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Gaussian splats explained in under 2 minutes. Spenser Dickerson at RenderCon 2026. #3Dart #3Drendering #MotionDesign #VFX #Blender #CGI #3Danimation #Motiongraphics #3DVisualization

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The Render Network

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18,304 Aufrufe • vor 4 Monaten •via X (Twitter)

#3Dart#3Drendering#MotionDesign#VFX#Blender#CGI#3Danimation#Motiongraphics#3DVisualization
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New 2026 Reel! watch in HD here: #3d #3dart #animation #motiondesign #vfx #cgi #digitalart

Ian Frederick

19,746 Aufrufe • vor 6 Monaten

This is the power of VFX and AI now.. Creating volumetric effects in AI and then using AfterEffects and Premiere to layer and edit + Topaz Labs to upscale, you can visually achieve the same effects that would have taken me A LOT longer in Cinema4D/Blender. This is really amazing, only because if I can do this now with what we have, imagine where it will be in 6-mo 🔥 it will only get better. Soon we’ll be able to do a lot more within 3D environments with gaussian splats and volumetric effects. It won’t be long after that before Cinema, blender and others integrate gaussian splats and generative prompting directly into the software design and render process. At that point things are going to get REALLY BADASS! I’m chillin tonight, finally a night off lol. But tomorrow I’ll show you guys how I did this ❤️
0:53

This is the power of VFX and AI now.. Creating volumetric effects in AI and then using AfterEffects and Premiere to layer and edit + Topaz Labs to upscale, you can visually achieve the same effects that would have taken me A LOT longer in Cinema4D/Blender. This is really amazing, only because if I can do this now with what we have, imagine where it will be in 6-mo 🔥 it will only get better. Soon we’ll be able to do a lot more within 3D environments with gaussian splats and volumetric effects. It won’t be long after that before Cinema, blender and others integrate gaussian splats and generative prompting directly into the software design and render process. At that point things are going to get REALLY BADASS! I’m chillin tonight, finally a night off lol. But tomorrow I’ll show you guys how I did this ❤️

Dustin Hollywood

19,760 Aufrufe • vor 10 Monaten

This is running in a browser tab. No engine. No install. No download. Six spells, real-time particle simulation, refracting ice geometry, and a live VFX editor on the right side where every parameter is tunable while the scene runs. A studio VFX artist builds this in weeks. It is genuinely the hardest discipline in 3D - nothing about particle work is intuitive. The thing that changed is not that AI got better at art. It is that Astra writes geometry and shaders as CODE instead of as files. A game made of .fbx files is a game an AI can only rearrange. A game made of code is a game an AI can edit. That is why the good demos this week are all three.js and Blender-scripted, and why they run at 60fps in a tab. Dude built a full game this way and it came out under 2 MB before audio. Every rock, tree and character - procedural code, not assets. The cost consequence is the part almost nobody understood: → let the model CLICK in Blender: burns your weekly cap in two minutes → let the model WRITE Blender Python: ~100x cheaper One builder shipped a complete 3D roguelike level - day/night cycle, weather, modeling, texturing, enemies - for 3% of his quota. That is the entire reason why. Scripts, not clicks. It's the single rule that decides your bill. Full breakdown + the 7-day guide in the article below ↓
0:28

This is running in a browser tab. No engine. No install. No download. Six spells, real-time particle simulation, refracting ice geometry, and a live VFX editor on the right side where every parameter is tunable while the scene runs. A studio VFX artist builds this in weeks. It is genuinely the hardest discipline in 3D - nothing about particle work is intuitive. The thing that changed is not that AI got better at art. It is that Astra writes geometry and shaders as CODE instead of as files. A game made of .fbx files is a game an AI can only rearrange. A game made of code is a game an AI can edit. That is why the good demos this week are all three.js and Blender-scripted, and why they run at 60fps in a tab. Dude built a full game this way and it came out under 2 MB before audio. Every rock, tree and character - procedural code, not assets. The cost consequence is the part almost nobody understood: → let the model CLICK in Blender: burns your weekly cap in two minutes → let the model WRITE Blender Python: ~100x cheaper One builder shipped a complete 3D roguelike level - day/night cycle, weather, modeling, texturing, enemies - for 3% of his quota. That is the entire reason why. Scripts, not clicks. It's the single rule that decides your bill. Full breakdown + the 7-day guide in the article below ↓

Aleiah

37,652 Aufrufe • vor 11 Tagen

youtube terminated my channel on 8 may under "sex and nudity." appeal reversed it in 20 minutes. today their public comms account replied that the channel is demonetised for "mass-produced inauthentic content." same channel. same catalogue. fourth rationale in four months. the rotation: — 2 feb 2026: channel demonetised under "inauthentic content" — 3 feb 2026: i submitted an appeal video documenting my full production pipeline end-to-end — 5 feb 2026: appeal rejected. rejection cited generic examples (mass-produced templates, slideshows, repost content) that did not describe my work — 9 feb 2026: i replied with evidence of prior manual long-form approval for advertisers. response upheld the rejection but introduced a new rationale — "sexually gratifying content" — without resolving the original. specialist team stated my appeal video was "included in the comprehensive check." the video has 0 views on the youtube dashboard. — 8 may 2026: channel terminated under "sex and nudity." second channel auto-removed under "circumvention" — 8 may 2026, 20 minutes after appeal submitted: both channels reinstated — 27 may 2026: public reply from TeamYouTube states the channel is demonetised for "mass-produced inauthentic content" no strikes. no content removals. no specific videos ever cited. three months between the february determination and the may termination with no further uploads, no further flags, no warning that ceasing all activity would itself escalate. work is original AI-assisted surrealist VFX with full voiceover authorship and a multi-stage production pipeline. each piece takes days. there is no template. the most consistent signal across this entire process is that no rationale survives engagement. the inauthentic flag dissolved when i provided evidence of authorship. the sex-and-nudity termination dissolved on appeal in 20 minutes. now the rationale has rotated back to where it started. creators working in ambiguous moderation territory — horror, body-as-subject art, AI VFX — deserve more than a rotating set of policy rationales applied to the same catalogue without specific evidence. Rene Ritchie evidence in replies ↓
4:59

youtube terminated my channel on 8 may under "sex and nudity." appeal reversed it in 20 minutes. today their public comms account replied that the channel is demonetised for "mass-produced inauthentic content." same channel. same catalogue. fourth rationale in four months. the rotation: — 2 feb 2026: channel demonetised under "inauthentic content" — 3 feb 2026: i submitted an appeal video documenting my full production pipeline end-to-end — 5 feb 2026: appeal rejected. rejection cited generic examples (mass-produced templates, slideshows, repost content) that did not describe my work — 9 feb 2026: i replied with evidence of prior manual long-form approval for advertisers. response upheld the rejection but introduced a new rationale — "sexually gratifying content" — without resolving the original. specialist team stated my appeal video was "included in the comprehensive check." the video has 0 views on the youtube dashboard. — 8 may 2026: channel terminated under "sex and nudity." second channel auto-removed under "circumvention" — 8 may 2026, 20 minutes after appeal submitted: both channels reinstated — 27 may 2026: public reply from TeamYouTube states the channel is demonetised for "mass-produced inauthentic content" no strikes. no content removals. no specific videos ever cited. three months between the february determination and the may termination with no further uploads, no further flags, no warning that ceasing all activity would itself escalate. work is original AI-assisted surrealist VFX with full voiceover authorship and a multi-stage production pipeline. each piece takes days. there is no template. the most consistent signal across this entire process is that no rationale survives engagement. the inauthentic flag dissolved when i provided evidence of authorship. the sex-and-nudity termination dissolved on appeal in 20 minutes. now the rationale has rotated back to where it started. creators working in ambiguous moderation territory — horror, body-as-subject art, AI VFX — deserve more than a rotating set of policy rationales applied to the same catalogue without specific evidence. Rene Ritchie evidence in replies ↓

Lola Viscera

30,706 Aufrufe • vor 3 Monaten

📢 A major boost to connectivity in Himachal Pradesh! 🛣️ 2️⃣ major tunnels at Deod and Hanogi are being opened to traffic on 11 September 2026, marking a significant transformation in connectivity on the Pandoh–Takoli section of NH-03. The 2.8-km Deod Tunnel (T4-01) and 650-metre Hanogi Tunnel (T4-02) will ease two of the most critical bottlenecks on this vital route to Kullu-Manali and onward towards Leh-Ladakh. The tunnels will reduce the affected road stretch from 6 km to 3.5 km and provide relief from prolonged congestion at Jogni Mata Mandir, Deod and Hanogi, where tourist-season traffic can face delays of 1–2 hours or more. As part of the ₹4,465.94-crore 4️⃣-laning project of the End of Pandoh Bypass–Takoli section of NH-21, the 18.908-km corridor is being executed under the Hybrid Annuity Mode (HAM). With improved traffic flow, the journey from Mandi to Kullu is expected to come down from around 2 hours to approximately 60 minutes, under normal traffic conditions. Under the visionary leadership of Hon’ble PM Shri Narendra Modi Ji, we remain committed to building safer, faster and more reliable connectivity for the people of Himachal Pradesh. #PragatiKaHighway #GatiShakti
2:59

📢 A major boost to connectivity in Himachal Pradesh! 🛣️ 2️⃣ major tunnels at Deod and Hanogi are being opened to traffic on 11 September 2026, marking a significant transformation in connectivity on the Pandoh–Takoli section of NH-03. The 2.8-km Deod Tunnel (T4-01) and 650-metre Hanogi Tunnel (T4-02) will ease two of the most critical bottlenecks on this vital route to Kullu-Manali and onward towards Leh-Ladakh. The tunnels will reduce the affected road stretch from 6 km to 3.5 km and provide relief from prolonged congestion at Jogni Mata Mandir, Deod and Hanogi, where tourist-season traffic can face delays of 1–2 hours or more. As part of the ₹4,465.94-crore 4️⃣-laning project of the End of Pandoh Bypass–Takoli section of NH-21, the 18.908-km corridor is being executed under the Hybrid Annuity Mode (HAM). With improved traffic flow, the journey from Mandi to Kullu is expected to come down from around 2 hours to approximately 60 minutes, under normal traffic conditions. Under the visionary leadership of Hon’ble PM Shri Narendra Modi Ji, we remain committed to building safer, faster and more reliable connectivity for the people of Himachal Pradesh. #PragatiKaHighway #GatiShakti

Nitin Gadkari

96,147 Aufrufe • vor 7 Tagen

Here are 10 AI video editor GitHub repos worth bookmarking: 1. Shotcut Most actively maintained open source video editor in 2026. 14K stars. Cross-platform with AI-assisted features. Just shipped a new release April 30, 2026. 2. Kdenlive The closest open source alternative to Adobe Premiere Pro. Multi-track editing, proxy editing, VST audio, and customizable workspace. Best for professional workflows. 3. OpenShot The easiest entry point for beginners. Drag and drop, 400+ transitions, 3D titles, and AI-assisted trimming. 5,700 stars. 4. Blender Not just 3D. Blender's video sequence editor and compositing pipeline is used in professional film production. 18,300 stars. Unmatched for VFX. 5. Recordly Screen recorder with auto-zoom, cursor polish, webcam overlays, and styled frames built in. Built for demo videos and walkthroughs. 6. Wan2.1 Alibaba's open source text-to-video model. Cinema-grade 1080p generation. Apache 2.0. The gold standard for open source video generation in 2026. 7. HunyuanVideo Tencent's 13B parameter open source video model. 11.9K stars. Handles 720p and 1080p with high temporal coherence. 8. CogVideoX Apache 2.0 licensed. Loads natively via Hugging Face Diffusers. Strong prompt following and smooth frame transitions. Needs 16GB VRAM minimum. 12.5K stars. 9. Open-Sora Most starred open source video generation project at 24K stars. Full training pipeline for $200K. Production-level output quality. 10. Mochi 1 Focused entirely on motion quality. The most natural-looking physics of any open source video model. Water, fabric, and human gestures without AI jitter. Apache 2.0.
1:18

Here are 10 AI video editor GitHub repos worth bookmarking: 1. Shotcut Most actively maintained open source video editor in 2026. 14K stars. Cross-platform with AI-assisted features. Just shipped a new release April 30, 2026. 2. Kdenlive The closest open source alternative to Adobe Premiere Pro. Multi-track editing, proxy editing, VST audio, and customizable workspace. Best for professional workflows. 3. OpenShot The easiest entry point for beginners. Drag and drop, 400+ transitions, 3D titles, and AI-assisted trimming. 5,700 stars. 4. Blender Not just 3D. Blender's video sequence editor and compositing pipeline is used in professional film production. 18,300 stars. Unmatched for VFX. 5. Recordly Screen recorder with auto-zoom, cursor polish, webcam overlays, and styled frames built in. Built for demo videos and walkthroughs. 6. Wan2.1 Alibaba's open source text-to-video model. Cinema-grade 1080p generation. Apache 2.0. The gold standard for open source video generation in 2026. 7. HunyuanVideo Tencent's 13B parameter open source video model. 11.9K stars. Handles 720p and 1080p with high temporal coherence. 8. CogVideoX Apache 2.0 licensed. Loads natively via Hugging Face Diffusers. Strong prompt following and smooth frame transitions. Needs 16GB VRAM minimum. 12.5K stars. 9. Open-Sora Most starred open source video generation project at 24K stars. Full training pipeline for $200K. Production-level output quality. 10. Mochi 1 Focused entirely on motion quality. The most natural-looking physics of any open source video model. Water, fabric, and human gestures without AI jitter. Apache 2.0.

Kanika

17,726 Aufrufe • vor 3 Monaten

An alert bystander, running along the river's edge near NIFS called MESA 911 Dispatch after seeing/hearing someone enter the water, go under and not surface. Following the noise, the runner made an effort to make contact with the person in the water, but did not see him once he neared the area. The man stayed on scene to assist IFD with the last seen point, which was crucial to the success of finding the victim in such a large body of water. Within 40 minutes of entering the water IFD Divers located the victim, approximately 15 feet from shore, 6 feet down, water temp. about 65 degrees, visibility was less than a foot. Thus far in 2026, IFD has had 28 Dive Runs with 12 of those marked working. This is the 9th fatal drowning in Marion County for 2026 with 2 additional that were non-fatal. Working Dive Rescue University Blvd and Blake St Dispatched at 6:58 PM 14 IFD Units Dispatched – Including IFD Tactical Dive Team 7 and IFD Tactical Dive Team 14 Victim Located by Diver 3 at 8:08 PM Victim pronounced deceased by IEMS On Scene Medical Doctor at 8:13 PM The incident and investigation have been turned over to DNR. Any additional information will come from DNR. 93 WIBC Indianapolis
3:51

An alert bystander, running along the river's edge near NIFS called MESA 911 Dispatch after seeing/hearing someone enter the water, go under and not surface. Following the noise, the runner made an effort to make contact with the person in the water, but did not see him once he neared the area. The man stayed on scene to assist IFD with the last seen point, which was crucial to the success of finding the victim in such a large body of water. Within 40 minutes of entering the water IFD Divers located the victim, approximately 15 feet from shore, 6 feet down, water temp. about 65 degrees, visibility was less than a foot. Thus far in 2026, IFD has had 28 Dive Runs with 12 of those marked working. This is the 9th fatal drowning in Marion County for 2026 with 2 additional that were non-fatal. Working Dive Rescue University Blvd and Blake St Dispatched at 6:58 PM 14 IFD Units Dispatched – Including IFD Tactical Dive Team 7 and IFD Tactical Dive Team 14 Victim Located by Diver 3 at 8:08 PM Victim pronounced deceased by IEMS On Scene Medical Doctor at 8:13 PM The incident and investigation have been turned over to DNR. Any additional information will come from DNR. 93 WIBC Indianapolis

Johnette Cruz

62,135 Aufrufe • vor 2 Monaten

In Parliament, I explained why India must put land & property records on BLOCKCHAIN. Land records in India are in utter chaos. Ordinary citizens are made to run from pillar to post at registrar offices, while dalals and middlemen capture the system. Circle rates are exploited to fuel cash deals, property tax leakages continue, fake documents and encroachments multiply, and disputes over title never end. The numbers tell the story: •⁠ ⁠66% of all India’s civil disputes are land disputes. •⁠ ⁠45% of properties lack a clear title. •⁠ ⁠48% are already under dispute. •⁠ ⁠India ranks 133 out of 190 in property registration efficiency. •⁠ ⁠Even a simple property sale can take 2 to 6 months. When disputes arise, civil courts take 7 years on average to resolve them. •⁠ ⁠And 6.2 crore property documents are still pending digitisation. That is why I argued in Parliament for a National Blockchain Property Register. Time stamped, tamper proof, fully transparent. It can make title verification instant, and ensure every sale, mutation and inheritance is recorded cleanly and traceably in realtime. Countries like Sweden, Georgia and the UAE have shown what is possible. Transactions can finish in minutes, and dispute rates fall sharply. India must move from chaos to clarity. From a land record system that creates obstacles to one that prevents them.
2:12

In Parliament, I explained why India must put land & property records on BLOCKCHAIN. Land records in India are in utter chaos. Ordinary citizens are made to run from pillar to post at registrar offices, while dalals and middlemen capture the system. Circle rates are exploited to fuel cash deals, property tax leakages continue, fake documents and encroachments multiply, and disputes over title never end. The numbers tell the story: •⁠ ⁠66% of all India’s civil disputes are land disputes. •⁠ ⁠45% of properties lack a clear title. •⁠ ⁠48% are already under dispute. •⁠ ⁠India ranks 133 out of 190 in property registration efficiency. •⁠ ⁠Even a simple property sale can take 2 to 6 months. When disputes arise, civil courts take 7 years on average to resolve them. •⁠ ⁠And 6.2 crore property documents are still pending digitisation. That is why I argued in Parliament for a National Blockchain Property Register. Time stamped, tamper proof, fully transparent. It can make title verification instant, and ensure every sale, mutation and inheritance is recorded cleanly and traceably in realtime. Countries like Sweden, Georgia and the UAE have shown what is possible. Transactions can finish in minutes, and dispute rates fall sharply. India must move from chaos to clarity. From a land record system that creates obstacles to one that prevents them.

Raghav Chadha

445,031 Aufrufe • vor 7 Monaten

A Nairobi man is seeking help after an encounter with a woman on the night of Friday, 2 January 2026, after which his ATM card went missing and Ksh 70,000 was withdrawn in two transactions at an Equity Bank ATM in Kawangware, with CCTV images and bank alerts already obtained showing the woman at the machine. He says the matter has been reported at Riruta Police Station and is currently under inquiry, even as he continues to appeal for information from the public to help identify her whereabouts and ensure she faces justice. “Hello Cyprian. Help a brother. A woman who saw me swiping my card, stole it and withdrew Ksh 70,000 on Friday night. I am still getting more images from the bank and the case has been reported. I want the lady exposed and to face justice so no man goes through this. I dropped the lady in Satelight, Riruta while semi-unconscious. She tricked me saying she was going to a friend’s house with a key while I waited with an empty purse in my car. A few minutes later, I realized my ATM was missing and before I could block it, she had already withdrawn the cash. I am offering a reward of Ksh 15,000 to anyone who can positively identify her whereabouts, including her house number, estate, or place of stay. The police OB has been filed at Riruta Police Station and the case is being investigated. Money was stolen in two withdrawals, Ksh 40,000 and Ksh 30,000, from the Equity Bank ATM in Kawangware. I do not wish my identity to be disclosed but can provide pictures showing the lady, the location she tricked me to, and the purported estate she stays in. Let me know if you need any further information.”
0:45

A Nairobi man is seeking help after an encounter with a woman on the night of Friday, 2 January 2026, after which his ATM card went missing and Ksh 70,000 was withdrawn in two transactions at an Equity Bank ATM in Kawangware, with CCTV images and bank alerts already obtained showing the woman at the machine. He says the matter has been reported at Riruta Police Station and is currently under inquiry, even as he continues to appeal for information from the public to help identify her whereabouts and ensure she faces justice. “Hello Cyprian. Help a brother. A woman who saw me swiping my card, stole it and withdrew Ksh 70,000 on Friday night. I am still getting more images from the bank and the case has been reported. I want the lady exposed and to face justice so no man goes through this. I dropped the lady in Satelight, Riruta while semi-unconscious. She tricked me saying she was going to a friend’s house with a key while I waited with an empty purse in my car. A few minutes later, I realized my ATM was missing and before I could block it, she had already withdrawn the cash. I am offering a reward of Ksh 15,000 to anyone who can positively identify her whereabouts, including her house number, estate, or place of stay. The police OB has been filed at Riruta Police Station and the case is being investigated. Money was stolen in two withdrawals, Ksh 40,000 and Ksh 30,000, from the Equity Bank ATM in Kawangware. I do not wish my identity to be disclosed but can provide pictures showing the lady, the location she tricked me to, and the purported estate she stays in. Let me know if you need any further information.”

Nyakundi Report

40,734 Aufrufe • vor 8 Monaten

QUESTION: What is the relationship between section 91(2)—the term limit provision—and section 95(2)—the term length provision in the Constitution of Zimbabwe (2013)? ANSWER: Section 91(2) is the term-limit provision. It regulates the President’s tenure by limiting the length of time that he or she may hold or occupy the Presidency as a public officer to a maximum of two terms—whether consecutive or not—where three or more years’ service is deemed a full term. By contrast, section 95(2) is the term-length provision. It regulates the electoral cycle of the Presidency as an office or institution by defining a single term as five years (now proposed to be seven years under Clause 4 of the Constitution of Zimbabwe (Amendment No. 3) H.B. 1 Bill, 2026). The relationship between sections 91(2) and 95(2) is therefore as clear and straightforward as that between a truck driver and a 500 km highway: section 91(2) limits the driver, while section 95(2) defines the length of the highway. Section 91(2) caps the time any individual may occupy the Presidency; section 95(2) sets the institutional length or duration of each presidential term or electoral cycle. This distinction matters because a persistent misconception claims that section 91(2) is not the presidential term-limit provision but merely a qualification rule for election as President, asserts that section 95(2) is the actual term-limit clause. Many who advance this incorrect view rely on one sentence in the obiter dictum by Patel JCC at paragraph 50 of the precedent-setting judgment in Marx Mupungu v Minister of Justice, Legal and Parliamentary Affairs & 6 Ors (CCZ 7/21, 2021) [see: which includes section 95(2) among examples of term-limit provisions. That misconception overlooks a fundamental constitutional imperative: a presidential term-limit provision is, by definition, a disqualifier for election as President. Term limits on presidents are necessarily about elections. They limit qualification for election. Where there is no presidential term limit, re-election is unlimited. In a recent discussion with D. Tinashé Hofisi on 23 April 2026 [ on the Constitution of Zimbabwe (Amendment No. 3) Bill hosted by The Southern African Times, I explained the relationship between the two sections. Below is the verbatim text of the attached clip extracted from the discussion addressing the import of section 91(2) and its relationship with section 95(2): ME: “It’s a clear term limit provision; is similar to term limit provisions in other jurisdictions that are comparable to Zimbabwe. And when you say it doesn’t have time, it doesn’t make reference to time, I’m at a loss as to what that means, and where that is coming from, with respect to Dr Hofisi, because it says a person is disqualified for election as President or appointment as Vice President if he or she has already held office as President under this constitution for two terms. This is the only section which tells us how many terms a President is limited to. Section 95 doesn’t even tell us that he’s limited to one term. There’s no limit. This one limits the President to two terms. And the two terms, the last time I checked, was a reference to time. And in this case, the section doesn’t leave us doubting or not knowing what a term is or what sort of time a term is. Because it continues to say these two terms are counted whether they follow each other or not. But most significantly, for the purpose of the limit on the President, the term limit on the President, which is provided in this section: three or more years. That’s time. You said there’s no time here. Three years is time. The length of time is three years minimum, and the maximum is more. It’s not defined here. It’s three or more years. It’s more because that is subject to what the relevant law about electoral cycles says is the electoral cycle of the institution that the President occupies”. [verbatim text of clip from The 500 km Highway Metaphor: Distinguishing Sections 91(2) and 95(2) of the Constitution To clearly understand the relationship between sections 91(2) and 95(2), imagine the Presidency as a magnificent 500-kilometre highway built and maintained by section 95(2) of the Constitution. This provision creates the presidential highway itself: it defines the office of the President as a permanent public institution and sets the exact length of each single term — currently five years, now proposed under the Bill to be seven years. It establishes a structured, recurring electoral cycle that belongs to the people of Zimbabwe, ensuring regular, orderly renewal of leadership. Without section 95(2), there would be no defined road — only an open plain of indefinite power. Section 91(2) governs the individual truck driver on that highway. It imposes an absolute lifetime limit: no person may complete more than two full trips along this 500 km highway, whether those trips are taken back-to-back or years apart. Any segment of 300 kilometres or more — that is, three or more years in office — counts as one complete trip. There are no partial credits or exceptions. After two full trips, the driver is permanently disqualified from driving on that highway, again. The distinction is sharp and deliberate: Section 95(2) builds the highway and determines the length of each journey. Section 91(2) limits how many times any single individual is permitted to travel it. One structures the office; the other limits the person who occupies it. Together, they form the Constitution’s twin safeguards — working in perfect harmony to keep power temporary, accountable, and subordinate to the will of the people. To conflate their distinct roles is to weaken these vital safeguards and to invite the very tyranny the Constitution was written to prevent. The Profound and Protective Meaning of “Three or More Years” in Section 91(2) of the Constitution At the heart of section 91(2) lies one of the Constitution’s most brilliant safeguards: “for the purpose of this subsection, three or more years’ service is deemed to be a full term.” The word “more” is no mere drafting flourish—it is deliberate constitutional genius. It declares that section 91(2), as the personal lifetime term-limit provision, imposes no rigid numerical ceiling. Subject to what is reasonable and justifiable in a constitutional democracy under section 95(2), service of four years, five years, six years, seven years, or even longer—once it exceeds the three-year threshold—is unequivocally deemed a complete term for the purpose of lifetime disqualification. This flexibility is not a loophole; it is a wise design that refuses to let the term-limit clause under section 91(2) become brittle or easily evaded. This open-ended “more” is anchored in section 91(2)’s harmonious relationship with section 95(2)(b), which defines the official electoral cycle of the Presidency as a permanent public institution whose five-year lifespan is inextricably intertwined with that of Parliament. Section 91(2) places an iron-clad personal disqualification on the individual; section 95(2) defines the dimensions of the highway itself. Crucially, section 95(2) is not a term-limit provision under subsections (1) and (7) of section 328. Unlike the referendum-protected personal term limit in section 91(2), it may be amended by Parliament under section 328(5) without a national referendum. This distinction is no accident; it is constitutional wisdom. It allows the institutional framework of the Presidency to evolve with the nation’s needs while the unbreakable personal lifetime bar on any single individual remains forever sacrosanct. All told, sections 91(2) and 95(2) differ in character and purpose—one limits the President, the other structures the public office or institution of the Presidency—yet they stand together as the Constitution’s twin guardians. This elegant complementarity keeps presidential power temporary, accountable, and forever subordinate to the sovereign will of the people through the institution or office of the Presidency. To respect and defend this relationship is to honour the very soul of the Constitution: ensuring that no individual can ever turn the highway into their driveway—turning the public office into a personal fiefdom—and that the highway of governance remains open, regularly renewed, and eternally in faithful service to the people of Zimbabwe. This is the promise the Constitution makes!
2:09

QUESTION: What is the relationship between section 91(2)—the term limit provision—and section 95(2)—the term length provision in the Constitution of Zimbabwe (2013)? ANSWER: Section 91(2) is the term-limit provision. It regulates the President’s tenure by limiting the length of time that he or she may hold or occupy the Presidency as a public officer to a maximum of two terms—whether consecutive or not—where three or more years’ service is deemed a full term. By contrast, section 95(2) is the term-length provision. It regulates the electoral cycle of the Presidency as an office or institution by defining a single term as five years (now proposed to be seven years under Clause 4 of the Constitution of Zimbabwe (Amendment No. 3) H.B. 1 Bill, 2026). The relationship between sections 91(2) and 95(2) is therefore as clear and straightforward as that between a truck driver and a 500 km highway: section 91(2) limits the driver, while section 95(2) defines the length of the highway. Section 91(2) caps the time any individual may occupy the Presidency; section 95(2) sets the institutional length or duration of each presidential term or electoral cycle. This distinction matters because a persistent misconception claims that section 91(2) is not the presidential term-limit provision but merely a qualification rule for election as President, asserts that section 95(2) is the actual term-limit clause. Many who advance this incorrect view rely on one sentence in the obiter dictum by Patel JCC at paragraph 50 of the precedent-setting judgment in Marx Mupungu v Minister of Justice, Legal and Parliamentary Affairs & 6 Ors (CCZ 7/21, 2021) [see: which includes section 95(2) among examples of term-limit provisions. That misconception overlooks a fundamental constitutional imperative: a presidential term-limit provision is, by definition, a disqualifier for election as President. Term limits on presidents are necessarily about elections. They limit qualification for election. Where there is no presidential term limit, re-election is unlimited. In a recent discussion with D. Tinashé Hofisi on 23 April 2026 [ on the Constitution of Zimbabwe (Amendment No. 3) Bill hosted by The Southern African Times, I explained the relationship between the two sections. Below is the verbatim text of the attached clip extracted from the discussion addressing the import of section 91(2) and its relationship with section 95(2): ME: “It’s a clear term limit provision; is similar to term limit provisions in other jurisdictions that are comparable to Zimbabwe. And when you say it doesn’t have time, it doesn’t make reference to time, I’m at a loss as to what that means, and where that is coming from, with respect to Dr Hofisi, because it says a person is disqualified for election as President or appointment as Vice President if he or she has already held office as President under this constitution for two terms. This is the only section which tells us how many terms a President is limited to. Section 95 doesn’t even tell us that he’s limited to one term. There’s no limit. This one limits the President to two terms. And the two terms, the last time I checked, was a reference to time. And in this case, the section doesn’t leave us doubting or not knowing what a term is or what sort of time a term is. Because it continues to say these two terms are counted whether they follow each other or not. But most significantly, for the purpose of the limit on the President, the term limit on the President, which is provided in this section: three or more years. That’s time. You said there’s no time here. Three years is time. The length of time is three years minimum, and the maximum is more. It’s not defined here. It’s three or more years. It’s more because that is subject to what the relevant law about electoral cycles says is the electoral cycle of the institution that the President occupies”. [verbatim text of clip from The 500 km Highway Metaphor: Distinguishing Sections 91(2) and 95(2) of the Constitution To clearly understand the relationship between sections 91(2) and 95(2), imagine the Presidency as a magnificent 500-kilometre highway built and maintained by section 95(2) of the Constitution. This provision creates the presidential highway itself: it defines the office of the President as a permanent public institution and sets the exact length of each single term — currently five years, now proposed under the Bill to be seven years. It establishes a structured, recurring electoral cycle that belongs to the people of Zimbabwe, ensuring regular, orderly renewal of leadership. Without section 95(2), there would be no defined road — only an open plain of indefinite power. Section 91(2) governs the individual truck driver on that highway. It imposes an absolute lifetime limit: no person may complete more than two full trips along this 500 km highway, whether those trips are taken back-to-back or years apart. Any segment of 300 kilometres or more — that is, three or more years in office — counts as one complete trip. There are no partial credits or exceptions. After two full trips, the driver is permanently disqualified from driving on that highway, again. The distinction is sharp and deliberate: Section 95(2) builds the highway and determines the length of each journey. Section 91(2) limits how many times any single individual is permitted to travel it. One structures the office; the other limits the person who occupies it. Together, they form the Constitution’s twin safeguards — working in perfect harmony to keep power temporary, accountable, and subordinate to the will of the people. To conflate their distinct roles is to weaken these vital safeguards and to invite the very tyranny the Constitution was written to prevent. The Profound and Protective Meaning of “Three or More Years” in Section 91(2) of the Constitution At the heart of section 91(2) lies one of the Constitution’s most brilliant safeguards: “for the purpose of this subsection, three or more years’ service is deemed to be a full term.” The word “more” is no mere drafting flourish—it is deliberate constitutional genius. It declares that section 91(2), as the personal lifetime term-limit provision, imposes no rigid numerical ceiling. Subject to what is reasonable and justifiable in a constitutional democracy under section 95(2), service of four years, five years, six years, seven years, or even longer—once it exceeds the three-year threshold—is unequivocally deemed a complete term for the purpose of lifetime disqualification. This flexibility is not a loophole; it is a wise design that refuses to let the term-limit clause under section 91(2) become brittle or easily evaded. This open-ended “more” is anchored in section 91(2)’s harmonious relationship with section 95(2)(b), which defines the official electoral cycle of the Presidency as a permanent public institution whose five-year lifespan is inextricably intertwined with that of Parliament. Section 91(2) places an iron-clad personal disqualification on the individual; section 95(2) defines the dimensions of the highway itself. Crucially, section 95(2) is not a term-limit provision under subsections (1) and (7) of section 328. Unlike the referendum-protected personal term limit in section 91(2), it may be amended by Parliament under section 328(5) without a national referendum. This distinction is no accident; it is constitutional wisdom. It allows the institutional framework of the Presidency to evolve with the nation’s needs while the unbreakable personal lifetime bar on any single individual remains forever sacrosanct. All told, sections 91(2) and 95(2) differ in character and purpose—one limits the President, the other structures the public office or institution of the Presidency—yet they stand together as the Constitution’s twin guardians. This elegant complementarity keeps presidential power temporary, accountable, and forever subordinate to the sovereign will of the people through the institution or office of the Presidency. To respect and defend this relationship is to honour the very soul of the Constitution: ensuring that no individual can ever turn the highway into their driveway—turning the public office into a personal fiefdom—and that the highway of governance remains open, regularly renewed, and eternally in faithful service to the people of Zimbabwe. This is the promise the Constitution makes!

Prof Jonathan Moyo

13,203 Aufrufe • vor 4 Monaten

In June 1982, the IRGC deployed between 800 and 1,500 Revolutionary Guards to Lebanon’s Bekaa Valley. Their mission was to recruit, train, and unify Lebanese Shia militants into a single organization under Iranian ideological guidance. The organization that emerged was Hezbollah. Its 1985 founding charter pledged allegiance to Iran’s velayat-e faqih doctrine and described the Iranian regime as the “vanguard” of a global Islamic state. This is not contested history. It is documented in a declassified 1984 CIA report, in Hezbollah deputy secretary-general Naim Qassem’s own memoir, and in the charter itself. In November 2024, after a ceasefire ended the previous round of fighting, Iran sent approximately 100 IRGC officers back to Lebanon to retrain Hezbollah fighters, reorganize them into small decentralized units, and oversee a full rearmament program funded at $50 million per month, most of it from Tehran. Reuters confirmed this through six sources briefed on Hezbollah’s finances. By March 2 2026, when Hezbollah launched its first rockets into Israel in solidarity with Iran after the killing of Khamenei, the group had been rebuilt from the inside out by its creator. Since March 2, at least 1,953 people have been killed in Lebanon. Over 1.2 million have been displaced. Nine bridges over the Litani River have been systematically destroyed, isolating the south from aid, food, and medical supply. On April 8, Operation Eternal Darkness hit over 100 targets across Beirut, the Beqaa, and southern Lebanon in ten minutes, killing at least 303 people in the deadliest single day of the war. Hospitals were overwhelmed. The Red Cross described the situation as “severe.” Lebanese authorities called it Black Wednesday. Hezbollah still has an estimated 8,000 to 10,000 rockets and 300 to 400 launchers remaining. On April 9 it claimed 72 operations including 36 rocket launches into Israel. On April 10 it hit homes in Misgav Am and Safed and fired a missile at Ashdod. The group is degraded. It is not broken. Its leader Naim Qassem declared resistance “to the last breath.” And Iran’s delegation, sitting tonight at the Serena Hotel in Islamabad, has made Hezbollah’s survival the precondition for peace. Foreign Ministry spokesperson Baghaei stated that halting the war in Lebanon is “an inseparable part” of the ceasefire framework. Ghalibaf arrived with two demands: full Lebanon ceasefire and release of frozen assets. The IRGC issued a statement affirming it has launched nothing during the ceasefire. Iran is not fighting. Hezbollah is fighting. And Iran is negotiating on behalf of the weapon it built, funded, and rebuilt while the country that weapon operates inside is being destroyed. The costs of Iran’s proxy are denominated in Lebanese casualties, Lebanese bridges, Lebanese hospitals, Lebanese displacement. The benefits of Iran’s proxy are collected in Islamabad, where the precondition buys clock time, extracts sanctions leverage, and preserves Hormuz toll revenue. Iran created Hezbollah to resist Israeli occupation of Lebanon in 1982. In 2026, Iran is using Hezbollah to resist American pressure on Iran while Lebanon absorbs the strikes that Iran’s precondition ensures will continue. Every day Iran insists on a Lebanon ceasefire as its condition for talks, Israel strikes Lebanon harder under the explicit carve-out. The precondition does not protect Lebanon. It prolongs the war in Lebanon. And the organization that was built 44 years ago to defend Lebanese sovereignty is now the mechanism by which Lebanese sovereignty is consumed.
0:38

In June 1982, the IRGC deployed between 800 and 1,500 Revolutionary Guards to Lebanon’s Bekaa Valley. Their mission was to recruit, train, and unify Lebanese Shia militants into a single organization under Iranian ideological guidance. The organization that emerged was Hezbollah. Its 1985 founding charter pledged allegiance to Iran’s velayat-e faqih doctrine and described the Iranian regime as the “vanguard” of a global Islamic state. This is not contested history. It is documented in a declassified 1984 CIA report, in Hezbollah deputy secretary-general Naim Qassem’s own memoir, and in the charter itself. In November 2024, after a ceasefire ended the previous round of fighting, Iran sent approximately 100 IRGC officers back to Lebanon to retrain Hezbollah fighters, reorganize them into small decentralized units, and oversee a full rearmament program funded at $50 million per month, most of it from Tehran. Reuters confirmed this through six sources briefed on Hezbollah’s finances. By March 2 2026, when Hezbollah launched its first rockets into Israel in solidarity with Iran after the killing of Khamenei, the group had been rebuilt from the inside out by its creator. Since March 2, at least 1,953 people have been killed in Lebanon. Over 1.2 million have been displaced. Nine bridges over the Litani River have been systematically destroyed, isolating the south from aid, food, and medical supply. On April 8, Operation Eternal Darkness hit over 100 targets across Beirut, the Beqaa, and southern Lebanon in ten minutes, killing at least 303 people in the deadliest single day of the war. Hospitals were overwhelmed. The Red Cross described the situation as “severe.” Lebanese authorities called it Black Wednesday. Hezbollah still has an estimated 8,000 to 10,000 rockets and 300 to 400 launchers remaining. On April 9 it claimed 72 operations including 36 rocket launches into Israel. On April 10 it hit homes in Misgav Am and Safed and fired a missile at Ashdod. The group is degraded. It is not broken. Its leader Naim Qassem declared resistance “to the last breath.” And Iran’s delegation, sitting tonight at the Serena Hotel in Islamabad, has made Hezbollah’s survival the precondition for peace. Foreign Ministry spokesperson Baghaei stated that halting the war in Lebanon is “an inseparable part” of the ceasefire framework. Ghalibaf arrived with two demands: full Lebanon ceasefire and release of frozen assets. The IRGC issued a statement affirming it has launched nothing during the ceasefire. Iran is not fighting. Hezbollah is fighting. And Iran is negotiating on behalf of the weapon it built, funded, and rebuilt while the country that weapon operates inside is being destroyed. The costs of Iran’s proxy are denominated in Lebanese casualties, Lebanese bridges, Lebanese hospitals, Lebanese displacement. The benefits of Iran’s proxy are collected in Islamabad, where the precondition buys clock time, extracts sanctions leverage, and preserves Hormuz toll revenue. Iran created Hezbollah to resist Israeli occupation of Lebanon in 1982. In 2026, Iran is using Hezbollah to resist American pressure on Iran while Lebanon absorbs the strikes that Iran’s precondition ensures will continue. Every day Iran insists on a Lebanon ceasefire as its condition for talks, Israel strikes Lebanon harder under the explicit carve-out. The precondition does not protect Lebanon. It prolongs the war in Lebanon. And the organization that was built 44 years ago to defend Lebanese sovereignty is now the mechanism by which Lebanese sovereignty is consumed.

Shanaka Anslem Perera ⚡

43,200 Aufrufe • vor 5 Monaten

CUSMA not renewed & NO tariff relief in the first week of July in 2 minutes+. 1⃣ After saying he didn’t discuss CUSMA during a phone call with Trump on June 25, Carney says he did discuss it the next day. 2⃣ 🇨🇦 forecasted 2026 GDP growth is downgraded from 1.2% to 0.7%. 3⃣ Carney announces a competition to renovate 24 Sussex Drive at a cost of $50M with some of it fund raised. 4⃣ 38% of Carney’s cabinet are landlords revealing a stark bias against protecting renters. 5⃣ Dozens are left in the lurch as Immigration grants citizenship, then revokes it. Some are reinstated. Minister Lena Diab won’t reveal what caused the issue. 6⃣ Melanie Joly announces the Liberals are giving $500M to Minerai de fer Québec to decarbonize steel. Liberals have given >$11 billion to the steel, aluminum, auto & forestry sectors in the past year. 7⃣ Carney throws the entire Liberal climate action plan under the bus describing it as “not sustainable.” 8⃣ 🇺🇸 announces it will not renew CUSMA. The 🇺🇸 and 🇲🇽 will hold a third round of formal negotiations on July 21. None are scheduled for 🇨🇦. There will be no tariff relief. 9⃣ David Eby indicates the oil tanker ban will stay in place but will leave any pipeline approvals to Carney. This prevents any new pipelines to northern B.C. Carney gives B.C. $20 billion in return. 🔟The MOU pipeline will be along the TMX (southern) route. Trans Mountain, owned by the Federal gov't, will have a 90% stake with Pembina conditionally financing the remaining 10%. Cost to the taxpayer is unknown. Credit for some clips: cbcwatcher Ryan Gerritsen🇨🇦🇳🇱
2:31

CUSMA not renewed & NO tariff relief in the first week of July in 2 minutes+. 1⃣ After saying he didn’t discuss CUSMA during a phone call with Trump on June 25, Carney says he did discuss it the next day. 2⃣ 🇨🇦 forecasted 2026 GDP growth is downgraded from 1.2% to 0.7%. 3⃣ Carney announces a competition to renovate 24 Sussex Drive at a cost of $50M with some of it fund raised. 4⃣ 38% of Carney’s cabinet are landlords revealing a stark bias against protecting renters. 5⃣ Dozens are left in the lurch as Immigration grants citizenship, then revokes it. Some are reinstated. Minister Lena Diab won’t reveal what caused the issue. 6⃣ Melanie Joly announces the Liberals are giving $500M to Minerai de fer Québec to decarbonize steel. Liberals have given >$11 billion to the steel, aluminum, auto & forestry sectors in the past year. 7⃣ Carney throws the entire Liberal climate action plan under the bus describing it as “not sustainable.” 8⃣ 🇺🇸 announces it will not renew CUSMA. The 🇺🇸 and 🇲🇽 will hold a third round of formal negotiations on July 21. None are scheduled for 🇨🇦. There will be no tariff relief. 9⃣ David Eby indicates the oil tanker ban will stay in place but will leave any pipeline approvals to Carney. This prevents any new pipelines to northern B.C. Carney gives B.C. $20 billion in return. 🔟The MOU pipeline will be along the TMX (southern) route. Trans Mountain, owned by the Federal gov't, will have a 90% stake with Pembina conditionally financing the remaining 10%. Cost to the taxpayer is unknown. Credit for some clips: cbcwatcher Ryan Gerritsen🇨🇦🇳🇱

RMC86

24,699 Aufrufe • vor 2 Monaten

Warner Bros and Netflix executives just froze a $100,000,000 historical epic production after seeing this 48-second clip. A 20-year-old solo creator generated a hyper-realistic scene of a time-traveling travel vlogger interviewing King Leonidas at Thermopylae in 480 BC with zero CGI budget. Total setup cost: $25. Render speed: 4 minutes. Film studio hired: NONE. 142 million views in 3 hours. Half the comments are arguing over the historical accuracy of the 300 Spartans, the other half are demanding a full documentary series. Here is why your brain falls for this visual magic: 1. Dynamic Lip-Sync & Facial Physics: Perfect voice alignment, realistic sweat textures, and organic micro-expressions on both the presenter and Spartan soldiers mid-march. 2. Multi-Agent Cinematic Consistency: Continuous physics rendering of brass armor reflections, dust particulate dynamics, and synchronized footstep impacts. 3. Spatial Camera Logic: Seamless hand-held vlog aesthetic blended with Hollywood-grade depth of field and realistic outdoor light refraction. The dynamic next-gen AI stack operating under the hood: -> Claude 3.7 Sonnet for historical dialogue script, spatial camera vectors, and narrative pacing -> Veo 3.1 for rendering hyper-realistic cinematic lighting, mountain environments, and volumetric dust -> Kling 3.0 Omni for generating multi-character marching mechanics, shield physics, and lip-sync alignment -> Seedance 2.5 for locking facial identity, armor detail consistency, and historical costume accuracy -> ElevenLabs Spatial for 3D binaural shield clashing, marching footsteps, and acoustic voice reverberation -> CapCut Pro for adding raw mobile camera noise, dynamic speed ramps, and historical color grading Hollywood spends hundreds of millions flying 200-person crews to Greece with heavy camera rigs and extra actors. This creator rendered a full-scale ancient battle documentary before her morning coffee got cold. Save this breakdown: the full prompt sequence and workflow pipeline are pinned in the thread.
1:38

Warner Bros and Netflix executives just froze a $100,000,000 historical epic production after seeing this 48-second clip. A 20-year-old solo creator generated a hyper-realistic scene of a time-traveling travel vlogger interviewing King Leonidas at Thermopylae in 480 BC with zero CGI budget. Total setup cost: $25. Render speed: 4 minutes. Film studio hired: NONE. 142 million views in 3 hours. Half the comments are arguing over the historical accuracy of the 300 Spartans, the other half are demanding a full documentary series. Here is why your brain falls for this visual magic: 1. Dynamic Lip-Sync & Facial Physics: Perfect voice alignment, realistic sweat textures, and organic micro-expressions on both the presenter and Spartan soldiers mid-march. 2. Multi-Agent Cinematic Consistency: Continuous physics rendering of brass armor reflections, dust particulate dynamics, and synchronized footstep impacts. 3. Spatial Camera Logic: Seamless hand-held vlog aesthetic blended with Hollywood-grade depth of field and realistic outdoor light refraction. The dynamic next-gen AI stack operating under the hood: -> Claude 3.7 Sonnet for historical dialogue script, spatial camera vectors, and narrative pacing -> Veo 3.1 for rendering hyper-realistic cinematic lighting, mountain environments, and volumetric dust -> Kling 3.0 Omni for generating multi-character marching mechanics, shield physics, and lip-sync alignment -> Seedance 2.5 for locking facial identity, armor detail consistency, and historical costume accuracy -> ElevenLabs Spatial for 3D binaural shield clashing, marching footsteps, and acoustic voice reverberation -> CapCut Pro for adding raw mobile camera noise, dynamic speed ramps, and historical color grading Hollywood spends hundreds of millions flying 200-person crews to Greece with heavy camera rigs and extra actors. This creator rendered a full-scale ancient battle documentary before her morning coffee got cold. Save this breakdown: the full prompt sequence and workflow pipeline are pinned in the thread.

mojesko

1,965,961 Aufrufe • vor 15 Tagen

Y Combinator CEO, Garry Tan, took the stage for 42 minutes at Startup School 2026 and explained how to build your own personal AGI better than any paid AI course. This is what he told the room: 1. The leverage is in your context, not the model. Tan watches hundreds of founders use identical models every batch. "There are 2x people and there are 100x people who are using the same Claude. Same weights, same context window size, same API. But the leverage is not in the weights." The gap between users is now bigger than the gap between models. 2. One person's output went up 400x. In 2013 Tan shipped maybe 14 useful lines of code a day as a YC partner, dead on the median for programmer productivity. "I did the math on my output, and I'm at about 400x what I did in 2013." 3. Agents run on a different working memory. Humans hold 7 things in their head at once. Every org chart and checklist ever built is a patch for that limit. "An AI agent holds a million tokens. That's about a thousand pages. Three Harry Potter books sitting open on its head all at once." You're still running your week on tools built for the 7-digit brain. 4. Markdown is code now. Tan's stack is mostly skill files: pages of plain English an agent can execute. "If you can write clear instructions in English, you're a programmer. The compiler is a language model." At YC, finance and events staff who never opened a terminal are building automations. 5. Your history is your moat. Tan's agent runs on a personal wiki: about 220,000 markdown pages covering 25 years of email, meetings, notes and decisions. "When my agent does anything, it does knowing everything I know. And that's the difference between an assistant and a colleague." No frontier model has your context. That's the one asset nobody can replicate. 6. Never do one-off work. Most people run a task with an agent, close the window and throw the learning away. Tan ends every task by having the agent turn what it did into a reusable skill file. "If you have to ask for something twice, you failed." Captured skills compound daily. Amnesia resets you to zero every morning. 7. Own your skill files before your employer does. A skill file is your judgment, extracted and executable. The only question is who controls it. "Own your skills because if you don't, your job becomes a skill file." Files in your repo compound your career. Files in the company's repo run your judgment without you. Watch it, then read the step-by-step guide on becoming an AI engineer.
42:07

Y Combinator CEO, Garry Tan, took the stage for 42 minutes at Startup School 2026 and explained how to build your own personal AGI better than any paid AI course. This is what he told the room: 1. The leverage is in your context, not the model. Tan watches hundreds of founders use identical models every batch. "There are 2x people and there are 100x people who are using the same Claude. Same weights, same context window size, same API. But the leverage is not in the weights." The gap between users is now bigger than the gap between models. 2. One person's output went up 400x. In 2013 Tan shipped maybe 14 useful lines of code a day as a YC partner, dead on the median for programmer productivity. "I did the math on my output, and I'm at about 400x what I did in 2013." 3. Agents run on a different working memory. Humans hold 7 things in their head at once. Every org chart and checklist ever built is a patch for that limit. "An AI agent holds a million tokens. That's about a thousand pages. Three Harry Potter books sitting open on its head all at once." You're still running your week on tools built for the 7-digit brain. 4. Markdown is code now. Tan's stack is mostly skill files: pages of plain English an agent can execute. "If you can write clear instructions in English, you're a programmer. The compiler is a language model." At YC, finance and events staff who never opened a terminal are building automations. 5. Your history is your moat. Tan's agent runs on a personal wiki: about 220,000 markdown pages covering 25 years of email, meetings, notes and decisions. "When my agent does anything, it does knowing everything I know. And that's the difference between an assistant and a colleague." No frontier model has your context. That's the one asset nobody can replicate. 6. Never do one-off work. Most people run a task with an agent, close the window and throw the learning away. Tan ends every task by having the agent turn what it did into a reusable skill file. "If you have to ask for something twice, you failed." Captured skills compound daily. Amnesia resets you to zero every morning. 7. Own your skill files before your employer does. A skill file is your judgment, extracted and executable. The only question is who controls it. "Own your skills because if you don't, your job becomes a skill file." Files in your repo compound your career. Files in the company's repo run your judgment without you. Watch it, then read the step-by-step guide on becoming an AI engineer.

Alex Prompter

249,533 Aufrufe • vor 1 Monat

On July 2, 2026, officers responded to a report of a gunshot near 1 South Orange Avenue. The preliminary investigation determined that an unidentified individual placed a firearm in a trash receptacle, minutes later returned to retrieve it, and accidentally discharged it, striking a building. No injuries were reported, and no one was threatened during the incident. OPD's Crime Center later located the individual in a downtown parking garage, where officers attempted to make contact. The individual fled. However, the firearm was later recovered nearby and placed into evidence. Investigators determined that the gun was stolen. Investigators also learned the individual was intoxicated throughout the evening and was observed dropping a firearm multiple times while in the presence of numerous patrons in the downtown area. Despite these concerning actions, the Orlando Police Department did not receive any 911 calls from witnesses. During the investigation, detectives reviewed surveillance video, collected evidence, and followed numerous investigative leads. Detectives also learned that officers had made contact with the same individual earlier that evening at the Grand Bohemian Hotel, where he was issued a trespass warning and directed to leave the property. Information obtained during that earlier encounter, combined with the ongoing investigation, enabled detectives to identify the suspect as Justice S. Fletcher. On July 6, 2026, Fletcher was arrested by the Pinellas County Sheriff's Office on unrelated charges and on the outstanding warrant obtained by the Orlando Police Department. Orlando Police Department Charges: - Aggravated Assault with a Firearm - Shooting into a Public Building - Grand Theft - Discharging a Firearm on Public Property - Using a Firearm While Under the Influence of Alcoholic Beverages - Improper Exhibition of a Dangerous Weapon or Firearm - Resisting an Officer Without Violence - Tampering with Evidence The Orlando Police Department stresses the importance of immediately notifying law enforcement when witnessing dangerous behavior involving firearms. Prompt reporting can help prevent injuries and protect our community.
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On July 2, 2026, officers responded to a report of a gunshot near 1 South Orange Avenue. The preliminary investigation determined that an unidentified individual placed a firearm in a trash receptacle, minutes later returned to retrieve it, and accidentally discharged it, striking a building. No injuries were reported, and no one was threatened during the incident. OPD's Crime Center later located the individual in a downtown parking garage, where officers attempted to make contact. The individual fled. However, the firearm was later recovered nearby and placed into evidence. Investigators determined that the gun was stolen. Investigators also learned the individual was intoxicated throughout the evening and was observed dropping a firearm multiple times while in the presence of numerous patrons in the downtown area. Despite these concerning actions, the Orlando Police Department did not receive any 911 calls from witnesses. During the investigation, detectives reviewed surveillance video, collected evidence, and followed numerous investigative leads. Detectives also learned that officers had made contact with the same individual earlier that evening at the Grand Bohemian Hotel, where he was issued a trespass warning and directed to leave the property. Information obtained during that earlier encounter, combined with the ongoing investigation, enabled detectives to identify the suspect as Justice S. Fletcher. On July 6, 2026, Fletcher was arrested by the Pinellas County Sheriff's Office on unrelated charges and on the outstanding warrant obtained by the Orlando Police Department. Orlando Police Department Charges: - Aggravated Assault with a Firearm - Shooting into a Public Building - Grand Theft - Discharging a Firearm on Public Property - Using a Firearm While Under the Influence of Alcoholic Beverages - Improper Exhibition of a Dangerous Weapon or Firearm - Resisting an Officer Without Violence - Tampering with Evidence The Orlando Police Department stresses the importance of immediately notifying law enforcement when witnessing dangerous behavior involving firearms. Prompt reporting can help prevent injuries and protect our community.

Orlando Police

10,342 Aufrufe • vor 2 Monaten

"CAN I EXCHANGE MY FULLY PAID FLAT FOR YOUR RURAL LAND?" A white guy in Manchester, England had a frank discussion with an African immigrant about economic development and empowerment in Africa. The English guy asked my fellow African: 'Do you by any chance own land in Africa?' The brother said yes he owns about 10 hectares in his rural village. "So, why come all the way to England when you have the means of production that can make you very rich?' The African brother started giving excuses: the land is undeveloped; the land has no borehole; that he don't have agricultural equipment to till the land; the government is not supporting rural farmers and many other excuses. The Englishman stood there listening quietly. After 20 minutes of giving all sorts of excuses, my African brother looked up at the quiet Englishman, hoping he understood why he travelled thousands of kilometres to come to England to work in menial jobs! The Englishman ask him "Can I exchange my fully paid flat and give you the title deeds and my 2 cars for your 10 hectares of land in Africa?" The African brother was stunned. He did not understand why a white man with a fully furnished flat and everything, would want to go and farm on a rural undeveloped land. The white guy sat him down and explained: ask any white man, he would gladly develop that land into a highly successful farm. He would grow high value crops eg all types of vegetables, strawberries, start cattle fattening programmes and develop a highly successful farm. The Englishman told him all the wealth is in that piece of land. He can make millions of dollars from that fertile land. The African brother spent days pondering about what his white friend said. After several months of planning and selling all he had in England, my brother came back home and started farming on his 10 hectares of land: putting up a borehole, installing solar energy, started poultry, piggery and cattle fattening and a horticulture project. We should never under-value our rural farms and travel to go work in distant lands. Our future is in developing our rural land and turn it into highly productive farms. Here is Wenceslous Nyamupfukudza, a youth farmer, consultant and agribusiness expert helping all farmers including those developing in rural communities. He developed his rural farm and grows all types of vegetables and keeps cattle. He teaches other rural farmers how to effectively and efficiently use the land for maximum agricultural productivity. We need to change our mindset about the land in our rural areas! It is our wealth!!! Knowledge is potential power, understand and grow your specialised knowledge - Think and Grow rich!
1:08

"CAN I EXCHANGE MY FULLY PAID FLAT FOR YOUR RURAL LAND?" A white guy in Manchester, England had a frank discussion with an African immigrant about economic development and empowerment in Africa. The English guy asked my fellow African: 'Do you by any chance own land in Africa?' The brother said yes he owns about 10 hectares in his rural village. "So, why come all the way to England when you have the means of production that can make you very rich?' The African brother started giving excuses: the land is undeveloped; the land has no borehole; that he don't have agricultural equipment to till the land; the government is not supporting rural farmers and many other excuses. The Englishman stood there listening quietly. After 20 minutes of giving all sorts of excuses, my African brother looked up at the quiet Englishman, hoping he understood why he travelled thousands of kilometres to come to England to work in menial jobs! The Englishman ask him "Can I exchange my fully paid flat and give you the title deeds and my 2 cars for your 10 hectares of land in Africa?" The African brother was stunned. He did not understand why a white man with a fully furnished flat and everything, would want to go and farm on a rural undeveloped land. The white guy sat him down and explained: ask any white man, he would gladly develop that land into a highly successful farm. He would grow high value crops eg all types of vegetables, strawberries, start cattle fattening programmes and develop a highly successful farm. The Englishman told him all the wealth is in that piece of land. He can make millions of dollars from that fertile land. The African brother spent days pondering about what his white friend said. After several months of planning and selling all he had in England, my brother came back home and started farming on his 10 hectares of land: putting up a borehole, installing solar energy, started poultry, piggery and cattle fattening and a horticulture project. We should never under-value our rural farms and travel to go work in distant lands. Our future is in developing our rural land and turn it into highly productive farms. Here is Wenceslous Nyamupfukudza, a youth farmer, consultant and agribusiness expert helping all farmers including those developing in rural communities. He developed his rural farm and grows all types of vegetables and keeps cattle. He teaches other rural farmers how to effectively and efficiently use the land for maximum agricultural productivity. We need to change our mindset about the land in our rural areas! It is our wealth!!! Knowledge is potential power, understand and grow your specialised knowledge - Think and Grow rich!

Wenceslous Nyamupfukudza

71,304 Aufrufe • vor 3 Jahren

Kon~Kon~Kitsune! Taipei! We have received a special video message from Shirakami Fubuki for hololive STAGE World Tour '25 - Synchronize!- @ Taipei! Let's watch them! Everyone in Taipei! こんこんきーつね～！ Hello, I'm 白上フブキ! On February 27, 2026, I will be joining 宝鐘マリン as a special guest for hololive STAGE World Tour ’25 Synchronize Taipei. I am so excited to celebrate the final stop of the world tour together with the hololive members and with all of you. Let us make it an unforgettable night all the way to the very end. ✦⋆⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋆✦ 『hololive STAGE World Tour '25 -Synchronize!- @ Taipei』 ■ Event Details ■ 📅 Date & Time : Friday, February 27, 2026 Doors open at 16:30 | Show starts at 19:00(UTC+8) ▻Planned to be 90 minutes, actual performance times might differs. 📌 Venue : Taipei Music Center (Performance Hall) No. 99, Sec. 8, Civic Blvd, Nangang District, Taipei 【Phase 1: Real-Name Lottery Registration】(UTC+8) 📣 Registration Period: Monday, December 15 12：00PM to Wednesday, December 17 23：59PM 📣 Lottery Results Announcement: Starting from Monday, December 22 12:00 via email (UTC+8). ※ Results will be sent out throughout the day. Once all emails are sent, a public notice will be posted on the official Facebook page and X. You can also check your status under “Order Folder” on KKTIX. If selected, your order will appear as “Billings.” Those not selected will not receive an individual notice. 📣 Payment Deadline: By Wednesday, December 24 23:59 (UTC+8). 📣 Second-Chance Lottery Results: Friday, December 26 12:00 (UTC+8). 📣 Second-Chance Payment Deadline: By Saturday, December 27 23:59 (UTC+8). 【Phase 2: General Real-Name Ticket Sale】(UTC+8) 📣 Sales Start: Sunday, December 28 at 12：00PM (Real-name verification and quiz authentication required) 📣 Ticketing Platform: KKTIX Purchase link will be announced on the official Facebook page and X (formerly Twitter) on Sunday, December 14. #hololive #hololiveSTAGE25 #ShirakamiFubuki #HoushouMarine
0:44

Kon~Kon~Kitsune! Taipei! We have received a special video message from Shirakami Fubuki for hololive STAGE World Tour '25 - Synchronize!- @ Taipei! Let's watch them! Everyone in Taipei! こんこんきーつね～！ Hello, I'm 白上フブキ! On February 27, 2026, I will be joining 宝鐘マリン as a special guest for hololive STAGE World Tour ’25 Synchronize Taipei. I am so excited to celebrate the final stop of the world tour together with the hololive members and with all of you. Let us make it an unforgettable night all the way to the very end. ✦⋆⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋅⋆✦ 『hololive STAGE World Tour '25 -Synchronize!- @ Taipei』 ■ Event Details ■ 📅 Date & Time : Friday, February 27, 2026 Doors open at 16:30 | Show starts at 19:00(UTC+8) ▻Planned to be 90 minutes, actual performance times might differs. 📌 Venue : Taipei Music Center (Performance Hall) No. 99, Sec. 8, Civic Blvd, Nangang District, Taipei 【Phase 1: Real-Name Lottery Registration】(UTC+8) 📣 Registration Period: Monday, December 15 12：00PM to Wednesday, December 17 23：59PM 📣 Lottery Results Announcement: Starting from Monday, December 22 12:00 via email (UTC+8). ※ Results will be sent out throughout the day. Once all emails are sent, a public notice will be posted on the official Facebook page and X. You can also check your status under “Order Folder” on KKTIX. If selected, your order will appear as “Billings.” Those not selected will not receive an individual notice. 📣 Payment Deadline: By Wednesday, December 24 23:59 (UTC+8). 📣 Second-Chance Lottery Results: Friday, December 26 12:00 (UTC+8). 📣 Second-Chance Payment Deadline: By Saturday, December 27 23:59 (UTC+8). 【Phase 2: General Real-Name Ticket Sale】(UTC+8) 📣 Sales Start: Sunday, December 28 at 12：00PM (Real-name verification and quiz authentication required) 📣 Ticketing Platform: KKTIX Purchase link will be announced on the official Facebook page and X (formerly Twitter) on Sunday, December 14. #hololive #hololiveSTAGE25 #ShirakamiFubuki #HoushouMarine

hololive Meet at Taipei 2024

58,127 Aufrufe • vor 9 Monaten

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

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