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Cognition President Russell Kaplan reveals the Cerebras chips they deployed ran their own models so fast at about 950 tokens per second that the team was confused by the test results, and it enabled them to ship a product experience that wouldn't have been possible otherwise. "One thing that...

18,716 Aufrufe • vor 4 Tagen •via X (Twitter)

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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.'

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Whitney Webb on 15-minute cities: "The goal [is] to have people... corralled [so] they're easily surveilled and controlled." "[They would] share... apartments when [they're] not there." "[They would] lose... car ownership, [so they] can't really control where [they] go." This clip of Webb (Whitney Webb), author of One Nation Under Blackmail and contributing editor of unlimitedhangout(.)com, is taken from an interview with Jimmy Dore (Jimmy Dore) posted to Rumble on March 26, 2026. ----------------Partial transcription of clip--------------- "So I haven't written extensively about 15- minute cities, but I would argue that the goal, there is basically to have people more or less corralled into an area where they're easily surveilled and controlled. And that's basically the... interest here is how do a small few rule the many forever without the many ever being able to complain or do anything about it. "Ultimately, this ruling system that they've been attempting to impose on, on people really around the world, because this is a global governance project at the end of the day, is, you know, using Big Tech tools in, in mass surveillance to basically create an entirely new way of life and system of living. "Part of that is to basically reduce the share of what the many, i.e., the 99% or whatever, have. So, you know, a lot of this, you know, became extremely, you know, unpopular. But also like people learned about it during the COVID era because of, you know, these groups like the World Economic Forum, which by the way, bills itself, is the premier promoter of public-private partnerships, that, you know, we need to not own our cars, we need to, rent them. And there should be autonomous fleets of Ubers that drive everyone around a specific radius. We shouldn't own homes. We should, you know, rent apartments and then share those apartments when we're not there and we leave, someone else can occupy the space. "These were all things, that were promoted under the guise, you know, of, of sustainability and other things at the time. But they're actively being, you know, designed and acted upon. "Actually one of the Columbus smart city initiatives that's connected to this Columbus partnership that that Wexner ran. He chaired it basically from 2001, I think, until 2021. So like 20 years, including when this was created. Columbus got a huge Department of Transportation grant from the government and also, you know, funding from private individuals, probably Wexner, but who knows, to to basically create a new system that in Columbus where private car ownership would not exist. "It would be fleets of, you know, smart cars, autonomous cars that drive people around. And so if you lose private car ownership, you can't really control where you go. And so these cars would determine, you know, would. Would have specific routes that you could, you know, pay to use and what have you. "And, interestingly enough, this was actually a goal for the entire United States, described in this by this national Security Commission on AI which was chaired by Eric Schmidt of Google and had a lot of these same Big Tech guys, who's who are have major roles at companies with New Albany data centers. "They basically said that in order for the US they said to beat China in AI it was necessary to end private car ownership in the United States and instead have autonomous, you know, Waymos, basically, drive every, fleets of them, Uber everybody around to where they were supposed to go and have things you know, sort of planned out by AI. Like where people are going, where people are working and all of this. "So the Technocracy Inc. model that you highlighted earlier, you know it was really influenced by things like Taylorism and a lot of these schools of thought that came out of the Industrial revolution that prioritize efficiency above all else. You know, having the trains run on time and all of that stuff being you know the kind of obsession of of these people in that particular era. "And so they want to sort of apply that not just to industry but to micromanaging people's lives as they you know, extract and exploit us for data and how much money our serf-like lives will make for them."

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EMIBONNIEANY MID YEAR SALE #EucerinxEmiBonnieAny 🎤: What was the moment that you were most impressed with during Blush Blossom Fan Fest? 🦊: "หัวไหล่ตูด (Head, Shoulders, Butt)" which was one of the songs we performed, bc the shows on the first and second day of the concert were different. We changed a bit of the choreography on the second day. When we had spare moments on the second day, we would practice. We used our limited break time to practice and make it a different show, so that the fans could feel awed. 🐰: I was going to say the same thing as P'Mi. 🦊: Really? 🐰: Yeah. 🦊: It was a pretty amazing shot. 🐰: Yeah, it was a moment that we didn't dance the same on both days. 🦊: And we thought that very morning like, why don't we make the shows not the same? 🐰: Yeah. And when we were doing the (photo) benefits, the fans might've seen us looking dazed. We were dazed, but inside we were thinking, what should we do? What should we do? 🦊: What should we do for the fans to be even more excited? 🐰: We were reviewing the moves in our head. 🎤: There was a comment just now saying, "You did amazing. The shows were not the same." 🦊: We were a bit anxious, bc we didn't have time to do a run through at all. We practiced in the room and then performed it on stage. I was nervous abt whether we would be able to do it. Usually, I can't remember choreography that quickly. So I was a bit nervous abt whether we'd be able to do it. It was definitely a memorable moment. 🎤: But it came out very memorable. 🦊: Yeah, it came out exactly as we envisioned. Even better, actually.

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