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Decentralized Rendering hitting home runs 🏈 ! The LA Rams’ Los Angeles Rams 4th quarter hype video, premiered directly from the SoFi Stadium Infinity Screen on November 3rd, was fully rendered on OctaRender our decentralized rendering platform. The scene was shaped for a 15:1 aspect ratio, wrapping around a...

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Cardinals Player Spotlight - Ray Lankford Lankford was born on June 5, 1967, in Los Angeles, California. He played as an outfielder in Major League Baseball, primarily for the St. Louis Cardinals, from 1990 to 2004, with a brief stint with the San Diego Padres in 2001-2002. After a taste of the big leagues in 1990, Lankford would finished 3rd in voting for the National League's Rookie of the Year in 1991. Lankford was known for his combination of power and speed, hitting 238 home runs and stealing 258 bases over his career. He spent most of his career with the Cardinals, where he became a fan favorite. His best season was arguably 1998, when he hit .293 with 31 home runs and 105 RBIs. Lankford hit 123 home runs at Busch Stadium II, the most of any player in the stadium's history. He finished his career in his home ballpark with a pinch hit home run in his final major league at bat on October 3, 2004. He is the only player to have 200 home runs and 200 stolen bases as a Cardinal. After retiring, he has occasionally been involved in coaching and mentoring young players. He was elected to the Cardinals Hall of Fame in 2018. (Video of Lankford hitting for the cycle in September 15, 1991 - Notice he changed his jersey between the triple and HR)
3:09

Cardinals Player Spotlight - Ray Lankford Lankford was born on June 5, 1967, in Los Angeles, California. He played as an outfielder in Major League Baseball, primarily for the St. Louis Cardinals, from 1990 to 2004, with a brief stint with the San Diego Padres in 2001-2002. After a taste of the big leagues in 1990, Lankford would finished 3rd in voting for the National League's Rookie of the Year in 1991. Lankford was known for his combination of power and speed, hitting 238 home runs and stealing 258 bases over his career. He spent most of his career with the Cardinals, where he became a fan favorite. His best season was arguably 1998, when he hit .293 with 31 home runs and 105 RBIs. Lankford hit 123 home runs at Busch Stadium II, the most of any player in the stadium's history. He finished his career in his home ballpark with a pinch hit home run in his final major league at bat on October 3, 2004. He is the only player to have 200 home runs and 200 stolen bases as a Cardinal. After retiring, he has occasionally been involved in coaching and mentoring young players. He was elected to the Cardinals Hall of Fame in 2018. (Video of Lankford hitting for the cycle in September 15, 1991 - Notice he changed his jersey between the triple and HR)

Augie Nash

13,035 Aufrufe • vor 5 Monaten

Meet Mechanic Joe, a creation of 3D Character & Creature Artist Roman Chystakhovskyi. Inspired by a pigeon with mullet-like plumage that Roman observed on a trip to the zoo, Joe is the picture of a classic old school mechanic from a dusty roadside garage. Mechanic Joe is a full, game-ready character rendered in real-time in Unreal Engine 5. "My biggest technical learning on 'Mechanic Joe' was fully embracing Sequencer and Sublevels in UE5. A tip for other artists: being able to separate a complex scene into manageable parts and bind them to different camera cuts is a game-changer. It's a non-destructive workflow that dramatically speeds up iteration and gives you incredible flexibility for managing and rendering final cinematic shots." - Roman Chystakhovskyi
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Meet Mechanic Joe, a creation of 3D Character & Creature Artist Roman Chystakhovskyi. Inspired by a pigeon with mullet-like plumage that Roman observed on a trip to the zoo, Joe is the picture of a classic old school mechanic from a dusty roadside garage. Mechanic Joe is a full, game-ready character rendered in real-time in Unreal Engine 5. "My biggest technical learning on 'Mechanic Joe' was fully embracing Sequencer and Sublevels in UE5. A tip for other artists: being able to separate a complex scene into manageable parts and bind them to different camera cuts is a game-changer. It's a non-destructive workflow that dramatically speeds up iteration and gives you incredible flexibility for managing and rendering final cinematic shots." - Roman Chystakhovskyi

Unreal Engine

10,327 Aufrufe • vor 9 Monaten

watch this anon. i gave NVIDIA's biggest model ever a single task. 100 minutes and 440,000 tokens later, it had rendered nothing. not one important thing on the screen. this is Nemotron 3 Ultra. 550 billion parameters, a hybrid Mamba Transformer MoE, the largest model NVIDIA has ever shipped, and they built it specifically for long-running agentic coding. so i handed it exactly that: build a 3D scene from a spec, multiple files, iterate until the tests pass. the same task a frontier model one shotted in minutes. i genuinely wanted to be impressed. it ran for an hour and forty. burned through 440,000 tokens. wrote every file, passed its own tests, and proudly printed "task complete."the browser was blank. the 3D scene never rendered. not once. and the long horizon agentic behavior was genuinely good. it stayed on task the whole hour and forty, wrote real multi-file code, drove its own tools without derailing. it just couldn't turn any of that into something that actually runs. here's the part that gets me. it's a text model, it cannot see its own output. so it sat there looping on a broken vision tool, trying to "look" at the page, hitting error after error, never once reasoning its way out. it declared victory on an empty screen because it had no way to know the screen was empty. to be fair, i genuinely don't know what quant the NIM was serving, so maybe some of that's on the serving, not the model. but the biggest model NVIDIA has ever made, on the exact task it was designed for, couldn't tell it had built nothing in 100 minutes. same task on a local model, below thread👇.
4:07

watch this anon. i gave NVIDIA's biggest model ever a single task. 100 minutes and 440,000 tokens later, it had rendered nothing. not one important thing on the screen. this is Nemotron 3 Ultra. 550 billion parameters, a hybrid Mamba Transformer MoE, the largest model NVIDIA has ever shipped, and they built it specifically for long-running agentic coding. so i handed it exactly that: build a 3D scene from a spec, multiple files, iterate until the tests pass. the same task a frontier model one shotted in minutes. i genuinely wanted to be impressed. it ran for an hour and forty. burned through 440,000 tokens. wrote every file, passed its own tests, and proudly printed "task complete."the browser was blank. the 3D scene never rendered. not once. and the long horizon agentic behavior was genuinely good. it stayed on task the whole hour and forty, wrote real multi-file code, drove its own tools without derailing. it just couldn't turn any of that into something that actually runs. here's the part that gets me. it's a text model, it cannot see its own output. so it sat there looping on a broken vision tool, trying to "look" at the page, hitting error after error, never once reasoning its way out. it declared victory on an empty screen because it had no way to know the screen was empty. to be fair, i genuinely don't know what quant the NIM was serving, so maybe some of that's on the serving, not the model. but the biggest model NVIDIA has ever made, on the exact task it was designed for, couldn't tell it had built nothing in 100 minutes. same task on a local model, below thread👇.

Sudo su

32,589 Aufrufe • vor 1 Monat

One of Sega’s greatest strengths in the 1990s was its ability to create arcade games using 3D hardware that completely outclassed the competition. Virtua Racing and Virtua Fighter were developed on the Model 1 arcade system, which was based on advanced 3D technology originally developed for military applications. At the time, their performance was so impressive that other 3D games simply couldn’t compare. Because of that, it was extremely difficult to accurately reproduce these games on home consoles. In the early 1990s, the Model 1 arcade hardware cost close to $7,000, and even Sega’s own systems—the Mega Drive, 32X, and later the Sega Saturn—struggled to deliver arcade-perfect versions. Back then, I was disappointed by the gap in quality between the arcade and home versions. Looking back now, though, it’s amazing that Sega managed to port them as well as they did. It almost feels like a miracle. After eventually buying an arcade cabinet and a Model 1 board, I learned something I hadn’t realized before: Model 1 supported high-resolution monitors, unlike the standard displays used by most home systems. In those days, the average gamer didn’t even think about screen resolution, so seeing Virtua Fighter on a high-resolution arcade monitor created a fundamentally different experience from the home versions. When I first played Virtua Fighter on the Sega Saturn, I remember feeling that something was missing. At the time, I assumed it was simply the lower polygon count, but after seeing the original hardware in action, I realized that the difference in resolution also played a huge role. Sega’s arcade games—especially those built on the Model 1, Model 2, and Model 3 platforms—represent the peak of the company’s technological achievements. That’s one of the reasons I enjoy collecting them so much. Since home console conversions could never fully capture the original experience, the authentic arcade versions have a unique charm that’s hard to replicate. Even today, playing them on the original hardware is a great reminder of why Sega was considered the king of arcade gaming during the 1990s.
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One of Sega’s greatest strengths in the 1990s was its ability to create arcade games using 3D hardware that completely outclassed the competition. Virtua Racing and Virtua Fighter were developed on the Model 1 arcade system, which was based on advanced 3D technology originally developed for military applications. At the time, their performance was so impressive that other 3D games simply couldn’t compare. Because of that, it was extremely difficult to accurately reproduce these games on home consoles. In the early 1990s, the Model 1 arcade hardware cost close to $7,000, and even Sega’s own systems—the Mega Drive, 32X, and later the Sega Saturn—struggled to deliver arcade-perfect versions. Back then, I was disappointed by the gap in quality between the arcade and home versions. Looking back now, though, it’s amazing that Sega managed to port them as well as they did. It almost feels like a miracle. After eventually buying an arcade cabinet and a Model 1 board, I learned something I hadn’t realized before: Model 1 supported high-resolution monitors, unlike the standard displays used by most home systems. In those days, the average gamer didn’t even think about screen resolution, so seeing Virtua Fighter on a high-resolution arcade monitor created a fundamentally different experience from the home versions. When I first played Virtua Fighter on the Sega Saturn, I remember feeling that something was missing. At the time, I assumed it was simply the lower polygon count, but after seeing the original hardware in action, I realized that the difference in resolution also played a huge role. Sega’s arcade games—especially those built on the Model 1, Model 2, and Model 3 platforms—represent the peak of the company’s technological achievements. That’s one of the reasons I enjoy collecting them so much. Since home console conversions could never fully capture the original experience, the authentic arcade versions have a unique charm that’s hard to replicate. Even today, playing them on the original hardware is a great reminder of why Sega was considered the king of arcade gaming during the 1990s.

Gamer_lafan

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Breaking911

38,453 Aufrufe • vor 5 Monaten

POWERFUL testimony from FBI Whistleblower Garret O’Boyle on how the agency rendered his family HOMELESS for speaking up against the FBI’s efforts to weaponize the bureau against Americans: “In weaponized fashion, the FBI allowed me to accept orders to a position halfway across the country. They allowed us to sell my family’s home. They ordered me to report to the new unit when our youngest daughter was two weeks old. Then, on my first day on the new assignment, they suspended me - rendering my family homeless. They refused to release our goods, including our clothes for weeks. All I wanted to do was serve my country by stopping bad guys and protecting the innocent. To my chagrin, bad guys have begun running parts of the government, making it difficult to continue serving this nation and protecting the innocent. But I for one will never stop trying and I will never forget my oath.”
1:04

POWERFUL testimony from FBI Whistleblower Garret O’Boyle on how the agency rendered his family HOMELESS for speaking up against the FBI’s efforts to weaponize the bureau against Americans: “In weaponized fashion, the FBI allowed me to accept orders to a position halfway across the country. They allowed us to sell my family’s home. They ordered me to report to the new unit when our youngest daughter was two weeks old. Then, on my first day on the new assignment, they suspended me - rendering my family homeless. They refused to release our goods, including our clothes for weeks. All I wanted to do was serve my country by stopping bad guys and protecting the innocent. To my chagrin, bad guys have begun running parts of the government, making it difficult to continue serving this nation and protecting the innocent. But I for one will never stop trying and I will never forget my oath.”

Joel Valdez

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Woman Armed with Pellet Gun Shot by LAPD During Robbery Call Los Angeles, CA - On March 7, 2026, around 11:15 p.m., officers assigned to Southeast Patrol Division responded to a radio call of a Robbery in Progress at a convenience store located at 15300 South Figueroa Street. Upon arrival, the officers observed the suspect, later identified as 53-year-old Cynthia Anne Ivie Akers, standing behind the convenience store’s front counter. The officers issued multiple verbal commands to gain Akers’ compliance; however, those commands were disregarded. Akers then suddenly moved toward the counter, removed a handgun from a zippered bag, and pointed it in the direction of the officers, resulting in an Officer-Involved Shooting (OIS). Akers was struck by gunfire and subsequently taken into custody. The officers immediately rendered medical aid and requested the response of the Los Angeles Fire Department (LAFD). LAFD personnel responded to the scene and pronounced Akers deceased. The investigation later determined that the weapon in Akers’ possession was a pellet gun. The item was recovered at the scene and booked as evidence. No officers or additional community members were injured during the incident. #police #crime #policia #polis #polizia #lawenforcement #polizie

Police Incidents

15,434 Aufrufe • vor 4 Monaten

** Sega Genesis 3D engine update 8.5 ** A smaller update - Scrolling left or right of the sprite based background is implemented along with X camera shifting of the 3d plane. The Exodus emulator has been used with sprite boxing enabled so you can see the background sprites making up the object ( their outlines ) and how they move to tilt the image . The background is made up of 112 sprites (51 are multiplexed in that number as the Genesis is limited to 80 without mulitplexing eg basically re-using sprite hardware as the screen is being drawn ) . In a 6 x 17 sprite grid of 16x32 pixel high sprites. If the tilt affect was not neccessary or only 1/2 the angle of tilt effect was needed, I could get away with 1/2 the number of sprites and just used 32x32 sprites instead. I think the tilt effect adds a bit to movement however. This is very similar to how a Neo Geo would build its backgrounds up - in 16 pixel strips however its sprites are tall as the screen or more but the concept of making backgrounds up in 16 pixel wide strips is similar. The NG uses sprites to build any background layers required. Here on the Genesis the reason is rendering is much faster using both the 3d planes and using a total sprite background for this engine. Initially i had a lot of things breaking when I tried to move the camera in the X dimension much , as i'd optimised the vertex transform path heavily and once beyond a certain camera offset the X value was wrapping around causing a lot of breakage in the rendering. Thankfully solved that issue without marginal impact to cpu . It still needs work , perspectives are a bit wrong etc but it won't be hard to fix. Also found some rendering speeds ups, about 8% by optimising fully onscreen quads and optimising the clearing of the frame buffers more efficiently. Toni Gálvez - Megastyle - BG. has been hard at work on HUD elements and more 3d models so will have something to show for that soon. #SGDK #SegaMegadrive #SegaGenesis
0:28

** Sega Genesis 3D engine update 8.5 ** A smaller update - Scrolling left or right of the sprite based background is implemented along with X camera shifting of the 3d plane. The Exodus emulator has been used with sprite boxing enabled so you can see the background sprites making up the object ( their outlines ) and how they move to tilt the image . The background is made up of 112 sprites (51 are multiplexed in that number as the Genesis is limited to 80 without mulitplexing eg basically re-using sprite hardware as the screen is being drawn ) . In a 6 x 17 sprite grid of 16x32 pixel high sprites. If the tilt affect was not neccessary or only 1/2 the angle of tilt effect was needed, I could get away with 1/2 the number of sprites and just used 32x32 sprites instead. I think the tilt effect adds a bit to movement however. This is very similar to how a Neo Geo would build its backgrounds up - in 16 pixel strips however its sprites are tall as the screen or more but the concept of making backgrounds up in 16 pixel wide strips is similar. The NG uses sprites to build any background layers required. Here on the Genesis the reason is rendering is much faster using both the 3d planes and using a total sprite background for this engine. Initially i had a lot of things breaking when I tried to move the camera in the X dimension much , as i'd optimised the vertex transform path heavily and once beyond a certain camera offset the X value was wrapping around causing a lot of breakage in the rendering. Thankfully solved that issue without marginal impact to cpu . It still needs work , perspectives are a bit wrong etc but it won't be hard to fix. Also found some rendering speeds ups, about 8% by optimising fully onscreen quads and optimising the clearing of the frame buffers more efficiently. Toni Gálvez - Megastyle - BG. has been hard at work on HUD elements and more 3d models so will have something to show for that soon. #SGDK #SegaMegadrive #SegaGenesis

Shannon Birt

21,240 Aufrufe • vor 24 Tagen

A guy put a mini PC on his desk and runs a wall of faceless YouTube channels from it. The box is the size of a paperback. Sits next to his coffee. He plugged it in and that was it. Now every channel on his screen uploads on schedule without him. He doesn't film. He doesn't edit. He doesn't even open YouTube most days. He says one channel lands him around $8,000 a month. He scrolled past dozens just now. The box paid for itself in 3 days. His rent is now fully paid by a box on his desk. The crazy part is regular people are quietly becoming media networks. Save this, you are watching the next gold rush hit the home office.
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A guy put a mini PC on his desk and runs a wall of faceless YouTube channels from it. The box is the size of a paperback. Sits next to his coffee. He plugged it in and that was it. Now every channel on his screen uploads on schedule without him. He doesn't film. He doesn't edit. He doesn't even open YouTube most days. He says one channel lands him around $8,000 a month. He scrolled past dozens just now. The box paid for itself in 3 days. His rent is now fully paid by a box on his desk. The crazy part is regular people are quietly becoming media networks. Save this, you are watching the next gold rush hit the home office.

Superior

24,476 Aufrufe • vor 2 Monaten

WOW. 😳 Apple just quietly won the 3D maps war at WWDC. Gaussian Splatting is coming to Apple Maps Flyover this fall. Apple Maps Flyover covers 300+ cities. Until yesterday, every single one was built on standard drone photogrammetry. The technology captures photos from the air and reconstructs 3D geometry from them. Gaussian Splatting does not reconstruct geometry. It represents the scene as millions of tiny 3D ellipsoids, each one carrying its own color and opacity information based on how light actually behaves in that location. The output is not a mesh model. It is a field of light. When you move through it, it does not crumble at the edges. The detail holds because it was never geometry to begin with. Apple has been hiring for this for years. Their SHARP model, published in research last year, generates photorealistic 3D scenes from a single image in under a second. Google has more sensor data than anyone. More Street View cars, more satellites, more capture history. On navigation accuracy and geodata depth, Google Maps is still ahead by most measures. But fidelity in 3D city rendering is a different competition, and Apple just set a bar in that. Most people will experience this in the fall without knowing the name of the technology. They will open Flyover, look at a city they know, and notice it looks different. Real, not rendered. That is the moment Gaussian Splatting stops being a research term and becomes something a billion people use. Bookmark this. It will look prescient by October.
0:24

WOW. 😳 Apple just quietly won the 3D maps war at WWDC. Gaussian Splatting is coming to Apple Maps Flyover this fall. Apple Maps Flyover covers 300+ cities. Until yesterday, every single one was built on standard drone photogrammetry. The technology captures photos from the air and reconstructs 3D geometry from them. Gaussian Splatting does not reconstruct geometry. It represents the scene as millions of tiny 3D ellipsoids, each one carrying its own color and opacity information based on how light actually behaves in that location. The output is not a mesh model. It is a field of light. When you move through it, it does not crumble at the edges. The detail holds because it was never geometry to begin with. Apple has been hiring for this for years. Their SHARP model, published in research last year, generates photorealistic 3D scenes from a single image in under a second. Google has more sensor data than anyone. More Street View cars, more satellites, more capture history. On navigation accuracy and geodata depth, Google Maps is still ahead by most measures. But fidelity in 3D city rendering is a different competition, and Apple just set a bar in that. Most people will experience this in the fall without knowing the name of the technology. They will open Flyover, look at a city they know, and notice it looks different. Real, not rendered. That is the moment Gaussian Splatting stops being a research term and becomes something a billion people use. Bookmark this. It will look prescient by October.

Shruti

19,832 Aufrufe • vor 2 Monaten

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +
0:20

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +

David Bowie Official

50,698 Aufrufe • vor 1 Jahr

Great question! 🤔 How do you simulate *multiple* layers of glass/refraction in video games? In the last breakdown, I discussed how to create a glass shader in Unity URP. In essence, we were taking the render of the scene from the camera without any transparent objects. This is available in URP as the global _CameraOpaqueTexture. This is good enough for most use-cases, and more or less the classic way of doing it. 🔍 What is _CameraOpaqueTexture? As the name implies, there are no transparent objects rendered into this texture, so it's not possible by default to have something like a transparent-type ocean material/shader rendered through a refractive glass shader (which samples and distorts this texture to render on its surface, as if it's transparent). ⚠️ Why it’s tricky: It's much easier to sort without much further setup if you don't have refraction, and only a transparent material, because in that case you're not simulating the transparency yourself via sampling the rendered scene texture. But for refraction, it's required-- unless you want to go down the ray/path tracing route. You could simulate accurate, real dispersion... and that's about as expensive as it sounds, and it requires a rework of your entire rendering. --> 🚫 It's not a viable suggestion to offer. 📚 There are well-known terms regarding transparency sorting you can search up, but as you've specifically asked for refractive boxes, I'll discuss briefly about that. 🧱 Simulating layers of refraction: For this kind of rendering, you need some way to render the backfaces before rendering the front. And the backfaces that are rendered may contain whatever data you'd like for additional processing in the layer front-facing mesh render. 🧪 Examples: You could render the back face as a glass shader of its own, as an intermediate step after _CameraOpaqueTexture. Then you sample this texture instead and you end up with multi-layered refraction, "just like that". You can also render the back normals only, via a fully opaque shader, and use that to manually account for that during the front render. You could even bake in data needed for thickness in realtime. 🛠️ Without making it complicated for yourself, the most straightforward method is via render textures, and you can easily set some fractional resolution. Cameras in Unity have an open slot for target textures to render to. You can use custom render textures to process _SelfTexture2D. ⏱️ It's great to do low-resolution processing for more complex tasks, like blurring and caustics. You can get massive performance boosts, considering the square law and number of pixels/fragments that need calculations (quadratic scaling). 🚧 I've not fully exploited the possibilities myself, but research/development with PRISM is ongoing!
0:56

Great question! 🤔 How do you simulate *multiple* layers of glass/refraction in video games? In the last breakdown, I discussed how to create a glass shader in Unity URP. In essence, we were taking the render of the scene from the camera without any transparent objects. This is available in URP as the global _CameraOpaqueTexture. This is good enough for most use-cases, and more or less the classic way of doing it. 🔍 What is _CameraOpaqueTexture? As the name implies, there are no transparent objects rendered into this texture, so it's not possible by default to have something like a transparent-type ocean material/shader rendered through a refractive glass shader (which samples and distorts this texture to render on its surface, as if it's transparent). ⚠️ Why it’s tricky: It's much easier to sort without much further setup if you don't have refraction, and only a transparent material, because in that case you're not simulating the transparency yourself via sampling the rendered scene texture. But for refraction, it's required-- unless you want to go down the ray/path tracing route. You could simulate accurate, real dispersion... and that's about as expensive as it sounds, and it requires a rework of your entire rendering. --> 🚫 It's not a viable suggestion to offer. 📚 There are well-known terms regarding transparency sorting you can search up, but as you've specifically asked for refractive boxes, I'll discuss briefly about that. 🧱 Simulating layers of refraction: For this kind of rendering, you need some way to render the backfaces before rendering the front. And the backfaces that are rendered may contain whatever data you'd like for additional processing in the layer front-facing mesh render. 🧪 Examples: You could render the back face as a glass shader of its own, as an intermediate step after _CameraOpaqueTexture. Then you sample this texture instead and you end up with multi-layered refraction, "just like that". You can also render the back normals only, via a fully opaque shader, and use that to manually account for that during the front render. You could even bake in data needed for thickness in realtime. 🛠️ Without making it complicated for yourself, the most straightforward method is via render textures, and you can easily set some fractional resolution. Cameras in Unity have an open slot for target textures to render to. You can use custom render textures to process _SelfTexture2D. ⏱️ It's great to do low-resolution processing for more complex tasks, like blurring and caustics. You can get massive performance boosts, considering the square law and number of pixels/fragments that need calculations (quadratic scaling). 🚧 I've not fully exploited the possibilities myself, but research/development with PRISM is ongoing!

Mirza Beig

61,468 Aufrufe • vor 1 Jahr

FINALLY time for the big announcement everyone has been begging and waiting for... Here's a VERY EARLY direct hardware capture of Mario Kart 64... RUNNING ON THE SEGA DREAMCAST, of course! This game was literally just BARELY decompiled the other day, with a codebase that is still quite married to the Nintendo 64 platform... but this didn't stop jnmartin: the dark coding wizard who brought us a dynamically lit and bump mapped Doom 64 and Wipeout running at >100FPS on the DC! What you're seeing is the insane progress made by one man in just 3 weeks. As is to be expected, there are all kinds of visual glitches and rendering artifacts, the framerate is all over the place, and there's no audio yet... which is totally typical of any ambitious DC port in the early stages. The DC build wouldn't even get past the menu screen without crashing or running out of RAM until just a few DAYS ago, yet here it is, every level playable WITH multiplayer support already on the DC! Even in this early stage, you can already see the game benefiting from the PVR's crisp 480p output... Each players' little viewport window in 4 player mode is the same resolution as the entire screen was on the N64! Stay tuned for future updates as jnmartin continues his work to bring this classic to our little white box of Dreams!
3:29

FINALLY time for the big announcement everyone has been begging and waiting for... Here's a VERY EARLY direct hardware capture of Mario Kart 64... RUNNING ON THE SEGA DREAMCAST, of course! This game was literally just BARELY decompiled the other day, with a codebase that is still quite married to the Nintendo 64 platform... but this didn't stop jnmartin: the dark coding wizard who brought us a dynamically lit and bump mapped Doom 64 and Wipeout running at >100FPS on the DC! What you're seeing is the insane progress made by one man in just 3 weeks. As is to be expected, there are all kinds of visual glitches and rendering artifacts, the framerate is all over the place, and there's no audio yet... which is totally typical of any ambitious DC port in the early stages. The DC build wouldn't even get past the menu screen without crashing or running out of RAM until just a few DAYS ago, yet here it is, every level playable WITH multiplayer support already on the DC! Even in this early stage, you can already see the game benefiting from the PVR's crisp 480p output... Each players' little viewport window in 4 player mode is the same resolution as the entire screen was on the N64! Stay tuned for future updates as jnmartin continues his work to bring this classic to our little white box of Dreams!

Falco Girgis

55,593 Aufrufe • vor 1 Jahr

Did you know the iconic seaQuest DSV intro was powered by Commodore Amiga? Back in 1993, when CGI was still in its infancy and insanely expensive, Amblin Imaging (Steven Spielberg’s effects house) chose a revolutionary low-cost solution: a render farm of Commodore Amiga 2000 computers running NewTek LightWave 3D and the Video Toaster. All those stunning external shots of the massive seaQuest submarine gliding through the ocean depths? Rendered on Amigas. The show only used about 1.5 minutes of CGI per episode, but it looked groundbreaking for television at the time. They networked dozens of Amigas together to handle the complex underwater visuals — a setup that helped make high-quality 3D effects accessible beyond big Hollywood budgets. This was the same Amiga + LightWave combo that famously powered early seasons of Babylon 5 and other 90s sci-fi hits. The Video Toaster even won an Emmy for Technical Achievement in 1993! The future of TV VFX was built on a machine many still call the greatest home computer ever made. Commodore Amiga — changing the game from your desktop. 🖥️✨ONLY AMIGA MAKES IT POSSIBLE!
0:59

Did you know the iconic seaQuest DSV intro was powered by Commodore Amiga? Back in 1993, when CGI was still in its infancy and insanely expensive, Amblin Imaging (Steven Spielberg’s effects house) chose a revolutionary low-cost solution: a render farm of Commodore Amiga 2000 computers running NewTek LightWave 3D and the Video Toaster. All those stunning external shots of the massive seaQuest submarine gliding through the ocean depths? Rendered on Amigas. The show only used about 1.5 minutes of CGI per episode, but it looked groundbreaking for television at the time. They networked dozens of Amigas together to handle the complex underwater visuals — a setup that helped make high-quality 3D effects accessible beyond big Hollywood budgets. This was the same Amiga + LightWave combo that famously powered early seasons of Babylon 5 and other 90s sci-fi hits. The Video Toaster even won an Emmy for Technical Achievement in 1993! The future of TV VFX was built on a machine many still call the greatest home computer ever made. Commodore Amiga — changing the game from your desktop. 🖥️✨ONLY AMIGA MAKES IT POSSIBLE!

Commodore Computer Museum 🕹

11,353 Aufrufe • vor 2 Monaten

The 2002 Sacramento Kings had everything. 61 wins. #1 seed. Home court. Webber. Bibby. Peja. Vlade. The deepest roster in the West. They were the team of destiny. Then came Game 6. 🧵 — Shaq shot 17 free throws. Chris Webber shot ZERO in the 4th quarter. Mike Bibby got elbowed in the face by Kobe with no call. Vlade Divac fouled out on a play that wasn't a foul. Scott Pollard fouled out on a play that wasn't a foul. Shaq ALONE outshot the entire Kings team in the 4th quarter free throw attempts — 10 to 9. Let that sink in. — Bill Walton was pleading the Kings' case LIVE on NBC. Rick Adelman postgame: "You tell me how the game went. Our big guys get called for 20 fouls and Shaq only gets four." This wasn't bad luck. This wasn't choking. This was the game being taken from them. — Watch the full video 👇 THE 2002 LAKERS VS KINGS CONSPIRACY
0:48

The 2002 Sacramento Kings had everything. 61 wins. #1 seed. Home court. Webber. Bibby. Peja. Vlade. The deepest roster in the West. They were the team of destiny. Then came Game 6. 🧵 — Shaq shot 17 free throws. Chris Webber shot ZERO in the 4th quarter. Mike Bibby got elbowed in the face by Kobe with no call. Vlade Divac fouled out on a play that wasn't a foul. Scott Pollard fouled out on a play that wasn't a foul. Shaq ALONE outshot the entire Kings team in the 4th quarter free throw attempts — 10 to 9. Let that sink in. — Bill Walton was pleading the Kings' case LIVE on NBC. Rick Adelman postgame: "You tell me how the game went. Our big guys get called for 20 fouls and Shaq only gets four." This wasn't bad luck. This wasn't choking. This was the game being taken from them. — Watch the full video 👇 THE 2002 LAKERS VS KINGS CONSPIRACY

OLDSKOOLBBALL

274,429 Aufrufe • vor 4 Monaten

So how is the Sega Dreamcast's very own native port of Mario Kart 64 coming along? Well, lets take a look at some footage I just captured directly from my DC of jnmartin's latest build! Minor texture corruption is still present on some of the sprites here and there, plus there's no audio yet, BUT MY OH MY! She's running like a dream and looks SHARP as hell at with progressive scan at twice the resolution! You'll immediately notice virtually all of the texture corruption on the text and UI sprites have been fixed. You can now actually see your item box, and clouds are drawn properly in the background, rather than over the top of the scene in the foreground. Somehow, along with fixing all of this in the past few days, jnmartin has also found the time to get the monitors in the backgrounds of Luigi's Raceway and Wario Stadium correctly projecting a view of the scene onto their screens. This somewhat-advanced effect (for the time) was actually done on the N64 (in this game) WITHOUT doing a secondary render-to-texture pass, which requires submitting the scene a second time to the GPU. Instead, the framebuffer was divided into small, tiled chunks (1/6 of its total size), with only a single small chunk getting updated per frame. This way, the amount of direct VRAM access from the CPU (which is typically slow as hell) is kept to a minimum within the duration of a particular frame, with multiple frames being required to update the entire screen. But anyway, she's starting to look and play incredibly well, and those of us with early access to the builds have been thoroughly enjoying revisiting this title on our favorite platform!
1:44

So how is the Sega Dreamcast's very own native port of Mario Kart 64 coming along? Well, lets take a look at some footage I just captured directly from my DC of jnmartin's latest build! Minor texture corruption is still present on some of the sprites here and there, plus there's no audio yet, BUT MY OH MY! She's running like a dream and looks SHARP as hell at with progressive scan at twice the resolution! You'll immediately notice virtually all of the texture corruption on the text and UI sprites have been fixed. You can now actually see your item box, and clouds are drawn properly in the background, rather than over the top of the scene in the foreground. Somehow, along with fixing all of this in the past few days, jnmartin has also found the time to get the monitors in the backgrounds of Luigi's Raceway and Wario Stadium correctly projecting a view of the scene onto their screens. This somewhat-advanced effect (for the time) was actually done on the N64 (in this game) WITHOUT doing a secondary render-to-texture pass, which requires submitting the scene a second time to the GPU. Instead, the framebuffer was divided into small, tiled chunks (1/6 of its total size), with only a single small chunk getting updated per frame. This way, the amount of direct VRAM access from the CPU (which is typically slow as hell) is kept to a minimum within the duration of a particular frame, with multiple frames being required to update the entire screen. But anyway, she's starting to look and play incredibly well, and those of us with early access to the builds have been thoroughly enjoying revisiting this title on our favorite platform!

Falco Girgis

45,613 Aufrufe • vor 1 Jahr

19 YEAR OLD IS RUNNING A YOUTUBE ANIMATION STUDIO FROM HIS BEDROOM. HE HAS NO ANIMATORS. HE CANNOT DRAW. HE IS PRINTING MONEY FROM CHILDREN'S RHYMES. Kids' YouTube channels routinely pull millions of views per video. The platform pays creators between $1,000 and $3,000 for every hundred thousand views in that niche. Before this year, getting a piece of that market required a 3D animation studio, voice actors, and a month of rendering. He does it in under three minutes. His entire studio is a GPT sol and a Claude window. He opens YouTube and finds the most popular nursery rhyme channels. He takes a screenshot of their video feed. He opens Claude. He has a custom tool called Higgsfield MCP connected directly to his chat. He pastes the screenshot. He writes one prompt. Analyze this YouTube channel and generate a week of original content in the exact same style and niche. He hits enter. A few minutes later, the chat window spits out a fully rendered, broadcast-ready 3D animation. A baby playing with blocks, perfectly lit, smoothly animated, and ready to be monetized. He uploads it to his channel. The next day, he does it again. The kids watching on their iPads don't know the video was generated by an AI analyzing a screenshot. The parents who just want five minutes of quiet don't care. The algorithm treats it like a Pixar short. A real animation studio spends $50,000 and two months to produce three minutes of content. He spends zero dollars, takes a screenshot, and goes to make coffee. While the rest of the internet argues about whether AI is a real job, a quiet group of teenagers is pulling market share from massive media companies with a single prompt. Most people will watch his tutorial and complain. A few will open a new tab.
0:31

19 YEAR OLD IS RUNNING A YOUTUBE ANIMATION STUDIO FROM HIS BEDROOM. HE HAS NO ANIMATORS. HE CANNOT DRAW. HE IS PRINTING MONEY FROM CHILDREN'S RHYMES. Kids' YouTube channels routinely pull millions of views per video. The platform pays creators between $1,000 and $3,000 for every hundred thousand views in that niche. Before this year, getting a piece of that market required a 3D animation studio, voice actors, and a month of rendering. He does it in under three minutes. His entire studio is a GPT sol and a Claude window. He opens YouTube and finds the most popular nursery rhyme channels. He takes a screenshot of their video feed. He opens Claude. He has a custom tool called Higgsfield MCP connected directly to his chat. He pastes the screenshot. He writes one prompt. Analyze this YouTube channel and generate a week of original content in the exact same style and niche. He hits enter. A few minutes later, the chat window spits out a fully rendered, broadcast-ready 3D animation. A baby playing with blocks, perfectly lit, smoothly animated, and ready to be monetized. He uploads it to his channel. The next day, he does it again. The kids watching on their iPads don't know the video was generated by an AI analyzing a screenshot. The parents who just want five minutes of quiet don't care. The algorithm treats it like a Pixar short. A real animation studio spends $50,000 and two months to produce three minutes of content. He spends zero dollars, takes a screenshot, and goes to make coffee. While the rest of the internet argues about whether AI is a real job, a quiet group of teenagers is pulling market share from massive media companies with a single prompt. Most people will watch his tutorial and complain. A few will open a new tab.

ZER

30,860 Aufrufe • vor 1 Monat

Continuing our baseball movie theme, here are some Bull Durham Bull Facts: -In the meeting at the pitcher's mound, Robert Wuhl ad-libbed his line about getting candlesticks as a wedding present. He said it was based on a real conversation he had with his wife. -Both Jeff Bridges and Don Johnson turned down the role of 'Crash'. -Both Carrie Fisher and Debra Winger auditioned for the role of Annie but backed out. -Ron Shelton cast Tim Robbins over the strong objections of the studio, who wanted Anthony Michael Hall instead. -Kurt Russell helped Ron Shelton develop the script and was originally penciled in to play Crash, the part that went to Kevin Costner. -In their confrontation outside the bar, Crash tells Nuke, "I hear you couldn't hit water if you fell out of a fucking boat." Dodgers manager Tommy Lasorda said this in 1984, in reference to weak-hitting San Diego Padres infielder Kurt Bevacqua. -Although Kevin Costner plays the 'older', more experienced ball player, in real life he's only three years older than Tim Robbins (33 and 30, respectively during filming), and Susan Sarandon was actually 42. -The "rainout" scene was based on actual event. In the late 1960s, Ron Shelton played minor-league ball in the Texas League. Shelton's team was in Amarillo, Texas for a season-ending series. The night before the final game, Shelton, some teammates and some Amarillo players were out partying and decided to go to the stadium and turn on the sprinkler system, thereby flooding the field and ensuring a "rainout". However, the Amarillo team owner rented a helicopter, dried the field, and the game was played. -The bull billboard offering a "free steak" if it gets tagged by a home run was created for the film. The real-life team kept it, even after moving to a newer, bigger stadium, Durham Bulls Athletic Park. Even today, if a player hits the bull on the fly with a home run, he wins a free steak from a local restaurant, and if the player hits the grass that the bull stands on, he wins a free salad. -Kevin Costner is a switch hitter; he is shown hitting both left and right-handed at different points in the film. -The note that Crash writes to Annie actually reads "Let's f#ck sometime" not "I want to make love to you". It can be seen over Crash's right shoulder when he writes the note in the dugout. -As the credits are rolling at the end of the film, there is a picture (which is made to be a shrine) of Yankee great Thurman Munson, who died in a plane crash. -Originally, after Annie and Crash have their argument in Crash's apartment, there was a scene in which Annie and Crash go to a bar and have a heart-to-heart talk. In the talk, Crash asks Annie why she loves baseball so much. She explains that several years before, her estranged father passed away and that the funeral took place in Florida. She was so distraught after the funeral that she wandered off and ended up at the New York Yankees spring training facility where she met the legendary Munson (thus explaining her shrine to Munson seen in the film). From then on, she developed a deep-rooted love of the game. According to Ron Shelton in the DVD commentary, he cut that scene out when it was received poorly during a test screening.
2:24

Continuing our baseball movie theme, here are some Bull Durham Bull Facts: -In the meeting at the pitcher's mound, Robert Wuhl ad-libbed his line about getting candlesticks as a wedding present. He said it was based on a real conversation he had with his wife. -Both Jeff Bridges and Don Johnson turned down the role of 'Crash'. -Both Carrie Fisher and Debra Winger auditioned for the role of Annie but backed out. -Ron Shelton cast Tim Robbins over the strong objections of the studio, who wanted Anthony Michael Hall instead. -Kurt Russell helped Ron Shelton develop the script and was originally penciled in to play Crash, the part that went to Kevin Costner. -In their confrontation outside the bar, Crash tells Nuke, "I hear you couldn't hit water if you fell out of a fucking boat." Dodgers manager Tommy Lasorda said this in 1984, in reference to weak-hitting San Diego Padres infielder Kurt Bevacqua. -Although Kevin Costner plays the 'older', more experienced ball player, in real life he's only three years older than Tim Robbins (33 and 30, respectively during filming), and Susan Sarandon was actually 42. -The "rainout" scene was based on actual event. In the late 1960s, Ron Shelton played minor-league ball in the Texas League. Shelton's team was in Amarillo, Texas for a season-ending series. The night before the final game, Shelton, some teammates and some Amarillo players were out partying and decided to go to the stadium and turn on the sprinkler system, thereby flooding the field and ensuring a "rainout". However, the Amarillo team owner rented a helicopter, dried the field, and the game was played. -The bull billboard offering a "free steak" if it gets tagged by a home run was created for the film. The real-life team kept it, even after moving to a newer, bigger stadium, Durham Bulls Athletic Park. Even today, if a player hits the bull on the fly with a home run, he wins a free steak from a local restaurant, and if the player hits the grass that the bull stands on, he wins a free salad. -Kevin Costner is a switch hitter; he is shown hitting both left and right-handed at different points in the film. -The note that Crash writes to Annie actually reads "Let's f#ck sometime" not "I want to make love to you". It can be seen over Crash's right shoulder when he writes the note in the dugout. -As the credits are rolling at the end of the film, there is a picture (which is made to be a shrine) of Yankee great Thurman Munson, who died in a plane crash. -Originally, after Annie and Crash have their argument in Crash's apartment, there was a scene in which Annie and Crash go to a bar and have a heart-to-heart talk. In the talk, Crash asks Annie why she loves baseball so much. She explains that several years before, her estranged father passed away and that the funeral took place in Florida. She was so distraught after the funeral that she wandered off and ended up at the New York Yankees spring training facility where she met the legendary Munson (thus explaining her shrine to Munson seen in the film). From then on, she developed a deep-rooted love of the game. According to Ron Shelton in the DVD commentary, he cut that scene out when it was received poorly during a test screening.

The Movie Professor 🎬🎥📺

63,169 Aufrufe • vor 1 Monat

25/26 SEASON* Matches attended: 18 Miles travelled: 1580.2 Pies eaten: 16 Pints drunk: 31 25th November MIDDLESBROUGH 2 COVENTRY 4 Riverside Stadium Sky Bet Championship I’ve been to three EPL matches and one Fourth Division Playoff final, but this was my first taste of the English Championship. With the top two facing off against each other, I was looking forward to a firecracker of a match, and I wasn’t disappointed. Middlesbrough appointed a new manager yesterday (a young, highly rated Swede), so the atmosphere was ramped up to welcome Kim Hellberg to the club. The away fans were in fine voice too, owing to their wonderful start under Frank Lampard. Boro had most of the possession in the opening exchanges, but were hit by a classic counter attack when Victor Torp ran from one box to the other and played it to ex Hearts striker Ellis Simms, who curled it into the far corner. Coventry doubled their lead three minutes later when they conceded a soft corner that they failed to deal with and Liam Kitching headed home. Morgan Whittaker gave Boro hope, but they went into the break 2-1 down. Boro came out of the blocks after the restart, and scored in the first few minutes. They then were the better side for the next half hour. Tommy Conway had been quiet up front but had the chance to be a hero when it was played to him on a plate in the six yard box after 75 minutes. He blazed over and that gave Coventry a boost. They scored two late goals to extend their lead at the top. A thoroughly entertaining game, and the most goals I’ve seen in 90 minutes this season. Getting a pint inside the stadium was nice, hopefully that’ll be an option every week in Scottish grounds next season.
0:20

25/26 SEASON* Matches attended: 18 Miles travelled: 1580.2 Pies eaten: 16 Pints drunk: 31 25th November MIDDLESBROUGH 2 COVENTRY 4 Riverside Stadium Sky Bet Championship I’ve been to three EPL matches and one Fourth Division Playoff final, but this was my first taste of the English Championship. With the top two facing off against each other, I was looking forward to a firecracker of a match, and I wasn’t disappointed. Middlesbrough appointed a new manager yesterday (a young, highly rated Swede), so the atmosphere was ramped up to welcome Kim Hellberg to the club. The away fans were in fine voice too, owing to their wonderful start under Frank Lampard. Boro had most of the possession in the opening exchanges, but were hit by a classic counter attack when Victor Torp ran from one box to the other and played it to ex Hearts striker Ellis Simms, who curled it into the far corner. Coventry doubled their lead three minutes later when they conceded a soft corner that they failed to deal with and Liam Kitching headed home. Morgan Whittaker gave Boro hope, but they went into the break 2-1 down. Boro came out of the blocks after the restart, and scored in the first few minutes. They then were the better side for the next half hour. Tommy Conway had been quiet up front but had the chance to be a hero when it was played to him on a plate in the six yard box after 75 minutes. He blazed over and that gave Coventry a boost. They scored two late goals to extend their lead at the top. A thoroughly entertaining game, and the most goals I’ve seen in 90 minutes this season. Getting a pint inside the stadium was nice, hopefully that’ll be an option every week in Scottish grounds next season.

Gus Tawse

20,176 Aufrufe • vor 8 Monaten