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first time doing dbd map: Scamarai model by: Trahaó / RysXXX🔞 (COMISSIONS OPEN 1/5 SLOTS LEFT) sfx pack: PointyAux 🔞 NSFW Sound Designer / OpenNSFW 🟣 Available Now #dbd #dbdhuntress

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133,778 views • 1 year ago •via X (Twitter)

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I know your timeline is flooded now with word salads of "insane, HER, 10 features you missed, we're so back". Sit down. Chill. Take a deep breath like Mark does in the demo . Let's think step by step: - Technique-wise, OpenAI has figured out a way to map audio to audio directly as first-class modality, and stream videos to a transformer in real-time. These require some new research on tokenization and architecture, but overall it's a data and system optimization problem (as most things are). High-quality data can come from at least 2 sources: 1) Naturally occurring dialogues on YouTube, podcasts, TV series, movies, etc. Whisper can be trained to identify speaker turns in a dialogue or separate overlapping speeches for automated annotation. 2) Synthetic data. Run the slow 3-stage pipeline using the most powerful models: speech1->text1 (ASR), text1->text2 (LLM), text2->speech2 (TTS). The middle LLM can decide when to stop and also simulate how to resume from interruption. It could output additional "thought traces" that are not verbalized to help generate better reply. Then GPT-4o distills directly from speech1->speech2, with optional auxiliary loss functions based on the 3-stage data. After distillation, these behaviors are now baked into the model without emitting intermediate texts. On the system side: the latency would not meet real-time threshold if every video frame is decompressed into an RGB image. OpenAI has likely developed their own neural-first, streaming video codec to transmit the motion deltas as tokens. The communication protocol and NN inference must be co-optimized. For example, there could be a small and energy-efficient NN running on the edge device that decides to transmit more tokens if the video is interesting, and fewer otherwise. - I didn't expect GPT-4o to be closer to GPT-5, the rumored "Arrakis" model that takes multimodal in and out. In fact, it's likely an early checkpoint of GPT-5 that hasn't finished training yet. The branding betrays a certain insecurity. Ahead of Google I/O, OpenAI would rather beat our mental projection of GPT-4.5 than disappoint by missing the sky-high expectation for GPT-5. A smart move to buy more time. - Notably, the assistant is much more lively and even a bit flirty. GPT-4o is trying (perhaps a bit too hard) to sound like HER. OpenAI is eating Character AI's lunch, with almost 100% overlap in form factor and huge distribution channels. It's a pivot towards more emotional AI with strong personality, which OpenAI seemed to actively suppress in the past. - Whoever wins Apple first wins big time. I see 3 levels of integration with iOS: 1) Ditch Siri. OpenAI distills a smaller-tier, purely on-device GPT-4o for iOS, with optional paid upgrade to use the cloud. 2) Native features to stream the camera or screen into the model. Chip-level support for neural audio/video codec. 3) Integrate with iOS system-level action API and smart home APIs. No one uses Siri Shortcuts, but it's time to resurrect. This could become the AI agent product with a billion users from the get-go. The FSD for smartphones with a Tesla-scale data flywheel.
14:22

I know your timeline is flooded now with word salads of "insane, HER, 10 features you missed, we're so back". Sit down. Chill. Take a deep breath like Mark does in the demo . Let's think step by step: - Technique-wise, OpenAI has figured out a way to map audio to audio directly as first-class modality, and stream videos to a transformer in real-time. These require some new research on tokenization and architecture, but overall it's a data and system optimization problem (as most things are). High-quality data can come from at least 2 sources: 1) Naturally occurring dialogues on YouTube, podcasts, TV series, movies, etc. Whisper can be trained to identify speaker turns in a dialogue or separate overlapping speeches for automated annotation. 2) Synthetic data. Run the slow 3-stage pipeline using the most powerful models: speech1->text1 (ASR), text1->text2 (LLM), text2->speech2 (TTS). The middle LLM can decide when to stop and also simulate how to resume from interruption. It could output additional "thought traces" that are not verbalized to help generate better reply. Then GPT-4o distills directly from speech1->speech2, with optional auxiliary loss functions based on the 3-stage data. After distillation, these behaviors are now baked into the model without emitting intermediate texts. On the system side: the latency would not meet real-time threshold if every video frame is decompressed into an RGB image. OpenAI has likely developed their own neural-first, streaming video codec to transmit the motion deltas as tokens. The communication protocol and NN inference must be co-optimized. For example, there could be a small and energy-efficient NN running on the edge device that decides to transmit more tokens if the video is interesting, and fewer otherwise. - I didn't expect GPT-4o to be closer to GPT-5, the rumored "Arrakis" model that takes multimodal in and out. In fact, it's likely an early checkpoint of GPT-5 that hasn't finished training yet. The branding betrays a certain insecurity. Ahead of Google I/O, OpenAI would rather beat our mental projection of GPT-4.5 than disappoint by missing the sky-high expectation for GPT-5. A smart move to buy more time. - Notably, the assistant is much more lively and even a bit flirty. GPT-4o is trying (perhaps a bit too hard) to sound like HER. OpenAI is eating Character AI's lunch, with almost 100% overlap in form factor and huge distribution channels. It's a pivot towards more emotional AI with strong personality, which OpenAI seemed to actively suppress in the past. - Whoever wins Apple first wins big time. I see 3 levels of integration with iOS: 1) Ditch Siri. OpenAI distills a smaller-tier, purely on-device GPT-4o for iOS, with optional paid upgrade to use the cloud. 2) Native features to stream the camera or screen into the model. Chip-level support for neural audio/video codec. 3) Integrate with iOS system-level action API and smart home APIs. No one uses Siri Shortcuts, but it's time to resurrect. This could become the AI agent product with a billion users from the get-go. The FSD for smartphones with a Tesla-scale data flywheel.

Jim Fan

992,070 views • 2 years ago

After Elon Musk reposted my Grok Bot guide, my friend Ryan used it to run his strip club. 7 days ago, he replaced his entire middle management with 8 Grok agents ($200/mo). Last week alone, he saved $10,000 in salaries and missed leads. Not because the club magically got better, but because he killed the middle layer that was eating his margin. Before that, the setup was classic and expensive. Back-of-house sat on 6 people: > 1 recruiter > 1 person on applications > 1 cashier > 2 shift managers > 1 person on after-close requests That layer cost about $8,400–$9,200 a week once you counted base pay, cuts, “bonuses,” and money that never made the report. The recruiter took $50–$150 per new girl. The cashier spent 1.5–2 hours closing a shift. On Friday the managers generated 80–120 messages on the schedule alone. The after-shift person held 10–15 requests in his head and lost 2–3 of them every week simply because someone did not answer in time. Ryan saw the formula fast. Those people almost never made hard decisions. They moved data. • An application came in → a person opened a chat. • A girl wrote “I can do Friday” → a person typed a row into a spreadsheet. • A client left a request → a person relayed it to a manager. • The manager opened the schedule → and texted the girl. • The shift ended → the cashier counted a stack and entered a number by hand. Every handoff leaked time and money. Applications. A live staffer used to review 40–60 incoming files a week. One file took 8–12 minutes. Total: 7–10 hours of raw review, plus another 3–4 hours on “send a reminder,” “send more,” “when can you work.” Out of 50 applications, 6–8 made it to a shift. Conversion was weak not because of the room, but because half the threads went cold for 24–48 hours. Scheduling. Friday looked like this: 12 people want on, 8 slots. 1 can start only after 21:00. 1 will not work after 00:00. 1 drops out with 40 minutes left. 1 wants a swap. A manager already promised the slot to a fifth person. One change created 5 new messages. One substitution cycle took 20–40 minutes. By the end of the night there were 3–5 holes in the grid. Money. That was the dirtiest part. By morning the count was off by $180–$400 on average. Sometimes $70. Sometimes $600. The explanations were always human: tips booked to the wrong place, a commission forgotten, a number rounded, an envelope put in the wrong pile, a shift closed from memory. The cashier was not an analyst. He was a loss point. After-shift requests. The old chain took 25–45 minutes: client → manager → spreadsheet → message to the girl → wait → reply to the client. Out of 12 requests, 2–3 died in transit. Not because of a refusal. Because of human lag. 7 days ago Ryan cut that layer and hung it on Grok. The application flow dropped into one funnel with statuses: NEW → REVIEW → APPROVED → SCHEDULED → ACTIVE → INACTIVE The bot sent the first packet itself, collected the fields, and closed the gaps. If data was missing → it asked. If there was silence for 48 hours → it nudged. Ryan no longer opened 50 chats. He opened one feed. He touched only REVIEW and exceptions by hand. First-pass review fell from 8–12 minutes per application to 30–90 seconds of control. In a week, 53 applications went through the funnel. 11 made it to a shift. That was no longer “we got lucky.” That was because no application rotted in a manager’s DMs. The schedule became a rule, not a group chat. A girl marked available slots. The system saw 8 seats, not “we’ll figure it out.” Overbook went to a waitlist. A drop with 40 minutes left no longer spawned a 5-chat mess: the slot jumped to the next person in line in 10–20 seconds. Friday noise fell from 80–120 messages to 10–15 exceptions. Shift manager as a job title became unnecessary. The register stopped being a notebook. Every operation was written immediately. Shift close produced one summary: - floor revenue - tips - commissions - payouts - adjustments - variance If the total did not match, the system did not say “error somewhere.” It pointed at the exact operation. Over 7 days, variance stayed in the $0–$25 range instead of the old $180–$400. The weekly difference was about $1,200–$2,500 on “it didn’t add up” alone. The client loop collapsed from 4 human nodes into 1 route. A request entered the bot. The bot pulled the standard fields, checked availability, pinged the girl, and after 2 confirmations closed both sides with a notification. Cycle time fell from 25–45 minutes to 2–4 minutes on a standard request. Burned requests for the week: 0. Before that, it was 2–3 lost checks every week. Ryan’s role got narrow and hard. The bot closed the rule. He closed the exception. Morning looked like a panel, not a meeting: > 3 new applications in NEW > 1 card in REVIEW > 2 shift cancellations > 1 operation for manual review > 47 automated messages already sent without him The only living parts left were him and the girls on the floor. Plus anyone who took an after-shift call. The middle layer: sourcing, screening, schedule, requests, counting → sat on a $200 subscription. In numbers, the week looked like this. Old model: > 6 people in the management loop > $8,400–$9,200 for that layer > 7–10 hours on applications > 80–120 messages on one heavy Friday > $180–$400 holes in the cash > 2–3 lost requests > 25–45 minutes per client cycle New model: > 1 person > $200 for the tool > 30–90 seconds of standard application control > 10–15 exceptions instead of a whole-floor chat storm > $0–$25 on the register > 0 lost standard requests > 2–4 minutes per standard cycle That is where the ~$10,000 in 7 days came from. Not “floor magic.” A removed human tax: - pay for 6 people - recruiter cuts - cash holes - burned requests - hours spent moving the same row from a chat into a spreadsheet In this system, those people were not the “soul of the club.” They were latency and leak. Every extra node added delay. Every live data handoff added error. Every notebook added a gap for rounding. Ryan removed the nodes. He left rules, statuses, a ledger, and one escalation point. So after 7 days the model already counted as a delta, not an experiment. $200 on top. About $10,000 in the plus. And the proof was short: the club ran. The middle-layer staff did not. Their job was done by the bot. bookmark this.
0:35

After Elon Musk reposted my Grok Bot guide, my friend Ryan used it to run his strip club. 7 days ago, he replaced his entire middle management with 8 Grok agents ($200/mo). Last week alone, he saved $10,000 in salaries and missed leads. Not because the club magically got better, but because he killed the middle layer that was eating his margin. Before that, the setup was classic and expensive. Back-of-house sat on 6 people: > 1 recruiter > 1 person on applications > 1 cashier > 2 shift managers > 1 person on after-close requests That layer cost about $8,400–$9,200 a week once you counted base pay, cuts, “bonuses,” and money that never made the report. The recruiter took $50–$150 per new girl. The cashier spent 1.5–2 hours closing a shift. On Friday the managers generated 80–120 messages on the schedule alone. The after-shift person held 10–15 requests in his head and lost 2–3 of them every week simply because someone did not answer in time. Ryan saw the formula fast. Those people almost never made hard decisions. They moved data. • An application came in → a person opened a chat. • A girl wrote “I can do Friday” → a person typed a row into a spreadsheet. • A client left a request → a person relayed it to a manager. • The manager opened the schedule → and texted the girl. • The shift ended → the cashier counted a stack and entered a number by hand. Every handoff leaked time and money. Applications. A live staffer used to review 40–60 incoming files a week. One file took 8–12 minutes. Total: 7–10 hours of raw review, plus another 3–4 hours on “send a reminder,” “send more,” “when can you work.” Out of 50 applications, 6–8 made it to a shift. Conversion was weak not because of the room, but because half the threads went cold for 24–48 hours. Scheduling. Friday looked like this: 12 people want on, 8 slots. 1 can start only after 21:00. 1 will not work after 00:00. 1 drops out with 40 minutes left. 1 wants a swap. A manager already promised the slot to a fifth person. One change created 5 new messages. One substitution cycle took 20–40 minutes. By the end of the night there were 3–5 holes in the grid. Money. That was the dirtiest part. By morning the count was off by $180–$400 on average. Sometimes $70. Sometimes $600. The explanations were always human: tips booked to the wrong place, a commission forgotten, a number rounded, an envelope put in the wrong pile, a shift closed from memory. The cashier was not an analyst. He was a loss point. After-shift requests. The old chain took 25–45 minutes: client → manager → spreadsheet → message to the girl → wait → reply to the client. Out of 12 requests, 2–3 died in transit. Not because of a refusal. Because of human lag. 7 days ago Ryan cut that layer and hung it on Grok. The application flow dropped into one funnel with statuses: NEW → REVIEW → APPROVED → SCHEDULED → ACTIVE → INACTIVE The bot sent the first packet itself, collected the fields, and closed the gaps. If data was missing → it asked. If there was silence for 48 hours → it nudged. Ryan no longer opened 50 chats. He opened one feed. He touched only REVIEW and exceptions by hand. First-pass review fell from 8–12 minutes per application to 30–90 seconds of control. In a week, 53 applications went through the funnel. 11 made it to a shift. That was no longer “we got lucky.” That was because no application rotted in a manager’s DMs. The schedule became a rule, not a group chat. A girl marked available slots. The system saw 8 seats, not “we’ll figure it out.” Overbook went to a waitlist. A drop with 40 minutes left no longer spawned a 5-chat mess: the slot jumped to the next person in line in 10–20 seconds. Friday noise fell from 80–120 messages to 10–15 exceptions. Shift manager as a job title became unnecessary. The register stopped being a notebook. Every operation was written immediately. Shift close produced one summary: - floor revenue - tips - commissions - payouts - adjustments - variance If the total did not match, the system did not say “error somewhere.” It pointed at the exact operation. Over 7 days, variance stayed in the $0–$25 range instead of the old $180–$400. The weekly difference was about $1,200–$2,500 on “it didn’t add up” alone. The client loop collapsed from 4 human nodes into 1 route. A request entered the bot. The bot pulled the standard fields, checked availability, pinged the girl, and after 2 confirmations closed both sides with a notification. Cycle time fell from 25–45 minutes to 2–4 minutes on a standard request. Burned requests for the week: 0. Before that, it was 2–3 lost checks every week. Ryan’s role got narrow and hard. The bot closed the rule. He closed the exception. Morning looked like a panel, not a meeting: > 3 new applications in NEW > 1 card in REVIEW > 2 shift cancellations > 1 operation for manual review > 47 automated messages already sent without him The only living parts left were him and the girls on the floor. Plus anyone who took an after-shift call. The middle layer: sourcing, screening, schedule, requests, counting → sat on a $200 subscription. In numbers, the week looked like this. Old model: > 6 people in the management loop > $8,400–$9,200 for that layer > 7–10 hours on applications > 80–120 messages on one heavy Friday > $180–$400 holes in the cash > 2–3 lost requests > 25–45 minutes per client cycle New model: > 1 person > $200 for the tool > 30–90 seconds of standard application control > 10–15 exceptions instead of a whole-floor chat storm > $0–$25 on the register > 0 lost standard requests > 2–4 minutes per standard cycle That is where the ~$10,000 in 7 days came from. Not “floor magic.” A removed human tax: - pay for 6 people - recruiter cuts - cash holes - burned requests - hours spent moving the same row from a chat into a spreadsheet In this system, those people were not the “soul of the club.” They were latency and leak. Every extra node added delay. Every live data handoff added error. Every notebook added a gap for rounding. Ryan removed the nodes. He left rules, statuses, a ledger, and one escalation point. So after 7 days the model already counted as a delta, not an experiment. $200 on top. About $10,000 in the plus. And the proof was short: the club ran. The middle-layer staff did not. Their job was done by the bot. bookmark this.

Ridark

188,835 views • 1 month ago

Big Tech's $1 trillion AI moat just got DESTROYED by a free Chinese download. Microsoft, Amazon, Google, and Meta are pouring fortunes into chips and data centers because they have been told that whoever builds the biggest model wins, and that lead becomes a fortress no one can cross. Last week a lab called Zhipu - it trades in Hong Kong as Knowledge Atlas Technology - released a model called GLM-5.2 and destroyed that idea in a single afternoon. It's open weights under an MIT license, which means anyone on earth can download it and build on it for free. On the coding and design benchmarks that actually matter, it went toe to toe with the best models America has - matching even Anthropic's Mythos-class work and beating OpenAI's flagship outright on the coding test everyone watches. And it does the work at roughly one-sixth the price. ONE-SIXTH And barely a year and a half ago a model called DeepSeek did the same thing and wiped the better part of $600 billion off Nvidia in a single session. This was only the first chapter. You cannot dig a moat around something your competitor is happy to give away. If 95% of frontier capability is free, open, and runs at a fraction of the cost, then the hundreds of billions being spent to defend the last 5% is NOT a moat. And now for the irony: The company that just proved the moat is worthless is itself the single most absurd valuation I have seen in a long career of watching absurd valuations. Zhipu did about $105 million in revenue last year and lost more than 4x what it took in. This week the market handed it a value of roughly $128 billion - at the peak, north of a 1,000x sales - on a float so thin that barely 4% of the stock actually trades. THINK about this... A company drowning in losses, doing 9 figures of revenue, priced like it does hundreds of billions, with almost nothing available to sell. So we now have a bubble in China detonating the entire justification for a bubble in America. Two manias pointed straight at each other. This is the lesson I've spent 45 years trying to beat into people. You can ignore valuation for a long time but you cannot ignore it forever. A moat story sold a trillion dollars of spending, a free download just exposed it, and the company that exposed it is priced for a fantasy of its own. When the picks-and-shovels crowd loses its monopoly on the picks, you want to be very careful what you are paying for the shovels. Numbers don't lie. Shoutout to Limitless - they were onto this story before almost anyone on Wall Street. One of the sharpest AI shows out there.
0:46

Big Tech's $1 trillion AI moat just got DESTROYED by a free Chinese download. Microsoft, Amazon, Google, and Meta are pouring fortunes into chips and data centers because they have been told that whoever builds the biggest model wins, and that lead becomes a fortress no one can cross. Last week a lab called Zhipu - it trades in Hong Kong as Knowledge Atlas Technology - released a model called GLM-5.2 and destroyed that idea in a single afternoon. It's open weights under an MIT license, which means anyone on earth can download it and build on it for free. On the coding and design benchmarks that actually matter, it went toe to toe with the best models America has - matching even Anthropic's Mythos-class work and beating OpenAI's flagship outright on the coding test everyone watches. And it does the work at roughly one-sixth the price. ONE-SIXTH And barely a year and a half ago a model called DeepSeek did the same thing and wiped the better part of $600 billion off Nvidia in a single session. This was only the first chapter. You cannot dig a moat around something your competitor is happy to give away. If 95% of frontier capability is free, open, and runs at a fraction of the cost, then the hundreds of billions being spent to defend the last 5% is NOT a moat. And now for the irony: The company that just proved the moat is worthless is itself the single most absurd valuation I have seen in a long career of watching absurd valuations. Zhipu did about $105 million in revenue last year and lost more than 4x what it took in. This week the market handed it a value of roughly $128 billion - at the peak, north of a 1,000x sales - on a float so thin that barely 4% of the stock actually trades. THINK about this... A company drowning in losses, doing 9 figures of revenue, priced like it does hundreds of billions, with almost nothing available to sell. So we now have a bubble in China detonating the entire justification for a bubble in America. Two manias pointed straight at each other. This is the lesson I've spent 45 years trying to beat into people. You can ignore valuation for a long time but you cannot ignore it forever. A moat story sold a trillion dollars of spending, a free download just exposed it, and the company that exposed it is priced for a fantasy of its own. When the picks-and-shovels crowd loses its monopoly on the picks, you want to be very careful what you are paying for the shovels. Numbers don't lie. Shoutout to Limitless - they were onto this story before almost anyone on Wall Street. One of the sharpest AI shows out there.

George Noble

71,531 views • 3 months ago

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord
0:29

OFFICIAL: EASTER EGG GUIDE FOR TOTENREICH: Wonder Weapon: 1. Head to The Drydocks and lower The Crane, this will allow you to wall jump and interact with the tip of the ship to pick up the Chain Link 2. Next, Head to Storm Bridge and pick up Chili Chunks behind the truck next to Deadshot 3. Place Chili Chunks on the table in the middle of the Skalen Market 4. Next, Head to Burial Grounds left-side door and interact with the keyhole. 5. Interact with the door again and hold it to open the door and to unlock the underground area. 6. This will spawn a Zursa Bear during a special round (starting the second special round) you need to kill him and he will drop The Lantern 7. Place The Lantern in the center of the Underground Room in Burial Grounds. 8. Constellations will appear around the wall. Interact with them as they’re shown on the table in this order: left, right, back, front. 9. Once completed, Astrid will appear and talk, she will then travel to different areas of the map. She will occasionally stop and you will need to kill frost zombies next to her. 10. Once all the Soulboxes are completed an Obstacle Course will form on the outside of The Lighthouse, climb to the top by Jumping / Wall Jumping up 11. Once you reach the top, Listen to the Astrid talk and pick up The Jotunn Star Wundersignal: 1. After completing Jotun Star Quest Head to The Lighthouse and inside on a shelf there will be a Crowbar 2. There are Multiple Wooden Boxes around the map with red IDs on the bottom right corner of the front of the box in red (for example III-6) use The Crowbar on the Wooden Box that has the Roboterteile ID (the IDs are on the shipping manifest in the War Factory Admin Room), this will give Flak Gun Round War Factory Core Foundry Fjord Road Dry Dock 3. Head to Turret Gun beside The Lighthouse and place Flak Gun Round then melee with Jotunn Star 4. Next, Head to The Robot Head in spawn and interact with it to search broken piece to get The Transmitter 5. Go to Tyr’s Head and place it inside the Wall Machine thingy at the top of the Ladder 6. Next, whilst inside of Tyr’s Head underneath the balcony there are 3 white lights, 2 of these lights will blink, count how many times it blinks -Both lights will remain on, There is the sound of a light turning on to indicate the start of a new light flashing cycle where both lights will flash at the same time to a certain count (for example left 2, right 5). Both lights will be on and then it will flash another set (for example left 6, right 4). (Unsure if these 2 combos have to be put into console in order but correct entry will give two different voicelines.) After entering one correctly you will be kicked out to hear voiceline and can re-enter console to input the 2nd shortly afterwards. 7. Now head to Core Foundry, and use a molotov to burn the ascender to access the consoles. 8. Ascend and interact with the consoles, The next part is timed and has a cooldown if you fail - you need to Calibrate the Amplitude and Frequency using the flashing light code. 9. Once this has been done head to the room Next to the Radio Tower and pick up The Wunderbarrage Controller Atomkraft Core 1. Find three uraniums: Uranium #1 Find the Fishing Rod (Olaf’s Personal Item) locations: - Dry Dock - Storm Bridge - Fishery Island - Beacon island Look for a Glowing Green Fish jumping around the water at each Fishing Location and use the Fishing Rod at that location once you see it Fishing Locations: Eidskallen Landing x2 Beacon Island x2 Eidskallen Square x2 Dry Dock (found one so far) Fishery Island x2 Tyr’s Foot (found one so far) Once the fish is caught it will spawn an Irradiated Ravager (HVT) that will disappear and respawn somewhere else, chase it down and kill it (check your map to see its location, it shows up as an HVT). It will drop a Uranium. Uranium #2 Next, Craft an ARC-XD (there is one for free in Eidskallen Square on top of a box near the flame trap, you can get it by fishing as well) and melee the vent at Core Foundry to the left of the zipline to open the Secret ARC-XD Course. Blow up the boat full of barrels. Once the course is completed the 935 Genetic Lab room will be open and another Uranium x2 will be inside a Prison Cell There are several Jars with Heads inside in this room, all labelled A,B,C,D,E Look down the Hallway inside the Lab and note which numbered rooms have Nuclear Symbols 1 = A, 2 = B, 3 = C, 4 = D and 5 = E Take one Jar at a time that corresponds with the Numbers next to Nuclear Symbols and place them on the machine to the right of the cell door, once the correct jars are placed the Jar on the left side of the machine will glow purple and you can pick up acid There is a Big Chunk of Meat on a desk next to multiple drawings in the same Room, interact with it, then Pick up The Necrospike Once you have The Necrospike, use it on the Prison Cell Door, this will trigger a lockpick mini game. Spin the lockpick until the lock turns white 3x to unlock the cell, then pick up the second Uranium. Uranium #3 Next you need to craft or obtain the Glocke Drop, once you have one call it in, then shoot 20 mid-air zombies it throws up. This will drop the third and final Uranium. 2. At the Dry Dock, you need to call a WunderBarrage (unlocked by completing Wundersignal steps) in on the “02 Building” at Dry Dock (where there’s debris on the stairs), this will open the stairs to the Machine Workshop. 3. Inside The Workshop there is a Claw Machine which you can place all of The Uranium inside of and play a mini-game. -Have a big group of 7 cores and a small group of 2 cores. 4. Once you complete the Mini-game you will be able to pick up The Atomkraft Core (Note: you drop if you zipline, and cant sprint with it) 5. Head to Quick Revive and place The Atomkraft Core on generator next to quick revive. Go into the shed behind quick revive and turn on the generator. You must now defend the The Atomkraft Core until it’s charged. In interrupted you must turn on the generator again to continue. 6. Take the The Atomkraft Core to the barrel on the Storm Bridge and a Mini-Cutscene will play between the Giant and The Robot. Vegvisir 1. After the cutscene finishes, The Dravakar Shard will spawn at Tyr’s Foot, pick it up 2. Pick it up and place the Shard inside the Bloodheim Hall on the bonfire 3. Use WW range attack to light the fire 4. Use Disciple Injection (there should be a free one around the map) and throw zombies into the bonfire (I only had to throw four) 5. A lockdown will start. Kill the boss zombie and pick up the Sunstone from the bonfire 6. Put the Sunstone in the church and do a range WW attack on it. 7. Around the map, there will now be floating rocks and runes. Above the church there will now be a compass with runes and arrows. -Shoot the floating rune rocks with the ranged WW in the order of the arrow lines. If an arrow has 1 line, then that's the first one. If an arrow has 2 lines, that's the second one, etc. 8. Go into Tyr's Head and interact with the console to start the boss fight. Credit to Callum and the ZoneX discord

COD: Zombies News

82,267 views • 5 months ago

a deported Chinese dev at a Starbucks showed me his screen and said "you have 6 seconds" he was sitting in the corner. two phones. one laptop. hood up. looked like he hadn't slept in days. i sat down next to him because every other seat was taken. he saw my screen. Polymarket open. "you trade these BTC markets?" yeah. 5-minute binaries. he turned his laptop toward me. "you see how the result settles? every 5-minute BTC market resolves based on an oracle. the oracle reads the price from an API. but the oracle doesn't update instantly. there's a lag. 4 to 6 seconds" "in those 6 seconds the real BTC price already moved. but the market is still open. still accepting orders. priced on the old number" he pointed at his screen. two windows side by side. left: Binance BTC spot feed. right: Polymarket orderbook. 3,200 stars. decentralized oracle framework. he had it forked on his laptop. the entire oracle timing model was exposed in the source code. "right now BTC is at $100,240 on Binance. the oracle still shows $100,190. the market 'BTC above $100,200 at 3:05pm' is trading YES at 41 cents" "but i already know the answer is YES. because i see the real price. the oracle doesn't. for 6 seconds i'm trading against a blind counterparty" watched him buy YES at 41c. four seconds later the oracle updated. market resolved YES. payout $1. "59 cents in 4 seconds. this happens every 5 minutes. 288 times a day" asked how he found this. "i was an oracle engineer at Chainlink in Shanghai. got deported for visa issues. took the knowledge with me" "every oracle has a heartbeat interval. a deviation threshold. a propagation delay. i know exactly how long each one takes to update. because i built three of them" he closed his laptop. "the edge isn't in the market. it's in the infrastructure layer between the real price and the reported price. nobody looks there. because nobody understands how oracles work" finished his coffee. left. didn't get his name. didn't need it. flew home. opened Claude. "build an oracle latency exploitation engine for Polymarket BTC binaries. track real-time BTC spot price from Binance websocket feed. compare against Polymarket oracle update timestamps. detect windows where oracle lags behind spot by more than $30. enter the side that the real price already confirmed. target the 4-6 second blind window before each oracle heartbeat." the system was live by morning. named it DEEP SIGNAL. first fill hit before i finished coffee. > Binance websocket feed at 50ms intervals. > oracle heartbeat monitor. > propagation delay calculator. > spot-to-oracle divergence detector. > conviction gate at $30+ deviation. > order placement avg 47ms. $534K volume. 79% win rate. sharpe 3.64. drawdown -1.2%. +$11,681 in profit runs on: Claude $20. VPS $5. UMA protocol free. $25/month. copytrade setup here: went back to that Starbucks a week later. same corner. empty. but the oracle still lags. every 5 minutes. every day. 6 seconds is all you need when you can see what the oracle can't.
0:32

a deported Chinese dev at a Starbucks showed me his screen and said "you have 6 seconds" he was sitting in the corner. two phones. one laptop. hood up. looked like he hadn't slept in days. i sat down next to him because every other seat was taken. he saw my screen. Polymarket open. "you trade these BTC markets?" yeah. 5-minute binaries. he turned his laptop toward me. "you see how the result settles? every 5-minute BTC market resolves based on an oracle. the oracle reads the price from an API. but the oracle doesn't update instantly. there's a lag. 4 to 6 seconds" "in those 6 seconds the real BTC price already moved. but the market is still open. still accepting orders. priced on the old number" he pointed at his screen. two windows side by side. left: Binance BTC spot feed. right: Polymarket orderbook. 3,200 stars. decentralized oracle framework. he had it forked on his laptop. the entire oracle timing model was exposed in the source code. "right now BTC is at $100,240 on Binance. the oracle still shows $100,190. the market 'BTC above $100,200 at 3:05pm' is trading YES at 41 cents" "but i already know the answer is YES. because i see the real price. the oracle doesn't. for 6 seconds i'm trading against a blind counterparty" watched him buy YES at 41c. four seconds later the oracle updated. market resolved YES. payout $1. "59 cents in 4 seconds. this happens every 5 minutes. 288 times a day" asked how he found this. "i was an oracle engineer at Chainlink in Shanghai. got deported for visa issues. took the knowledge with me" "every oracle has a heartbeat interval. a deviation threshold. a propagation delay. i know exactly how long each one takes to update. because i built three of them" he closed his laptop. "the edge isn't in the market. it's in the infrastructure layer between the real price and the reported price. nobody looks there. because nobody understands how oracles work" finished his coffee. left. didn't get his name. didn't need it. flew home. opened Claude. "build an oracle latency exploitation engine for Polymarket BTC binaries. track real-time BTC spot price from Binance websocket feed. compare against Polymarket oracle update timestamps. detect windows where oracle lags behind spot by more than $30. enter the side that the real price already confirmed. target the 4-6 second blind window before each oracle heartbeat." the system was live by morning. named it DEEP SIGNAL. first fill hit before i finished coffee. > Binance websocket feed at 50ms intervals. > oracle heartbeat monitor. > propagation delay calculator. > spot-to-oracle divergence detector. > conviction gate at $30+ deviation. > order placement avg 47ms. $534K volume. 79% win rate. sharpe 3.64. drawdown -1.2%. +$11,681 in profit runs on: Claude $20. VPS $5. UMA protocol free. $25/month. copytrade setup here: went back to that Starbucks a week later. same corner. empty. but the oracle still lags. every 5 minutes. every day. 6 seconds is all you need when you can see what the oracle can't.

Hanako

32,681 views • 5 months ago

most people still don't comprehend how far AI video has come. no memory between clips used to mean every cut reset the scene, drifted, redrew itself. that's basically solved now if you build around it right this whole ad is one continuous WHITEBOARD, 9 chained clips, and the marker ink never moves, never redraws, never resets to a blank board. here's exactly how, so you can build your own version of this for any product the trick: OMNI flash has a hard 10 second limit per clip and zero memory of the clip before it. so you harvest the last frame of clip N, the board exactly as it looks at that instant, and feed it in as the starting frame of clip N+1. that's the entire mechanism. no cuts, no set, just a hand, a marker, and one continuous illusion the flow: - map your script to the arc: symptom, invisible cause, mechanism, solution, real product - write the VO as one continuous read, then split it into beats, ~20-25 words max per clip, one drawing action per clip - build a board map first, what's written and drawn on each row, so nothing collides as it fills up - generate clip 1, harvest its last frame, chain into clip 2, repeat - once the board gets dense (4-5 clips of ink in), "match the board" - stops being enough instruction. name every existing element explicitly, state a hard no-touch rule, and point at your target by position, not just by text, or the model will grab the wrong line - save the reveal for last: a real product photo beats a drawn one almost every time PROMPT: locked blocks, paste verbatim into every single clip STYLE: "Real documentary UGC footage, static locked camera on a dry-erase whiteboard, one real human hand and forearm only, never show a face or body. A single black marker is used for the entire clip, no color changes, no marker switching. Marker ink renders as genuine dry-erase marker, not a digital text or motion-graphic overlay. Handwriting is plain block capitals, legible at a glance. Icons stay minimal and schematic, one simple recognizable shape only. No captions, no subtitles, no on-screen text beyond what the hand physically writes or draws. ASPECT: 9:16 vertical." VOICE: "VOICEOVER (calm, warm, explanatory, American English, mid-30s):" opening clip, full prompt: "An 8-second locked-camera whiteboard explainer, vertical 9:16. Open on a blank white dry-erase board, static tripod shot, no camera movement, no zoom. 00:00-00:05: The hand writes your hook headline in black marker, plain block capitals, upper-left, then underlines it, natural handwriting speed, ink appears stroke by stroke, slight squeak. 00:05-00:08: The hand draws one small icon, upper-right. VOICEOVER: your hook line. AUDIO: marker squeak, quiet room tone underneath. No music. [STYLE LOCK]" every clip after that opens with "use the attached image, [clip N-1]'s final frame, as the opening frame, match the exact board state precisely" before describing the one new action for that beat
0:47

most people still don't comprehend how far AI video has come. no memory between clips used to mean every cut reset the scene, drifted, redrew itself. that's basically solved now if you build around it right this whole ad is one continuous WHITEBOARD, 9 chained clips, and the marker ink never moves, never redraws, never resets to a blank board. here's exactly how, so you can build your own version of this for any product the trick: OMNI flash has a hard 10 second limit per clip and zero memory of the clip before it. so you harvest the last frame of clip N, the board exactly as it looks at that instant, and feed it in as the starting frame of clip N+1. that's the entire mechanism. no cuts, no set, just a hand, a marker, and one continuous illusion the flow: - map your script to the arc: symptom, invisible cause, mechanism, solution, real product - write the VO as one continuous read, then split it into beats, ~20-25 words max per clip, one drawing action per clip - build a board map first, what's written and drawn on each row, so nothing collides as it fills up - generate clip 1, harvest its last frame, chain into clip 2, repeat - once the board gets dense (4-5 clips of ink in), "match the board" - stops being enough instruction. name every existing element explicitly, state a hard no-touch rule, and point at your target by position, not just by text, or the model will grab the wrong line - save the reveal for last: a real product photo beats a drawn one almost every time PROMPT: locked blocks, paste verbatim into every single clip STYLE: "Real documentary UGC footage, static locked camera on a dry-erase whiteboard, one real human hand and forearm only, never show a face or body. A single black marker is used for the entire clip, no color changes, no marker switching. Marker ink renders as genuine dry-erase marker, not a digital text or motion-graphic overlay. Handwriting is plain block capitals, legible at a glance. Icons stay minimal and schematic, one simple recognizable shape only. No captions, no subtitles, no on-screen text beyond what the hand physically writes or draws. ASPECT: 9:16 vertical." VOICE: "VOICEOVER (calm, warm, explanatory, American English, mid-30s):" opening clip, full prompt: "An 8-second locked-camera whiteboard explainer, vertical 9:16. Open on a blank white dry-erase board, static tripod shot, no camera movement, no zoom. 00:00-00:05: The hand writes your hook headline in black marker, plain block capitals, upper-left, then underlines it, natural handwriting speed, ink appears stroke by stroke, slight squeak. 00:05-00:08: The hand draws one small icon, upper-right. VOICEOVER: your hook line. AUDIO: marker squeak, quiet room tone underneath. No music. [STYLE LOCK]" every clip after that opens with "use the attached image, [clip N-1]'s final frame, as the opening frame, match the exact board state precisely" before describing the one new action for that beat

Lad

78,404 views • 1 month ago

This guy sells AI employees to small businesses. He's a non-technical designer with no audience, spends $0 on ads, has no tech background. Yet he's still done 21 agent setups in 6 months, almost all from referrals. His model: install one AI agent as a digital employee, then get paid monthly to manage it and coach the owner. Setup fee plus a per-agent monthly rate. Phil came on the Build With AI pod to walk us through the whole playbook. Here's what I learned: 1. The product is the coaching, not the agent. Owners treat AI like Google. You get paid to manage it so they never have to. 2. Raise your price every yes. $500 setups became $1,000. Now he's targeting $2,000 setups plus $1,000/month per agent. 3. Give the agent a value ledger. It logs every task and sends a weekly ROI report. One client's first week: 63 hours saved, $6,300 in value. 4. Put yourself in the group chat. Telegram group with Phil, the client, and the agent. The client learns by watching him talk to it. 5. The agents handle real multi-step work. One prompt: find the invoice email, extract the PDF into Excel, save to Dropbox, send the link. Done in 10 minutes. 6. Uptime is a selling point. The best prospects tried agents themselves and quit when they broke. Phil fixes it before the client notices. 7. Free work is the referral engine. Friends in his small Georgia town told friends in Atlanta and Dallas. Now he has clients nationwide. 8. The pitch is one text. "I'm testing a managed agent service. Want to be a guinea pig? I'll charge you less." First client: $250/month. 9. Make the agent write to Excel, not its own markdown. A shared source of truth is the difference between a demo and a system. 10. Phil builds his agents on Orgo. $29/month gets your agent a computer with pre-built templates. Phil's agent handles the Orgo admin itself. His 2 key takeaways: 1. You only need to be one step ahead. If you've built an agent for yourself, you know more than the owner who never has. Charge from day one. 2. Visible ROI is the retention strategy. A weekly "you saved $6,300" report re-sells the retainer every single week. Phil is doing this at a level most technical people are not, and we had a blast going deep on it. Go follow Phil Full video below. (Also available on the Build With AI podcast wherever you get your pods)
36:06

This guy sells AI employees to small businesses. He's a non-technical designer with no audience, spends $0 on ads, has no tech background. Yet he's still done 21 agent setups in 6 months, almost all from referrals. His model: install one AI agent as a digital employee, then get paid monthly to manage it and coach the owner. Setup fee plus a per-agent monthly rate. Phil came on the Build With AI pod to walk us through the whole playbook. Here's what I learned: 1. The product is the coaching, not the agent. Owners treat AI like Google. You get paid to manage it so they never have to. 2. Raise your price every yes. $500 setups became $1,000. Now he's targeting $2,000 setups plus $1,000/month per agent. 3. Give the agent a value ledger. It logs every task and sends a weekly ROI report. One client's first week: 63 hours saved, $6,300 in value. 4. Put yourself in the group chat. Telegram group with Phil, the client, and the agent. The client learns by watching him talk to it. 5. The agents handle real multi-step work. One prompt: find the invoice email, extract the PDF into Excel, save to Dropbox, send the link. Done in 10 minutes. 6. Uptime is a selling point. The best prospects tried agents themselves and quit when they broke. Phil fixes it before the client notices. 7. Free work is the referral engine. Friends in his small Georgia town told friends in Atlanta and Dallas. Now he has clients nationwide. 8. The pitch is one text. "I'm testing a managed agent service. Want to be a guinea pig? I'll charge you less." First client: $250/month. 9. Make the agent write to Excel, not its own markdown. A shared source of truth is the difference between a demo and a system. 10. Phil builds his agents on Orgo. $29/month gets your agent a computer with pre-built templates. Phil's agent handles the Orgo admin itself. His 2 key takeaways: 1. You only need to be one step ahead. If you've built an agent for yourself, you know more than the owner who never has. Charge from day one. 2. Visible ROI is the retention strategy. A weekly "you saved $6,300" report re-sells the retainer every single week. Phil is doing this at a level most technical people are not, and we had a blast going deep on it. Go follow Phil Full video below. (Also available on the Build With AI podcast wherever you get your pods)

Corey Ganim

225,768 views • 2 months ago

Introducing FundByHook. A new way to support projects. No round to close. No deadline. No fundraising target. Building doesn’t stop when a funding round ends. We think funding should be able to keep going too. FundByHook is an incubator where each project gets its own token and a funding pool that stays open. People can back a project as it develops. The team draws from the pool over time to fund its work. The first fund is $RISK, the official token of FundByHook and Risk Labs, our studio. It comes with RiskLAB:500 generative compositions drawn onchain. CA: 0xbF0347cB1347B58e11Cd2Ba60854E0DD60d5F12F Here is how it works. FUNDING THAT STAYS OPEN A conventional raise has a finish line: a date, a target, a round to close. The work that follows rarely fits that calendar. On FundByHook, each pool runs through a Uniswap v4 hook. The hook controls a single liquidity position. External liquidity providers cannot add to it or pull liquidity out. You back a project by buying its token. You can sell through the same pool, subject to its available liquidity and the sell tax. The team receives funding in three ways: → 1% on buys, paid to the team → 10% of the ETH paid out by sells, paid to the team → A manual draw of 1% of the pool’s current ETH reserve, available at most once every seven days The draw does not accumulate. Waiting three weeks does not unlock three withdrawals. The team must trigger it, and each draw starts a new seven-day wait. Tokens remain in the pool. ETH leaves to fund the work. Each draw lowers the pool price slightly. After launch, the fund contracts have no admin setters, pause or upgrade functions. Only the team can trigger the draw. The funding rules stay fixed. Contracts by Tim and Risk Labs. FUND 1: $RISK $RISK has a fixed supply of 500 tokens. 400 seed the pool. It starts with no ETH: buyers bring it in. Buys move the price up; sells move it down. The remaining 100 $RISK are allocated to Risk Labs to reward people who help move our projects forward. The first 5 go out this week to people who helped move ELA forward. Those 100 tokens are not locked by code. We are responsible for how they are used. $RISK also has a visual form. RiskLAB is a collection of 500 generative compositions built from frames, cells and nodes. Both the images and their metadata are generated onchain. ONE TOKEN. ONE PIECE. With NFT mirroring enabled, each whole $RISK in your wallet corresponds to one RiskLAB piece, an ERC-721. 12.93 $RISK = 12 pieces + a 0.93-token fraction. Transfer a piece and one whole $RISK moves with it. Sell 1 $RISK from that balance and you are left with 11 pieces and 0.93 $RISK. One piece is burned; its ID can later be reissued. Your tokens and pieces are two representations of the same holding. NFT mirroring is enabled by default for ordinary wallets, and holders can change their own setting. THE PLATFORM TOKEN $RISK is the official token of FundByHook. Each fund launched on the platform will have its own token; $RISK remains the token of the platform and Risk Labs. It is also how we want holders to participate in what Risk Labs builds next. Our commitment: every future Risk Labs project will share a portion of its fees with $RISK holders. That commitment comes from the lab. It is not enforced by the $RISK contracts. The percentage, timing, eligibility and distribution mechanism are still to be defined. There is no fee-sharing mechanism live in these contracts today. On $RISK itself, all buy fees, sell taxes and team draws go to the team. THE DOOR For the first 10 blocks after the pool is seeded, buying is restricted to enlisted wallets. There is a door hidden in a site that was live long before the contract. That is all we will say. WHAT COMES NEXT $RISK is Fund 1. The next funds will come from ideas worth building, whether they come from Risk Labs or anyone else. Eventually, anyone will be able to launch a fund on FundByHook. Today, only the lab can launch. Permissionless launches are not live yet. For the lab, two rules apply: 01 / Each project must run autonomously before we start the next. 02 / Nothing launches without a good idea. $RISK remains the platform and studio token as those projects take shape. That is the experiment: Can funding stay open as long as the building does? Risk Labs starts with $RISK. What we build next has to earn your continued support. FundByHook is open now: Explore RiskLAB on FundByHook: Back the ones you believe in.
0:36

Introducing FundByHook. A new way to support projects. No round to close. No deadline. No fundraising target. Building doesn’t stop when a funding round ends. We think funding should be able to keep going too. FundByHook is an incubator where each project gets its own token and a funding pool that stays open. People can back a project as it develops. The team draws from the pool over time to fund its work. The first fund is $RISK, the official token of FundByHook and Risk Labs, our studio. It comes with RiskLAB:500 generative compositions drawn onchain. CA: 0xbF0347cB1347B58e11Cd2Ba60854E0DD60d5F12F Here is how it works. FUNDING THAT STAYS OPEN A conventional raise has a finish line: a date, a target, a round to close. The work that follows rarely fits that calendar. On FundByHook, each pool runs through a Uniswap v4 hook. The hook controls a single liquidity position. External liquidity providers cannot add to it or pull liquidity out. You back a project by buying its token. You can sell through the same pool, subject to its available liquidity and the sell tax. The team receives funding in three ways: → 1% on buys, paid to the team → 10% of the ETH paid out by sells, paid to the team → A manual draw of 1% of the pool’s current ETH reserve, available at most once every seven days The draw does not accumulate. Waiting three weeks does not unlock three withdrawals. The team must trigger it, and each draw starts a new seven-day wait. Tokens remain in the pool. ETH leaves to fund the work. Each draw lowers the pool price slightly. After launch, the fund contracts have no admin setters, pause or upgrade functions. Only the team can trigger the draw. The funding rules stay fixed. Contracts by Tim and Risk Labs. FUND 1: $RISK $RISK has a fixed supply of 500 tokens. 400 seed the pool. It starts with no ETH: buyers bring it in. Buys move the price up; sells move it down. The remaining 100 $RISK are allocated to Risk Labs to reward people who help move our projects forward. The first 5 go out this week to people who helped move ELA forward. Those 100 tokens are not locked by code. We are responsible for how they are used. $RISK also has a visual form. RiskLAB is a collection of 500 generative compositions built from frames, cells and nodes. Both the images and their metadata are generated onchain. ONE TOKEN. ONE PIECE. With NFT mirroring enabled, each whole $RISK in your wallet corresponds to one RiskLAB piece, an ERC-721. 12.93 $RISK = 12 pieces + a 0.93-token fraction. Transfer a piece and one whole $RISK moves with it. Sell 1 $RISK from that balance and you are left with 11 pieces and 0.93 $RISK. One piece is burned; its ID can later be reissued. Your tokens and pieces are two representations of the same holding. NFT mirroring is enabled by default for ordinary wallets, and holders can change their own setting. THE PLATFORM TOKEN $RISK is the official token of FundByHook. Each fund launched on the platform will have its own token; $RISK remains the token of the platform and Risk Labs. It is also how we want holders to participate in what Risk Labs builds next. Our commitment: every future Risk Labs project will share a portion of its fees with $RISK holders. That commitment comes from the lab. It is not enforced by the $RISK contracts. The percentage, timing, eligibility and distribution mechanism are still to be defined. There is no fee-sharing mechanism live in these contracts today. On $RISK itself, all buy fees, sell taxes and team draws go to the team. THE DOOR For the first 10 blocks after the pool is seeded, buying is restricted to enlisted wallets. There is a door hidden in a site that was live long before the contract. That is all we will say. WHAT COMES NEXT $RISK is Fund 1. The next funds will come from ideas worth building, whether they come from Risk Labs or anyone else. Eventually, anyone will be able to launch a fund on FundByHook. Today, only the lab can launch. Permissionless launches are not live yet. For the lab, two rules apply: 01 / Each project must run autonomously before we start the next. 02 / Nothing launches without a good idea. $RISK remains the platform and studio token as those projects take shape. That is the experiment: Can funding stay open as long as the building does? Risk Labs starts with $RISK. What we build next has to earn your continued support. FundByHook is open now: Explore RiskLAB on FundByHook: Back the ones you believe in.

Risk Labs

29,308 views • 4 days ago

WHAT YOU'VE HEARD: "MLK was shot with a .30-06 and it didn't leave an exit wound." (🔖Bookmark and share this. Arm yourself with the truth and information) Both of the above claims are false. He wasn't shot with a .30-06 and there was indeed an exit wound. The confusion arises because the fedsloppers are repeating fedslop talking points from a previous conspiracy/cover-up ass*ssination. Peak irony. Garbage in, garbage out. ▪️CLAIM 1: "IT DIDN'T LEAVE AN EXIT WOUND"▪️ In 1976-79, the House Select Committee on Assassinations investigated the MLK assassination and determined the following: 1. Dr. Francisco's original autopsy was "DEFICIENT" because he never actually determined the complete bullet wound track. (see attachments below) 2. According to the committee's medical panel reconstruction, the bullet entered, exited & then re-entered according to this track: 1. INITIAL ENTRANCE: right cheek/face. The entrance was approximately 1 inch to the right and ½ inch below the corner of the mouth. 2. After passing through the cheek, the bullet struck and shattered the right jawbone. 3. EXIT: The bullet then exited through the bottom portion of the right side of the chin, LEAVING THE BODY. 4. Before re-entering the body, the bullet crossed through the upper-neck clothing. MLK's shirt collar was perforated and torn, his tie was completely torn in half, and the suit jacket lapel was struck tangentially in its edge, tearing the inner lining. 5. SECONDARY RE-ENTRY: The bullet re-entered the base of the neck just above the right collarbone. 6. From the neck re-entry, the bullet continued right-to-left, front-to-back, and downward, injuring the jugular vein, carotid artery, subclavian artery, and vertebral artery. 7. Additional soft-tissue injuries included a submucosal hemorrhage of the larynx and an intrapulmonary hematoma at the top of the right upper lung as consequences of being adjacent to the wound path, but they were not penetrated by the bullet itself. 8. As the bullet continued leftward/backward, the first and second ribs—particularly their posterior portions near where they join the spine—were fractured and displaced. 9. There was extensive destruction of bone around the lowest cervical and upper thoracic vertebrae, corresponding to C7 and T1, and there was a major, corresponding devastating spinal-cord injury. 10. The remaining bullet fragment continued into the left upper back and stopped just beneath the skin, approximately 3 inches left of the spinal midline. IOW, it very nearly exited the body a 2nd time. BULLET PATH & DAMAGE SUMMARY: Right cheek entrance → fractured right jaw → mouth → lower-right chin exit → shirt collar + tie + jacket lapel edge damage → neck re-entry above right clavicle → jugular vein + carotid/subclavian/vertebral arteries + major nerves → posterior 1st/2nd ribs → C7/T1 spinal column → severe spinal-cord injury → left upper back subcutaneous termination. So the bullet entered, hit one of the strongest bones in the body, EXITED, then re-entered, did a ton more damage, and nearly exited again. But even that's not the whole story. ▪️CLAIM #2: "HE WAS SHOT WITH A .30-06"▪️ Let's review the alleged murder weapon & bullet. 1. The *FBI tested the Remington 760 Gamemaster—the alleged murder weapon—and found its sighting to be off by 3 inches TO THE RIGHT and down about an inch. This is important because the Select Committee found that the fatal bullet struck King nearly STRAIGHT ON to the RIGHT SIDE of his face. Did James Earl Ray aim to the left of King's head? Absurd. If he'd aimed for center head, it should have hit King 3 inches over to the right on the LEFT SIDE of his face, but it didn't. It him over to the left, on the right side of his face. (*Assuming the FBI can even be trusted, since it was spying on MLK, and helped spring James Earl Ray from jail to set him up as patsy. The DOJ has never released these files or the targets from the "test" to support its claim). 2. Surprise! Complete ballistics were never originally performed on the death slug. Only enough to claim that the death slug was "consistent" with a round of 30-06 ammunition. (sound familiar?) The ballistics evidence at that point couldn't exclude or affirm the gun as the murder weapon (again, sound familiar?) However, as the last judge overseeing the case before James Earl Ray died, Joe Brown finally ordered full ballistics testing performed. It was then found that the death slug did NOT match the Remington 760 Gamemaster: The death slug had a rifling twist of 1 turn per 11.25 inches. The alleged murder weapon (the Remington 760 Gamemaster) had a rifling twist of 1 turn per 10 inches plus a bad manufacturing defect not found on the death slug, thereby excluding the gun as the murder weapon. (see video below) 3. Of secondary importance, the death slug did not metallurgically match 4 of the 5 unfired .30-06 rounds left in the drop bundle along with the gun. The compromised FBI acknowledges this mismatch, but says "Not so fast, none of the 4 unspent rounds match each other, either, but the 5th round is consistent with the death slug." IOW, the FBI's position was: the 4 rounds don't match each other, so this test isn't meaningful, except when there is a match to the 5th round, then it's meaningful. lol 4. Judge Brown asserts the death slug was actually a special subsonic NATO 7.62 round shot from an XM-21 rifle with a suppressor to slow the projectile down to less than supersonic velocity. (see video below) As I said above, the death slug was determined to be "consistent with" a .30-06. Well, 7.62 & .30-06 are indeed the same diameter. So a 7.62 slug will "be consistent with" a .30-06 slug, especially after the amount of degradation seen on the King slug (it lost about 2/3 of its material along the wound track). Furthermore, subsonic 7.62 ammunition is designed to travel around only 1,000 fps, rather than the standard round's speed of about 2,800 fps. The astute will realize that such a reduced velocity will have far less destructive power and penetrating force—which helps explain why the slug that hit MLK only exited once and then pinballed around a bit after it re-entered his body, lacking the penetrating power to exit a 2nd time. 5. After allegedly shooting MLK, the Remington 760 Gamemaster, the unspent bullets, the alleged spent shell casing from the alleged death shot, and all of his possessions (including pliers & a tack hammer—just missing a screwdriver!) were allegedly dropped in a nice, neat bundle wrapped in a blanket by James Earl Ray in the doorway of Canipe's Amusements just before he reached his car for the perfect getaway. Doesn't that all just sound convenient and familiar? 'Yes, I got away clean, but first Ima leave all this stuff behind to incriminate myself.' (see attachment below) Doesn't that sound like someone else who left the gun & unspent bullets wrapped in a nice bundle in a towel before reaching his car fire a clean gateway? A gun that BTW can't be matched to the alleged death bullet—but is "consistent" with it! It's like there's a playbook for these set-ups. Lol. Lmfao. Why hasn't the FBI released Tyler Robinson's Mauser back to the state of Utah? Has its sighting been tested after Tyler allegedly stuffed it in his pants and walked it all over campus? Why hasn't the FBI made it available to Tyler's defense for examination and testing? What are they afraid of? ********** In the 1999 civil trial verdict, a jury was allowed to examine much of this evidence (and more) in a court of law for the first time. Based on what I've summarized here and other voluminous evidence & testimony, the jury determined that King was assassinated by Loyd Jowers and a government conspiracy/cover-up. That is the ONLY OFFICIAL FINDING from a court of law in this case. Yet these dolts and sloppers continue to spread the fedslop narrative from MLK's case in order to affirm the fedslop narrative in the Charlie Kirk case. Garbage in, garbage out. How compromised do you have to be to not only pledge your allegiance to the fedslop now, but also to a 58-year old fedslop narrative that was already negated by a court of law 27 years ago? Lol
3:19

WHAT YOU'VE HEARD: "MLK was shot with a .30-06 and it didn't leave an exit wound." (🔖Bookmark and share this. Arm yourself with the truth and information) Both of the above claims are false. He wasn't shot with a .30-06 and there was indeed an exit wound. The confusion arises because the fedsloppers are repeating fedslop talking points from a previous conspiracy/cover-up ass*ssination. Peak irony. Garbage in, garbage out. ▪️CLAIM 1: "IT DIDN'T LEAVE AN EXIT WOUND"▪️ In 1976-79, the House Select Committee on Assassinations investigated the MLK assassination and determined the following: 1. Dr. Francisco's original autopsy was "DEFICIENT" because he never actually determined the complete bullet wound track. (see attachments below) 2. According to the committee's medical panel reconstruction, the bullet entered, exited & then re-entered according to this track: 1. INITIAL ENTRANCE: right cheek/face. The entrance was approximately 1 inch to the right and ½ inch below the corner of the mouth. 2. After passing through the cheek, the bullet struck and shattered the right jawbone. 3. EXIT: The bullet then exited through the bottom portion of the right side of the chin, LEAVING THE BODY. 4. Before re-entering the body, the bullet crossed through the upper-neck clothing. MLK's shirt collar was perforated and torn, his tie was completely torn in half, and the suit jacket lapel was struck tangentially in its edge, tearing the inner lining. 5. SECONDARY RE-ENTRY: The bullet re-entered the base of the neck just above the right collarbone. 6. From the neck re-entry, the bullet continued right-to-left, front-to-back, and downward, injuring the jugular vein, carotid artery, subclavian artery, and vertebral artery. 7. Additional soft-tissue injuries included a submucosal hemorrhage of the larynx and an intrapulmonary hematoma at the top of the right upper lung as consequences of being adjacent to the wound path, but they were not penetrated by the bullet itself. 8. As the bullet continued leftward/backward, the first and second ribs—particularly their posterior portions near where they join the spine—were fractured and displaced. 9. There was extensive destruction of bone around the lowest cervical and upper thoracic vertebrae, corresponding to C7 and T1, and there was a major, corresponding devastating spinal-cord injury. 10. The remaining bullet fragment continued into the left upper back and stopped just beneath the skin, approximately 3 inches left of the spinal midline. IOW, it very nearly exited the body a 2nd time. BULLET PATH & DAMAGE SUMMARY: Right cheek entrance → fractured right jaw → mouth → lower-right chin exit → shirt collar + tie + jacket lapel edge damage → neck re-entry above right clavicle → jugular vein + carotid/subclavian/vertebral arteries + major nerves → posterior 1st/2nd ribs → C7/T1 spinal column → severe spinal-cord injury → left upper back subcutaneous termination. So the bullet entered, hit one of the strongest bones in the body, EXITED, then re-entered, did a ton more damage, and nearly exited again. But even that's not the whole story. ▪️CLAIM #2: "HE WAS SHOT WITH A .30-06"▪️ Let's review the alleged murder weapon & bullet. 1. The *FBI tested the Remington 760 Gamemaster—the alleged murder weapon—and found its sighting to be off by 3 inches TO THE RIGHT and down about an inch. This is important because the Select Committee found that the fatal bullet struck King nearly STRAIGHT ON to the RIGHT SIDE of his face. Did James Earl Ray aim to the left of King's head? Absurd. If he'd aimed for center head, it should have hit King 3 inches over to the right on the LEFT SIDE of his face, but it didn't. It him over to the left, on the right side of his face. (*Assuming the FBI can even be trusted, since it was spying on MLK, and helped spring James Earl Ray from jail to set him up as patsy. The DOJ has never released these files or the targets from the "test" to support its claim). 2. Surprise! Complete ballistics were never originally performed on the death slug. Only enough to claim that the death slug was "consistent" with a round of 30-06 ammunition. (sound familiar?) The ballistics evidence at that point couldn't exclude or affirm the gun as the murder weapon (again, sound familiar?) However, as the last judge overseeing the case before James Earl Ray died, Joe Brown finally ordered full ballistics testing performed. It was then found that the death slug did NOT match the Remington 760 Gamemaster: The death slug had a rifling twist of 1 turn per 11.25 inches. The alleged murder weapon (the Remington 760 Gamemaster) had a rifling twist of 1 turn per 10 inches plus a bad manufacturing defect not found on the death slug, thereby excluding the gun as the murder weapon. (see video below) 3. Of secondary importance, the death slug did not metallurgically match 4 of the 5 unfired .30-06 rounds left in the drop bundle along with the gun. The compromised FBI acknowledges this mismatch, but says "Not so fast, none of the 4 unspent rounds match each other, either, but the 5th round is consistent with the death slug." IOW, the FBI's position was: the 4 rounds don't match each other, so this test isn't meaningful, except when there is a match to the 5th round, then it's meaningful. lol 4. Judge Brown asserts the death slug was actually a special subsonic NATO 7.62 round shot from an XM-21 rifle with a suppressor to slow the projectile down to less than supersonic velocity. (see video below) As I said above, the death slug was determined to be "consistent with" a .30-06. Well, 7.62 & .30-06 are indeed the same diameter. So a 7.62 slug will "be consistent with" a .30-06 slug, especially after the amount of degradation seen on the King slug (it lost about 2/3 of its material along the wound track). Furthermore, subsonic 7.62 ammunition is designed to travel around only 1,000 fps, rather than the standard round's speed of about 2,800 fps. The astute will realize that such a reduced velocity will have far less destructive power and penetrating force—which helps explain why the slug that hit MLK only exited once and then pinballed around a bit after it re-entered his body, lacking the penetrating power to exit a 2nd time. 5. After allegedly shooting MLK, the Remington 760 Gamemaster, the unspent bullets, the alleged spent shell casing from the alleged death shot, and all of his possessions (including pliers & a tack hammer—just missing a screwdriver!) were allegedly dropped in a nice, neat bundle wrapped in a blanket by James Earl Ray in the doorway of Canipe's Amusements just before he reached his car for the perfect getaway. Doesn't that all just sound convenient and familiar? 'Yes, I got away clean, but first Ima leave all this stuff behind to incriminate myself.' (see attachment below) Doesn't that sound like someone else who left the gun & unspent bullets wrapped in a nice bundle in a towel before reaching his car fire a clean gateway? A gun that BTW can't be matched to the alleged death bullet—but is "consistent" with it! It's like there's a playbook for these set-ups. Lol. Lmfao. Why hasn't the FBI released Tyler Robinson's Mauser back to the state of Utah? Has its sighting been tested after Tyler allegedly stuffed it in his pants and walked it all over campus? Why hasn't the FBI made it available to Tyler's defense for examination and testing? What are they afraid of? ********** In the 1999 civil trial verdict, a jury was allowed to examine much of this evidence (and more) in a court of law for the first time. Based on what I've summarized here and other voluminous evidence & testimony, the jury determined that King was assassinated by Loyd Jowers and a government conspiracy/cover-up. That is the ONLY OFFICIAL FINDING from a court of law in this case. Yet these dolts and sloppers continue to spread the fedslop narrative from MLK's case in order to affirm the fedslop narrative in the Charlie Kirk case. Garbage in, garbage out. How compromised do you have to be to not only pledge your allegiance to the fedslop now, but also to a 58-year old fedslop narrative that was already negated by a court of law 27 years ago? Lol

Sam Parker 🇺🇸🧯

70,460 views • 1 month ago

OPUS 5.5 IS THE ONLY MOTION DESIGNER YOU NEED this launch video cost $0 and is pure code everyone else on X claims the same shit, then sends you to their website or mcp this is completely free with 0 external tools steal the prompt and try it in your claude ↓ Ask me for: a one-word brand name for the wordmark (a verb works best), 9 to 12 high-res photos, a royalty-free song around 120 BPM with a drop and a quiet breakdown (Mixkit, free for commercial use), and a free stock clip of a plain wall with moving plant shadows (Pexels). An Apple-keynote launch film, 2D only, one continuous take. Every scene is made out of the previous one: nothing fades, blurs or cuts. Objects change shape instead: text rises out of a mask line, icons pop from zero on a spring, bars draw across, pages push, and a black shape floods the whole frame and contracts into the next scene. Warm off-white canvas, black UI, iOS 26 liquid glass over the photos. Archivo (wdth 125, weight 800) for the wordmark, Geist for UI. A cursor drives every change with real clicks, drags and long-presses. The camera zooms screen-studio style so each moment fills the square, and the cursor scales with it. Banned: crossfades, blur-ins, brightness "developing", 3D flips, particles, glows, holds longer than 1s, anything that looks like a template. 120 BPM, 54 beats, something happens on every beat. Open: the wordmark squeezes into its own period like an accordion, the dot grows into a black pill, a label rises inside it. Click: six iris blades close over the label and snap open onto a photo. The circle becomes a square, shrinks, the grid unfolds from behind it like a paper map (center, plus, corners), reflows into a bento, and a click zooms into one tile, landing exactly on the drop. Glass: a glass word pops in letter by letter, melts into a droplet that stretches into a glass toolbar. The adjust icon turns it into a slider. Dragging relights the photo from day to golden hour (two aligned shots), and the knob turns into a glass lens while held. It lifts into a glass orb, the next photo opens inside it as a circle, and the orb expands into a lock screen: glass clock digits, date, and a home bar that stretches into a glass music player. Stage: the lock screen pulls back into a phone (the bezel grows out of the screen edge). The Dynamic Island stretches like liquid, pinches off, flies over and grows into a Mac window that rolls up like a blind. Long-press the wallpaper, drag it onto a Safari tab, the page pushes in, drop it and it becomes the hero of a landing page. Scroll: the hero morphs into a framed print on a product card, with the mat and molding growing out of the photo's edge. Pick a frame color (it paints across) and a size, then the nav button flies down into "Order print". Order: one black shape keeps morphing: Ordered ✓ → Printing % → On its way (a van on a route) → Delivered ✓. Wall: the delivered circle floods the frame edge to edge, holds black for a beat, and contracts into the framed print hanging on the real wall footage. The same iris opens onto the print, closes again, the frame floods the screen and contracts into the pill → the dot → the letters spring back out, landing on the beat return. Last frame = first frame. 1. One HTML file, square 1440x1440. Every style is computed from time inside an async seek(t): no CSS transitions, no timers, no state between frames. 2. Springs are closed-form step responses. A value with many targets is the sum of one spring per change, so it stays a pure function of time. 3. Liquid glass: each glass element holds its own clone of the scene behind it, filtered with an SVG feImage displacement map (a rounded-rect distance field) through three feDisplacementMaps at slightly different scales for chromatic edges, plus a rim light. Glass letters: a canvas distance field per glyph gives the map, mask and highlights. 4. Goo: blur + alpha threshold, then composite the source atop it so the glass stays sharp inside. 5. Iris: 6 blades around a hexagonal aperture. Each blade is its two vertices, both edge extensions and the SHORT arc between them. 6. Wordmark squeeze: every letter moves toward the dot by the same factor and its drawn width follows (narrow the wdth axis, scale the rest), so the letters stay touching. 7. Footage: re-encode all-intra (ffmpeg -g 1), load it as a blob URL, await 'seeked' before drawing each frame. 8. Sound: a downloaded SFX for every event (Mixkit), never synthesized, each placed by its measured peak. The song starts on a downbeat: the zoom lands on the drop, the wall sits in the breakdown, the wordmark returns with the beat. Loudnorm to -14 LUFS. 9. Render with Playwright: 4 subframes per frame blended with ffmpeg tmix, 60fps. Check one frame per beat, then scan for single-frame pops (frame-difference spikes 3x their neighbours). backdrop-filter: url() misreads displacement maps in Chromium, so clone the scene instead. A flood must overscale past the corners and take about 0.3s, or half the screen changes in one frame. A child with visibility: visible shows through a hidden parent, so use inherit. Text that swaps inside a morphing shape needs its own mask. python http.server can't range-seek video, so use the blob URL. Ask me for the inputs, then show me the beat map and 4 stills (open, glass, stage, wall) before you write the full film.
0:29

OPUS 5.5 IS THE ONLY MOTION DESIGNER YOU NEED this launch video cost $0 and is pure code everyone else on X claims the same shit, then sends you to their website or mcp this is completely free with 0 external tools steal the prompt and try it in your claude ↓ Ask me for: a one-word brand name for the wordmark (a verb works best), 9 to 12 high-res photos, a royalty-free song around 120 BPM with a drop and a quiet breakdown (Mixkit, free for commercial use), and a free stock clip of a plain wall with moving plant shadows (Pexels). An Apple-keynote launch film, 2D only, one continuous take. Every scene is made out of the previous one: nothing fades, blurs or cuts. Objects change shape instead: text rises out of a mask line, icons pop from zero on a spring, bars draw across, pages push, and a black shape floods the whole frame and contracts into the next scene. Warm off-white canvas, black UI, iOS 26 liquid glass over the photos. Archivo (wdth 125, weight 800) for the wordmark, Geist for UI. A cursor drives every change with real clicks, drags and long-presses. The camera zooms screen-studio style so each moment fills the square, and the cursor scales with it. Banned: crossfades, blur-ins, brightness "developing", 3D flips, particles, glows, holds longer than 1s, anything that looks like a template. 120 BPM, 54 beats, something happens on every beat. Open: the wordmark squeezes into its own period like an accordion, the dot grows into a black pill, a label rises inside it. Click: six iris blades close over the label and snap open onto a photo. The circle becomes a square, shrinks, the grid unfolds from behind it like a paper map (center, plus, corners), reflows into a bento, and a click zooms into one tile, landing exactly on the drop. Glass: a glass word pops in letter by letter, melts into a droplet that stretches into a glass toolbar. The adjust icon turns it into a slider. Dragging relights the photo from day to golden hour (two aligned shots), and the knob turns into a glass lens while held. It lifts into a glass orb, the next photo opens inside it as a circle, and the orb expands into a lock screen: glass clock digits, date, and a home bar that stretches into a glass music player. Stage: the lock screen pulls back into a phone (the bezel grows out of the screen edge). The Dynamic Island stretches like liquid, pinches off, flies over and grows into a Mac window that rolls up like a blind. Long-press the wallpaper, drag it onto a Safari tab, the page pushes in, drop it and it becomes the hero of a landing page. Scroll: the hero morphs into a framed print on a product card, with the mat and molding growing out of the photo's edge. Pick a frame color (it paints across) and a size, then the nav button flies down into "Order print". Order: one black shape keeps morphing: Ordered ✓ → Printing % → On its way (a van on a route) → Delivered ✓. Wall: the delivered circle floods the frame edge to edge, holds black for a beat, and contracts into the framed print hanging on the real wall footage. The same iris opens onto the print, closes again, the frame floods the screen and contracts into the pill → the dot → the letters spring back out, landing on the beat return. Last frame = first frame. 1. One HTML file, square 1440x1440. Every style is computed from time inside an async seek(t): no CSS transitions, no timers, no state between frames. 2. Springs are closed-form step responses. A value with many targets is the sum of one spring per change, so it stays a pure function of time. 3. Liquid glass: each glass element holds its own clone of the scene behind it, filtered with an SVG feImage displacement map (a rounded-rect distance field) through three feDisplacementMaps at slightly different scales for chromatic edges, plus a rim light. Glass letters: a canvas distance field per glyph gives the map, mask and highlights. 4. Goo: blur + alpha threshold, then composite the source atop it so the glass stays sharp inside. 5. Iris: 6 blades around a hexagonal aperture. Each blade is its two vertices, both edge extensions and the SHORT arc between them. 6. Wordmark squeeze: every letter moves toward the dot by the same factor and its drawn width follows (narrow the wdth axis, scale the rest), so the letters stay touching. 7. Footage: re-encode all-intra (ffmpeg -g 1), load it as a blob URL, await 'seeked' before drawing each frame. 8. Sound: a downloaded SFX for every event (Mixkit), never synthesized, each placed by its measured peak. The song starts on a downbeat: the zoom lands on the drop, the wall sits in the breakdown, the wordmark returns with the beat. Loudnorm to -14 LUFS. 9. Render with Playwright: 4 subframes per frame blended with ffmpeg tmix, 60fps. Check one frame per beat, then scan for single-frame pops (frame-difference spikes 3x their neighbours). backdrop-filter: url() misreads displacement maps in Chromium, so clone the scene instead. A flood must overscale past the corners and take about 0.3s, or half the screen changes in one frame. A child with visibility: visible shows through a hidden parent, so use inherit. Text that swaps inside a morphing shape needs its own mask. python http.server can't range-seek video, so use the blob URL. Ask me for the inputs, then show me the beat map and 4 stills (open, glass, stage, wall) before you write the full film.

zero

131,347 views • 7 days ago

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"
0:30

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"

Aaliya

11,907 views • 1 month ago

At 14, Jim Simons got a job putting away stock in a basement. He was so bad, they demoted him to floor sweeper. When he said he wanted to study math at MIT, his bosses laughed. He went on to make $100+ billion in trading profits. More than Buffett, Soros, & Dalio combined. In 2010, he spent 60 minutes at MIT explaining how a mathematician became the world's greatest trader: "They thought that was the funniest thing they had ever heard. The guy who couldn't remember where to put the sheep manure is going to be a mathematician at MIT." He applied to MIT. Got accepted. Studied mathematics. It went all right. After graduating, Simons took a job at the Institute for Defense Analysis. Secret government work. Good pay. Half your time on their work, half on your own mathematics. Then the Vietnam War happened. General Maxwell Taylor, the head of the organization, wrote an article in the New York Times about how victory was days away. Simons disagreed. He wrote a letter to the Times expressing that view. "They kindly published it." A few months later, a reporter asked to interview him about people who work for the defense department but oppose the war. Simons agreed. Told his local boss afterward. "He said, 'You did what?' And he picked up the phone and called General Maxwell Taylor." Silence on the other end. "He hung up. Looked at me. Said, 'You're fired.'" "I said, 'I'm fired? I'm a permanent member.'" "He said, 'I'll tell you the difference between a temporary member and a permanent member. A temporary member has a contract.'" "It was the first time, and happily the last time, I was ever fired." On starting Renaissance: Simons left mathematics at 38. Frustrated. Stuck on a problem he couldn't solve. He had some money from an investment that finally paid off. He invested that money. Found out he wasn't bad at it. He brought in the best modeler he knew. A guy named Lenny Baum. "Lenny started making models. But then he seemed to get less interested in models and more interested in reading the news." "Then he started having opinions on what was going to go up and what was going to go down. And he was right enough times." "I said okay, to hell with the modeling. Let's just try to make some money." What happened next: "We multiplied our investors' money by 12 in two years." "We were incredibly lucky." But in the back of his mind, he knew models were the answer. "If you're doing fundamental trading, one morning you come in, you feel like a genius. Your positions are all your way. You think, God, I'm really smart." "The next day you come in, they've gone against you, and you feel like an idiot." "It just didn't seem like a way to live your life." In 1988, he made the decision: 100% models. No human override. "Some firms say they have models. What they typically mean is the model advises the trader what to do. If he likes the advice, he'll take it. If he doesn't, he won't." "That's not science. You can't simulate that. How were you feeling when you got out of bed 13 years ago? Did you like what the model said?" "If you're going to trade using models, you slavishly use the models. You do whatever the hell it says. No matter how smart or dumb you might think it is at that moment." "That turned out to be a wonderful decision." On the secret sauce: "People always ask me, what's the secret? We're not the only quant firm in the world. But we seem to have done better than anybody." "The real secret sauce is that we start with great scientists. First-class people who've done first-class work." "Second, we provide people with a great infrastructure." "The most important thing is an open atmosphere. Everybody knows what everybody else is doing. No compartmentalization." "And people get paid based on the overall profits. Not just on your work. Everyone has an interest in everyone else's success." "Those policies, no one of which seems so remarkable, turn out to be a pretty winning combination." On guiding principles: His wife told him to end with values. He said he wasn't sure he had any. "She assured me that I had some values, if only I could think hard about them." Here's what he came up with: 1. Do something new. "I don't like to run with the pack. For one thing, I'm not such a fast runner." "If you're one of n people all working on the same problem, I'd be last. But if you can think of a new problem that other people aren't working on, maybe that'll give you a chance." 2. Collaborate with the best people you possibly can. "That gives you some reach and some scope. And it's also fun to work with terrific people." 3. Be guided by beauty. "What's aesthetic is doing it right. Getting the right kind of people. Approaching the problem and doing it right." "It's a beautiful thing to do something right." 4. Don't give up. "Sometimes it's appropriate to be trying to do something for a hell of a long time." 5. Hope for some good luck.
51:28

At 14, Jim Simons got a job putting away stock in a basement. He was so bad, they demoted him to floor sweeper. When he said he wanted to study math at MIT, his bosses laughed. He went on to make $100+ billion in trading profits. More than Buffett, Soros, & Dalio combined. In 2010, he spent 60 minutes at MIT explaining how a mathematician became the world's greatest trader: "They thought that was the funniest thing they had ever heard. The guy who couldn't remember where to put the sheep manure is going to be a mathematician at MIT." He applied to MIT. Got accepted. Studied mathematics. It went all right. After graduating, Simons took a job at the Institute for Defense Analysis. Secret government work. Good pay. Half your time on their work, half on your own mathematics. Then the Vietnam War happened. General Maxwell Taylor, the head of the organization, wrote an article in the New York Times about how victory was days away. Simons disagreed. He wrote a letter to the Times expressing that view. "They kindly published it." A few months later, a reporter asked to interview him about people who work for the defense department but oppose the war. Simons agreed. Told his local boss afterward. "He said, 'You did what?' And he picked up the phone and called General Maxwell Taylor." Silence on the other end. "He hung up. Looked at me. Said, 'You're fired.'" "I said, 'I'm fired? I'm a permanent member.'" "He said, 'I'll tell you the difference between a temporary member and a permanent member. A temporary member has a contract.'" "It was the first time, and happily the last time, I was ever fired." On starting Renaissance: Simons left mathematics at 38. Frustrated. Stuck on a problem he couldn't solve. He had some money from an investment that finally paid off. He invested that money. Found out he wasn't bad at it. He brought in the best modeler he knew. A guy named Lenny Baum. "Lenny started making models. But then he seemed to get less interested in models and more interested in reading the news." "Then he started having opinions on what was going to go up and what was going to go down. And he was right enough times." "I said okay, to hell with the modeling. Let's just try to make some money." What happened next: "We multiplied our investors' money by 12 in two years." "We were incredibly lucky." But in the back of his mind, he knew models were the answer. "If you're doing fundamental trading, one morning you come in, you feel like a genius. Your positions are all your way. You think, God, I'm really smart." "The next day you come in, they've gone against you, and you feel like an idiot." "It just didn't seem like a way to live your life." In 1988, he made the decision: 100% models. No human override. "Some firms say they have models. What they typically mean is the model advises the trader what to do. If he likes the advice, he'll take it. If he doesn't, he won't." "That's not science. You can't simulate that. How were you feeling when you got out of bed 13 years ago? Did you like what the model said?" "If you're going to trade using models, you slavishly use the models. You do whatever the hell it says. No matter how smart or dumb you might think it is at that moment." "That turned out to be a wonderful decision." On the secret sauce: "People always ask me, what's the secret? We're not the only quant firm in the world. But we seem to have done better than anybody." "The real secret sauce is that we start with great scientists. First-class people who've done first-class work." "Second, we provide people with a great infrastructure." "The most important thing is an open atmosphere. Everybody knows what everybody else is doing. No compartmentalization." "And people get paid based on the overall profits. Not just on your work. Everyone has an interest in everyone else's success." "Those policies, no one of which seems so remarkable, turn out to be a pretty winning combination." On guiding principles: His wife told him to end with values. He said he wasn't sure he had any. "She assured me that I had some values, if only I could think hard about them." Here's what he came up with: 1. Do something new. "I don't like to run with the pack. For one thing, I'm not such a fast runner." "If you're one of n people all working on the same problem, I'd be last. But if you can think of a new problem that other people aren't working on, maybe that'll give you a chance." 2. Collaborate with the best people you possibly can. "That gives you some reach and some scope. And it's also fun to work with terrific people." 3. Be guided by beauty. "What's aesthetic is doing it right. Getting the right kind of people. Approaching the problem and doing it right." "It's a beautiful thing to do something right." 4. Don't give up. "Sometimes it's appropriate to be trying to do something for a hell of a long time." 5. Hope for some good luck.

Jaynit

73,903 views • 5 months ago