy is a professional actor who plays characters and memorizes shit! 😂

Mike Webb profil fotoğrafı

Mike Webb6 gün önce

He’s something of a programmer himself

ergoproxy profil fotoğrafı

ergoproxy6 gün önce

what in the multiverse

Urban Arson 🔫 profil fotoğrafı

Urban Arson 🔫6 gün önce

He’s an actor y’all. He’s reciting a script that he paid a nerd to write for him.

SeeMoreMcFly profil fotoğrafı

SeeMoreMcFly6 gün önce

If ben can ask random companies to see what they are up to....can I ask Ben to hang out and see what python scripts hes up to....and if he thinks they are shitty or they really are shitty....cause I can show him a shitty python script or too LOL

Alex Greenland profil fotoğrafı

Alex Greenland6 gün önce

What J.Lo lost 😢

Cloud Radar profil fotoğrafı

Cloud Radar6 gün önce

It’s wild hearing him talk about this. You know it’s real, but your brain would digest it more easily if it were AI. 😂

DontBeAn85RetailIQ ⏩ profil fotoğrafı

DontBeAn85RetailIQ ⏩6 gün önce

He sounds like he's only recently took an intro to deep learning, but I'm convinced he researches 100x more than me and my no input spiel.

Renato profil fotoğrafı

Renato6 gün önce

It’s as if that Sydney Sweeney meme where she’d share her opinion on all sorts of complex matters came to reality.

CWB Brazil profil fotoğrafı

CWB Brazil6 gün önce

why's he explaining transformers and tensors? it's irrelevant in the conversation, he just wants to show he's learned some stuff about AI. Clap. clap. but seriously just ship something people will pay for. everything else is just posing.

sathappan profil fotoğrafı

sathappan6 gün önce

Alright. We gotta judge this guy like we judge techies. We have been duped into judging him as a film actor or a creative person. This is still incredibly impressive that he is reflexively, natively speaking about ai deployment in his industry

RIP Gary The Goat profil fotoğrafı

RIP Gary The Goat6 gün önce

What the fuck.

Ted | unfair.so profil fotoğrafı

Ted | unfair.so6 gün önce

did not have ben affleck explaining tensors on my 2026 bingo card 😭

Jack Kuveke profil fotoğrafı

Jack Kuveke6 gün önce

my boys wicked smaaahtt

Brad Neuberg profil fotoğrafı

Brad Neuberg6 gün önce

I’ve always appreciated @BenAffleck, such a unique cat

Artur Nowocin profil fotoğrafı

Artur Nowocin6 gün önce

Ok, now I'm worried. Who has generated this video. Who replaced someone with marvelous Ben Affleck?

A. T. profil fotoğrafı

A. T.6 gün önce

Pewdiepie distilling frontier for his own models. Ben Affleck describing how he writed CNNs in python. What has my world evolved to? 🥹

FREDD profil fotoğrafı

FREDD6 gün önce

Breaking: A-list actor convincingly delivers technically dense dialogue… totally unscripted. All jokes aside, Ben Affleck may genuinely know all this. Unfortunately, he is also professionally qualified to make us believe he does.

Ros Thain profil fotoğrafı

Ros Thain6 gün önce

Damn. Super impressive

Salvador Aldente profil fotoğrafı

Salvador Aldente6 gün önce

Ben Affleck casually talking about CNNs and transformers was not on my 2026 bingo card

🇺🇸Peter Thiel US Shadow President🇺🇸 profil fotoğrafı

🇺🇸Peter Thiel US Shadow President🇺🇸6 gün önce

Yeah we believe you were writing python with Jlo and being a raging alcoholic and a Alist movie star???? People are larping being a coder now? What a fucking clow

Dan Arriola profil fotoğrafı

Dan Arriola6 gün önce

I call BS

solarfren profil fotoğrafı

solarfren6 gün önce

my boys wicked smaht

The Modern Stoic profil fotoğrafı

The Modern Stoic6 gün önce

@ChicanoInvestor One of us who learned this after we could learn it our way starting in 2022. Technology came to meet our desired ux and then some.

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George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

DepressedBergman

56,916 görüntüleme • 9 ay önce

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

23,149 görüntüleme • 9 ay önce

Michael Strahan says he told a recently retired athlete who wanted a successful second career but wasn’t willing to make the same sacrifices that got him to the NFL that he was hustling like a rich man “We were in a car at the Super Bowl in Atlanta. Me, you, one of our clients, not to be named. He had just retired, and we’re talking about these things in the offseason that he needed to do. If you want to do this, this is what you have to do.” “And he was kind of balking. ‘I don’t know, maybe I’ll go rent a house and go to Spain for the summer with the family,’ blah, blah, blah. Which is fine, right? But you can’t act like you want more without putting in more.” “So I remember looking at him and saying, ‘Hey man, you’re hustling like a rich man. If you want to do this, you gotta hustle like you’re broke.’ And that’s where it came from.” “And it clicked. And he’s great now. Great job, TV, doing all these things. But at some point, I think there’s a lot of sacrifice that comes along with success.” “I agree. And people always see success and think, ‘Oh man, it just happened.’ You just rolled away from the NFL and went over and worked at the firm, and then you worked with Snoop for all these years, and then all of a sudden you got this company. You’re representing all these people and producing all these projects. And it just doesn’t work that way.” “It’s been years of hustle. It’s been years of rejection, years of picking yourself off the floor. Years of sometimes feeling like, ‘What the hell am I even doing this for? Like, I am tired.’” “And sometimes you’re going, ‘I don’t even need to do it. What am I doing?’ And I think that, for you and for me, I feel more responsible for the people we work with than I do for myself.”

Michael Strahan says he told a recently retired athlete who wanted a successful second career but wasn’t willing to make the same sacrifices that got him to the NFL that he was hustling like a rich man “We were in a car at the Super Bowl in Atlanta. Me, you, one of our clients, not to be named. He had just retired, and we’re talking about these things in the offseason that he needed to do. If you want to do this, this is what you have to do.” “And he was kind of balking. ‘I don’t know, maybe I’ll go rent a house and go to Spain for the summer with the family,’ blah, blah, blah. Which is fine, right? But you can’t act like you want more without putting in more.” “So I remember looking at him and saying, ‘Hey man, you’re hustling like a rich man. If you want to do this, you gotta hustle like you’re broke.’ And that’s where it came from.” “And it clicked. And he’s great now. Great job, TV, doing all these things. But at some point, I think there’s a lot of sacrifice that comes along with success.” “I agree. And people always see success and think, ‘Oh man, it just happened.’ You just rolled away from the NFL and went over and worked at the firm, and then you worked with Snoop for all these years, and then all of a sudden you got this company. You’re representing all these people and producing all these projects. And it just doesn’t work that way.” “It’s been years of hustle. It’s been years of rejection, years of picking yourself off the floor. Years of sometimes feeling like, ‘What the hell am I even doing this for? Like, I am tired.’” “And sometimes you’re going, ‘I don’t even need to do it. What am I doing?’ And I think that, for you and for me, I feel more responsible for the people we work with than I do for myself.”

Josh Chambers

139,232 görüntüleme • 15 gün önce

Sergey Brin on AI and Jeff Dean back in December when Gemini peaked: “I would say in some ways we for sure messed up in that we underinvested and sort of didn't take it as seriously as we should have, say, eight years ago when we published the Transformer paper. We actually didn't take it all that seriously and didn't necessarily invest in scaling the compute. And also we were too scared to bring it to people because chatbots say dumb things. And, you know, OpenAI ran with it, which is good for them. It was a super smart insight, and it was also our people like Ilya who went there to do that. But I do think we still have benefited from that long history. So we had a lot of the research and development of neural networks kind of going back to Google Brain. That was also kind of lucky. It wasn't luck that we hired Jeff Dean. I mean, we were lucky to get him. But we were in this sort of mindset that deep technical things matter. And so we hired him. We hired a lot of people from DEC, honestly, because they had the top research labs at the time. But he [Jeff Dean] was passionate about neural networks. And it stemmed, I think, from actually his college experiment. I don't know. He was like, whatever, curing third world disease and figuring out neural networks when he was like 16. He's done crazy things. But he was passionate about it. He built up a whole effort. And actually in my division at the time in Google X. We had him but I didn't I was like okay Jeff you do whatever you want. He's like oh we can tell cats from dogs. I'm like oh okay cool. But you know, you also trust your technical people and soon enough they were developing all these algorithms these neural nets that were doing some of our search. And then, you know, Noam came up with a transformer and we were able to do more and more. But yeah, I mean, so we had the underpinnings, we had the R&D. We did underinvest for a number of years and didn't take it as seriously as we should have.” Both Jeff Dean and Noam Shazeer left Google in the past two months.

Sergey Brin on AI and Jeff Dean back in December when Gemini peaked: “I would say in some ways we for sure messed up in that we underinvested and sort of didn't take it as seriously as we should have, say, eight years ago when we published the Transformer paper. We actually didn't take it all that seriously and didn't necessarily invest in scaling the compute. And also we were too scared to bring it to people because chatbots say dumb things. And, you know, OpenAI ran with it, which is good for them. It was a super smart insight, and it was also our people like Ilya who went there to do that. But I do think we still have benefited from that long history. So we had a lot of the research and development of neural networks kind of going back to Google Brain. That was also kind of lucky. It wasn't luck that we hired Jeff Dean. I mean, we were lucky to get him. But we were in this sort of mindset that deep technical things matter. And so we hired him. We hired a lot of people from DEC, honestly, because they had the top research labs at the time. But he [Jeff Dean] was passionate about neural networks. And it stemmed, I think, from actually his college experiment. I don't know. He was like, whatever, curing third world disease and figuring out neural networks when he was like 16. He's done crazy things. But he was passionate about it. He built up a whole effort. And actually in my division at the time in Google X. We had him but I didn't I was like okay Jeff you do whatever you want. He's like oh we can tell cats from dogs. I'm like oh okay cool. But you know, you also trust your technical people and soon enough they were developing all these algorithms these neural nets that were doing some of our search. And then, you know, Noam came up with a transformer and we were able to do more and more. But yeah, I mean, so we had the underpinnings, we had the R&D. We did underinvest for a number of years and didn't take it as seriously as we should have.” Both Jeff Dean and Noam Shazeer left Google in the past two months.

tae kim

249,117 görüntüleme • 2 ay önce

I asked Luke Kornet about his memories from stretches where he was a DNP for many games in a row, and what his message is to the young guys who find themselves in that position now: “It's just a lot of peace to come to life of accepting the position that you're in and then just doing the best with that, versus trying to fight it and want to be in a different one.” “You can spend a lot of time worrying about things that you can't really control. But when you just take the opportunity that you have and do the best with that, you can have days like today where a lot of guys came in and were able to contribute. You can have peace about knowing that you did your job well, just as you did the day before, the day after. It might just look a different way every time. I feel like that's what I've been taught through my life. That's the only thing attitude that you can have that you can actually do something with – versus trying to control things that are outside of what you can control.”

I asked Luke Kornet about his memories from stretches where he was a DNP for many games in a row, and what his message is to the young guys who find themselves in that position now: “It's just a lot of peace to come to life of accepting the position that you're in and then just doing the best with that, versus trying to fight it and want to be in a different one.” “You can spend a lot of time worrying about things that you can't really control. But when you just take the opportunity that you have and do the best with that, you can have days like today where a lot of guys came in and were able to contribute. You can have peace about knowing that you did your job well, just as you did the day before, the day after. It might just look a different way every time. I feel like that's what I've been taught through my life. That's the only thing attitude that you can have that you can actually do something with – versus trying to control things that are outside of what you can control.”

Noa Dalzell 🏀

48,992 görüntüleme • 1 yıl önce

Grant Hill on Jaylen Brown not being on the USA team: “When I announced then team, there were certain guys that I called before Woj and Shams broke it. And I called like Lillard, I called Jimmy Butler, I tried to call everybody because you never know when they’re going to break it. And you want to give guys the respect to hear it from me. I called Jaylen. We had a great conversation. Unbelievable conversation. And so something got lost there. And the implication that like a shoe company like to me that, look you guys can criticize my leadership. You can criticize the ability to put together a roster. When you’re in a role that I’m in, you open yourself up to criticism and I accept that. But to imply that like a shoe company told me what to do. Now you questioning my character, and that was the things that was weird.” (Via Road Trippin’ Show)

Grant Hill on Jaylen Brown not being on the USA team: “When I announced then team, there were certain guys that I called before Woj and Shams broke it. And I called like Lillard, I called Jimmy Butler, I tried to call everybody because you never know when they’re going to break it. And you want to give guys the respect to hear it from me. I called Jaylen. We had a great conversation. Unbelievable conversation. And so something got lost there. And the implication that like a shoe company like to me that, look you guys can criticize my leadership. You can criticize the ability to put together a roster. When you’re in a role that I’m in, you open yourself up to criticism and I accept that. But to imply that like a shoe company told me what to do. Now you questioning my character, and that was the things that was weird.” (Via Road Trippin’ Show)

NBA Courtside

575,834 görüntüleme • 2 ay önce

Jon Rahm on the LIV format: “Yeah, obviously there’s been a bit of a change. There was a lot more about LIV Golf that was attractive to me, right. Yeah, maybe the format was a set back in the past, but at the same time there’s a lot of positives to it as well. And one of the things that a lot of players kept mentioning is you don’t have a wave weather difference, where you can simply get unlucky and you’re out of contention for that tournament. It’s part of the game, I get it, but it’s something you don’t have to deal with anymore. So that part is a very nice aspect. The team is what really made it for me. Being able to be part of a team, represent a team, play for my teammates, with my teammates and against my teammates, is something that to me that has always been very, very special. When you get a victory to share, it’s always better to have a team to share it with. So it’s what was the most attractive part and when we started discussions it gets to a point where even though I’m ambitious, I’m not greedy. So there’s a give and take and the format is something that I can easily overlook, and I’m pretty sure I can learn to enjoy it, I’ll just have to get used to it, but I’m pretty sure I’ll learn to enjoy it. To be honest, the more I started thinking about it, the more I started thinking about my college days that were 3 day tournaments, 54 holes, and everybody warmed up together for the most part. So it shouldn’t be an environment I’m unfamiliar with.” This is from the LIV podcast called “Fairway to Heaven”. Full link:

Jon Rahm on the LIV format: “Yeah, obviously there’s been a bit of a change. There was a lot more about LIV Golf that was attractive to me, right. Yeah, maybe the format was a set back in the past, but at the same time there’s a lot of positives to it as well. And one of the things that a lot of players kept mentioning is you don’t have a wave weather difference, where you can simply get unlucky and you’re out of contention for that tournament. It’s part of the game, I get it, but it’s something you don’t have to deal with anymore. So that part is a very nice aspect. The team is what really made it for me. Being able to be part of a team, represent a team, play for my teammates, with my teammates and against my teammates, is something that to me that has always been very, very special. When you get a victory to share, it’s always better to have a team to share it with. So it’s what was the most attractive part and when we started discussions it gets to a point where even though I’m ambitious, I’m not greedy. So there’s a give and take and the format is something that I can easily overlook, and I’m pretty sure I can learn to enjoy it, I’ll just have to get used to it, but I’m pretty sure I’ll learn to enjoy it. To be honest, the more I started thinking about it, the more I started thinking about my college days that were 3 day tournaments, 54 holes, and everybody warmed up together for the most part. So it shouldn’t be an environment I’m unfamiliar with.” This is from the LIV podcast called “Fairway to Heaven”. Full link:

Flushing It

562,914 görüntüleme • 2 yıl önce

Ben Affleck says Marlon Brando was on another level in this performance. Ben Affleck: “GOAT actor?” Jon Bernthal: “I don’t know, man.” Ben Affleck: “That’s a tough one.” Jon Bernthal: “The GOAT performance for me is Buffalo Bill. Ted Levine - is that his name? Ted Levine as Buffalo Bill. That’s a GOAT performance.” Ben Affleck: “That’s pretty good. To me, a GOAT actor is like, there’s a bunch of people that are up there. Brando, Meryl Streep, Sean Penn, Daniel Day Lewis, Viola Davis, Denzel. There’s so many people I respect, you know what I mean? It’s a hard” Jon Bernthal: “What’s your favorite performance, though?” Ben Affleck: “Brando in Mutiny on the Bounty. You can see all the other actors, the contemporary thing, and it’s like a really good example of where you can see a guy is actually at the next level and the rest of them just don’t know what to do with it.

Ben Affleck says Marlon Brando was on another level in this performance. Ben Affleck: “GOAT actor?” Jon Bernthal: “I don’t know, man.” Ben Affleck: “That’s a tough one.” Jon Bernthal: “The GOAT performance for me is Buffalo Bill. Ted Levine - is that his name? Ted Levine as Buffalo Bill. That’s a GOAT performance.” Ben Affleck: “That’s pretty good. To me, a GOAT actor is like, there’s a bunch of people that are up there. Brando, Meryl Streep, Sean Penn, Daniel Day Lewis, Viola Davis, Denzel. There’s so many people I respect, you know what I mean? It’s a hard” Jon Bernthal: “What’s your favorite performance, though?” Ben Affleck: “Brando in Mutiny on the Bounty. You can see all the other actors, the contemporary thing, and it’s like a really good example of where you can see a guy is actually at the next level and the rest of them just don’t know what to do with it.

vintae

16,811 görüntüleme • 1 ay önce

$ABCL CEO Carl Hansen explains the net negative overall value creation in biotech and how AbCellera plans to beat it: “I really think it can be beat because there’s a lot of mistakes that get made in where you allocate capital.” “If you’re a biotech and you start a company on a drug, and you go public and have a drug, and now the data is looking not that great, you just keep running that drug. … Because if you quit that drug, the company is done.” “So, because you’re so concentrated on one thing, you end up having blinders. It’s like a cult of a molecule. And even a real, practical, capital access problem that makes you continue to move things forward” ______________________________________ “Another problem is that many of the drugs that get started, get started by people who don’t understand the competitive or commercial landscape and have no intent of ever actually manufacturing it. … Because they know someone else is going to buy it. So then their framework is not ‘Am I making a drug that’s going to make a difference for people?’ The framework is ‘Can I make something that I think someone will take off my hands?’ And that happens a lot.” “There are many acquisitions where a big pharma company spends $10B, $20B, and it’s a complete bust. So really no value is generated for patients but someone was able to get a good exit on that because they anticipated what someone would want. And a lot of decision making gets done like that”. _______________________________________ “I’m not saying that we have this all solved. But what we’re trying to do is create a framework where we are able to take many bets so that we don’t fall in love with anything, or we don’t have to fall in love with anything. … And then always hold up very explicitly what we know and what we don’t know along the dimensions that matter. The dimensions that matter are - Will it work? That’s a science. - When it gets where will people care? - Is it differentiated? - Does it solve a big problem? In order to get it there, is there a path with our resources and expertise that would allow us to see it through?” “When you start to hold things up like that, you start to see where the mistakes are, where the uncertainties are, and you can be more rational in deciding ‘We’re going to run it to here because we get to flip the card and if the card goes the wrong way we’re going to kill it because we’ve got something else behind it.’” “I do think that if done right, and if you can pick the right opportunities, the success rate can be well higher than an order of magnitude better. … And there are examples of this… companies I’ve mentioned, you know, Regeneron, their success rate is at least 10x the industry in bringing programs forward and getting them approved. … So it’s… you can do it better that way”

$ABCL CEO Carl Hansen explains the net negative overall value creation in biotech and how AbCellera plans to beat it: “I really think it can be beat because there’s a lot of mistakes that get made in where you allocate capital.” “If you’re a biotech and you start a company on a drug, and you go public and have a drug, and now the data is looking not that great, you just keep running that drug. … Because if you quit that drug, the company is done.” “So, because you’re so concentrated on one thing, you end up having blinders. It’s like a cult of a molecule. And even a real, practical, capital access problem that makes you continue to move things forward” “Another problem is that many of the drugs that get started, get started by people who don’t understand the competitive or commercial landscape and have no intent of ever actually manufacturing it. … Because they know someone else is going to buy it. So then their framework is not ‘Am I making a drug that’s going to make a difference for people?’ The framework is ‘Can I make something that I think someone will take off my hands?’ And that happens a lot.” “There are many acquisitions where a big pharma company spends $10B, $20B, and it’s a complete bust. So really no value is generated for patients but someone was able to get a good exit on that because they anticipated what someone would want. And a lot of decision making gets done like that”. _ “I’m not saying that we have this all solved. But what we’re trying to do is create a framework where we are able to take many bets so that we don’t fall in love with anything, or we don’t have to fall in love with anything. … And then always hold up very explicitly what we know and what we don’t know along the dimensions that matter. The dimensions that matter are - Will it work? That’s a science. - When it gets where will people care? - Is it differentiated? - Does it solve a big problem? In order to get it there, is there a path with our resources and expertise that would allow us to see it through?” “When you start to hold things up like that, you start to see where the mistakes are, where the uncertainties are, and you can be more rational in deciding ‘We’re going to run it to here because we get to flip the card and if the card goes the wrong way we’re going to kill it because we’ve got something else behind it.’” “I do think that if done right, and if you can pick the right opportunities, the success rate can be well higher than an order of magnitude better. … And there are examples of this… companies I’ve mentioned, you know, Regeneron, their success rate is at least 10x the industry in bringing programs forward and getting them approved. … So it’s… you can do it better that way”

Jack Prescott

31,665 görüntüleme • 2 ay önce

Scottie Scheffler says they didn’t find his ball on 17 and he actually asked people to stop searching for it: “The rules official said it landed just barely left of the grandstand thing. I don't know what you call that, like a sponsor area or something. And Teddy had a beat right on where it was coming down. So when we get up there, it's past the fence that marks the TIO, so he said anything that's in there is it part of the TIO. So then we said -- we tried to figure it out. I said, if I find it, does that help me; can I drop it -- since that would be about 50 yards closer to the hole. He said, yes, you can then use that spot, but you might have to go to the other side of the TIO, which I didn't know exactly where that would be, and that's not a great angle coming across there. “So decided to stop the search and go back and drop it doing point-of-entry TIO relief. Actually I did that once this year during the Byron as well. Not something I'm proud of but I was familiar with.” He went on to say: “I stopped them. They had guys pointing from up there, like it landed right here, and I just kind of hauled up there, and I was like, guys, get out of there, stop, do not find the ball. Fortunately it was my security guy that I've had for a few years here. His name is Brucey. And then Woody was up there as well. So both those guys are pretty -- I know them quite well, so when I said, please don't look for the ball, they got out of there.” The Open

Scottie Scheffler says they didn’t find his ball on 17 and he actually asked people to stop searching for it: “The rules official said it landed just barely left of the grandstand thing. I don't know what you call that, like a sponsor area or something. And Teddy had a beat right on where it was coming down. So when we get up there, it's past the fence that marks the TIO, so he said anything that's in there is it part of the TIO. So then we said -- we tried to figure it out. I said, if I find it, does that help me; can I drop it -- since that would be about 50 yards closer to the hole. He said, yes, you can then use that spot, but you might have to go to the other side of the TIO, which I didn't know exactly where that would be, and that's not a great angle coming across there. “So decided to stop the search and go back and drop it doing point-of-entry TIO relief. Actually I did that once this year during the Byron as well. Not something I'm proud of but I was familiar with.” He went on to say: “I stopped them. They had guys pointing from up there, like it landed right here, and I just kind of hauled up there, and I was like, guys, get out of there, stop, do not find the ball. Fortunately it was my security guy that I've had for a few years here. His name is Brucey. And then Woody was up there as well. So both those guys are pretty -- I know them quite well, so when I said, please don't look for the ball, they got out of there.” The Open

Flushing It

1,780,608 görüntüleme • 2 ay önce

David Friedberg: The AI Jobs Panic Is a Crock of Sh*t Why? The revenue potential outweighs the cost savings by 100x. “There is no job loss with AI. I've said it a thousand times, and I will say it again, and again, and again. What I see on the ground, and what I've seen at dozens of companies, including my company that I run, there are two sides to a business. There is revenue and there’s costs. On the cost side of the equation, AI can be used to reduce humans doing things that cost money, to some extent. The effect there, I would argue, is nominal. The real opportunity with AI is on the revenue side, where suddenly one engineer can do 100x or 1000x what they used to be able to do, meaning you can make more products at your company, whether those are agricultural seed products, or boats and ships, or software for companies, or clothing, or what have you. Because of AI, everyone has the ability to expand their revenue base to create more products, and that is the foundation of good economic prosperity. It is called productivity. We can grow productivity in this country with AI. So where I see AI being used is on the revenue side 100x more than the cost side. And in that equation, people are hiring like crazy. We cannot hire enough people. I just had a review meeting with my product and engineering team two days ago, and they're like, ‘We want to add an extra 15 headcount to our engineering squads because we have all this opportunity to do stuff that we couldn't otherwise do.’ So we are going to hire more people. And to Sacks' point, we are seeing that show up in the jobs numbers. The idea that AI is going to destroy jobs is a Luddite idea that is being disproven every single day, and I see it on the ground. It is only a matter of time before people wake up to this and they realize that this narrative that they've all been sold is a crock of sh*t.”

David Friedberg: The AI Jobs Panic Is a Crock of Sht Why? The revenue potential outweighs the cost savings by 100x. “There is no job loss with AI. I've said it a thousand times, and I will say it again, and again, and again. What I see on the ground, and what I've seen at dozens of companies, including my company that I run, there are two sides to a business. There is revenue and there’s costs. On the cost side of the equation, AI can be used to reduce humans doing things that cost money, to some extent. The effect there, I would argue, is nominal. The real opportunity with AI is on the revenue side, where suddenly one engineer can do 100x or 1000x what they used to be able to do, meaning you can make more products at your company, whether those are agricultural seed products, or boats and ships, or software for companies, or clothing, or what have you. Because of AI, everyone has the ability to expand their revenue base to create more products, and that is the foundation of good economic prosperity. It is called productivity. We can grow productivity in this country with AI. So where I see AI being used is on the revenue side 100x more than the cost side. And in that equation, people are hiring like crazy. We cannot hire enough people. I just had a review meeting with my product and engineering team two days ago, and they're like, ‘We want to add an extra 15 headcount to our engineering squads because we have all this opportunity to do stuff that we couldn't otherwise do.’ So we are going to hire more people. And to Sacks' point, we are seeing that show up in the jobs numbers. The idea that AI is going to destroy jobs is a Luddite idea that is being disproven every single day, and I see it on the ground. It is only a matter of time before people wake up to this and they realize that this narrative that they've all been sold is a crock of sht.”

The All-In Podcast

152,702 görüntüleme • 4 ay önce

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

DepressedBergman

49,522 görüntüleme • 9 ay önce

'I’ve always loved working with visual artists and following on from the competition that we ran with Stability AI around the release of i/o, we are setting up 5050 to encourage the creation of more of these collaborations. So if you have any type of visual work that you would like to try out alongside my music in a video, this is a place where you can explore it. Also, it didn’t seem fair that the music creators get all the revenue on platforms such as YouTube, so we’ve called it 5050 as we look to have a fairer share between the visual and music creators.' - pg Visit for more information & to watch the Olive Tree video by Oranguerillatan

'I’ve always loved working with visual artists and following on from the competition that we ran with Stability AI around the release of i/o, we are setting up 5050 to encourage the creation of more of these collaborations. So if you have any type of visual work that you would like to try out alongside my music in a video, this is a place where you can explore it. Also, it didn’t seem fair that the music creators get all the revenue on platforms such as YouTube, so we’ve called it 5050 as we look to have a fairer share between the visual and music creators.' - pg Visit for more information & to watch the Olive Tree video by Oranguerillatan

Peter Gabriel

44,583 görüntüleme • 1 yıl önce

Chanhyuk: Company doesn’t matter, but it’s about the people you work with. “There’s also something like this. Even though we say we created a “company,” we just used that word because it’s easier for people to understand. But in the end, it’s not really about the company, it’s about the people. Like, who you work with. And what kind of experiences you share with them, that’s what really matters the most. So with these people, whether we go, volunteering or travel somewhere, we always move together as one group. Because if not and later on, when I write and release a song, if we hadn’t shared those experiences, I’d have to explain everything. Like, “I went somewhere and had this kind of experience…” But since we’ve all lived it together, I can just say, “Hey, I wrote this kind of song this time,” and they’ll be like, “Oh, yeah, I get it. I know exactly what that is.” It just makes everything so much faster, right?”

Chanhyuk: Company doesn’t matter, but it’s about the people you work with. “There’s also something like this. Even though we say we created a “company,” we just used that word because it’s easier for people to understand. But in the end, it’s not really about the company, it’s about the people. Like, who you work with. And what kind of experiences you share with them, that’s what really matters the most. So with these people, whether we go, volunteering or travel somewhere, we always move together as one group. Because if not and later on, when I write and release a song, if we hadn’t shared those experiences, I’d have to explain everything. Like, “I went somewhere and had this kind of experience…” But since we’ve all lived it together, I can just say, “Hey, I wrote this kind of song this time,” and they’ll be like, “Oh, yeah, I get it. I know exactly what that is.” It just makes everything so much faster, right?”

akmerch ⚔️

194,390 görüntüleme • 6 ay önce

More of Harry about Aperture “The reason why it's called Aperture is like, you control how much light you let in to your life. And I think the start of this year, I kind of just decided I was going to say yes to everything. And the momentum of that has just brought, like, so many positive things in a lot of different ways into my life. And it's been a really beautiful time in my life. And I think also, just when I would play people the music, it was always the song that I played first. […] I want to say and where I'm at in my life. And I think there's nothing more fulfilling, I think, as a musician than putting out a song that you feel like represents where you're at in your life. I think sometimes, you know, you write a song and by the time it comes out, you've kind of been through a bunch of things, and you're not really kind of aligned with necessarily what is happening in the song. And I think I really felt it when we put As It Was at or I felt like, “oh, I feel like this really represents where I'm at in this moment” and that felt really fulfilling. So I think kind of I wanted to do that again this time. And just I feel great about, like, pressing play and going like, I want to play something. And that's kind of why it ended up being the first song.” - 102.7 KIIS FM

More of Harry about Aperture “The reason why it's called Aperture is like, you control how much light you let in to your life. And I think the start of this year, I kind of just decided I was going to say yes to everything. And the momentum of that has just brought, like, so many positive things in a lot of different ways into my life. And it's been a really beautiful time in my life. And I think also, just when I would play people the music, it was always the song that I played first. […] I want to say and where I'm at in my life. And I think there's nothing more fulfilling, I think, as a musician than putting out a song that you feel like represents where you're at in your life. I think sometimes, you know, you write a song and by the time it comes out, you've kind of been through a bunch of things, and you're not really kind of aligned with necessarily what is happening in the song. And I think I really felt it when we put As It Was at or I felt like, “oh, I feel like this really represents where I'm at in this moment” and that felt really fulfilling. So I think kind of I wanted to do that again this time. And just I feel great about, like, pressing play and going like, I want to play something. And that's kind of why it ended up being the first song.” - 102.7 KIIS FM

HSNews

39,591 görüntüleme • 8 ay önce

I asked Garry Tan how to use meta prompting to get better at AI: "My partners at YC Jared Friedman and Pete Koomen showed me how to do this. You can take almost anything that you do all the time and just drop it into a context window. And then say, “Here’s a bunch of inputs and outputs." And maybe you also add a bunch of notes. And then you tell it, “Write me a prompt that can act as an agent that takes this input and makes this output over here.” You can do this for almost any type of knowledge work. And you can even introspect. "What are things you notice that I did to convert this from the input to the output?”. And then you can just start using the prompt. Initially, it’s going to suck. Because it’s just not that smart yet. But what’s funny is now, I also use it to Iterate my writing. You can be very direct, "I would never say that", "Don’t say it like this", or "Oh, you used the long word there, use the short word". Just speak to it conversationally. And then when you're happy with the output, you can use that new output to make a new prompt. "Based on this conversation, give me a better initial prompt that incorporates all the things we talked about." And you can do this with literally everything. And in theory, there’s so much it applies to that people do day-to-day. You could use it for tweets. You could use it for editing podcasts. You can use it for pretty much everything. I have a folder of prompts that I use all the time. My YouTube prompt is on v27 or something. I'll go through this process with all the different max models. I'll use GPT 5.2 Pro. I’ll use Grok. I'll use Claude. Then, I’ll take all the outputs from all the models and put them into Claude and say "Here’s my prompt, here’s the output from four LLMs, including yourself. Rate each response and tell me what the pros and cons of each approach are." And I usually say "give it to me in numbered form". And then you can agree with one, disagree with two, tell it three is this or that. And then after that, you say given all of this, synthesize it."

I asked Garry Tan how to use meta prompting to get better at AI: "My partners at YC Jared Friedman and Pete Koomen showed me how to do this. You can take almost anything that you do all the time and just drop it into a context window. And then say, “Here’s a bunch of inputs and outputs." And maybe you also add a bunch of notes. And then you tell it, “Write me a prompt that can act as an agent that takes this input and makes this output over here.” You can do this for almost any type of knowledge work. And you can even introspect. "What are things you notice that I did to convert this from the input to the output?”. And then you can just start using the prompt. Initially, it’s going to suck. Because it’s just not that smart yet. But what’s funny is now, I also use it to Iterate my writing. You can be very direct, "I would never say that", "Don’t say it like this", or "Oh, you used the long word there, use the short word". Just speak to it conversationally. And then when you're happy with the output, you can use that new output to make a new prompt. "Based on this conversation, give me a better initial prompt that incorporates all the things we talked about." And you can do this with literally everything. And in theory, there’s so much it applies to that people do day-to-day. You could use it for tweets. You could use it for editing podcasts. You can use it for pretty much everything. I have a folder of prompts that I use all the time. My YouTube prompt is on v27 or something. I'll go through this process with all the different max models. I'll use GPT 5.2 Pro. I’ll use Grok. I'll use Claude. Then, I’ll take all the outputs from all the models and put them into Claude and say "Here’s my prompt, here’s the output from four LLMs, including yourself. Rate each response and tell me what the pros and cons of each approach are." And I usually say "give it to me in numbered form". And then you can agree with one, disagree with two, tell it three is this or that. And then after that, you say given all of this, synthesize it."

The Peel

51,632 görüntüleme • 7 ay önce

🎥| “It’s nice to have a moment and reminisce and think about all the good times. And, obviously, you know, when you’re looking back like that, I’m just filled with gratitude. I’ve been so fucking lucky since I’ve been like 18 years old, and I’ve... I still remember crystal clear... I can remember picking my outfit out for... You’ve seen it, it’s bad, isn’t it? But, you know, at the time, like, it was alright at the time, that’s the point, I think. But I can remember picking the outfit out. I can remember going to boot camp, and I didn’t really expect too much truthfully. I’d never been in a situation like that before in my life, you know, I didn’t go to stage school or anything like that. So, I didn’t really know what to expect and, uh, really I was just there for the experience. And, I can remember... I can remember when the producers came up to us and you could see that something was going on. Now, I’m a big X Factor fan, that’s the show that we came up on. And, you kind of had a feeling that it was something really exciting, you’d seen similar things happen before, and then we got put together—five fucking strangers, crazy shit, you know? I feel incredibly lucky to have the career that I’ve had. Sixteen years is fucking crazy, I got goosebumps saying that then! Thank you, thank you. I’m proud of us, I’m proud of us, I really am. So, uh, yeah, a bit emotional today, but it’s been lovely. It’s been a really lovely day, the gig today has been fucking lovely, really, really. I love yous!” Louis Tomlinson on stage at #HDWGHWTOrlando via FiveFlowerss

🎥| “It’s nice to have a moment and reminisce and think about all the good times. And, obviously, you know, when you’re looking back like that, I’m just filled with gratitude. I’ve been so fucking lucky since I’ve been like 18 years old, and I’ve... I still remember crystal clear... I can remember picking my outfit out for... You’ve seen it, it’s bad, isn’t it? But, you know, at the time, like, it was alright at the time, that’s the point, I think. But I can remember picking the outfit out. I can remember going to boot camp, and I didn’t really expect too much truthfully. I’d never been in a situation like that before in my life, you know, I didn’t go to stage school or anything like that. So, I didn’t really know what to expect and, uh, really I was just there for the experience. And, I can remember... I can remember when the producers came up to us and you could see that something was going on. Now, I’m a big X Factor fan, that’s the show that we came up on. And, you kind of had a feeling that it was something really exciting, you’d seen similar things happen before, and then we got put together—five fucking strangers, crazy shit, you know? I feel incredibly lucky to have the career that I’ve had. Sixteen years is fucking crazy, I got goosebumps saying that then! Thank you, thank you. I’m proud of us, I’m proud of us, I really am. So, uh, yeah, a bit emotional today, but it’s been lovely. It’s been a really lovely day, the gig today has been fucking lovely, really, really. I love yous!” Louis Tomlinson on stage at #HDWGHWTOrlando via FiveFlowerss

World Tomlinson

30,025 görüntüleme • 2 ay önce