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How close can a drone fly to a cave ceiling? 🪨 DJI Avata 360 threads cave after cave — propeller guard handling the inches that matter. 🎥:Shilou ⚠️ Professional operation. Do not imitate. #DJI #Avata360

DJI

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15,092 views • 3 months ago •via X (Twitter)

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Facial reconstruction of a 25,000-year-old Gravettian This man was buried together with two teenage girls—his close relatives. Barma Grande is a cave belonging to the famous Grimaldi cave complex in Liguria. The cave was first explored in 1872. Later, Abbo, a local entrepreneur, purchased it for limestone extraction. In 1884, the Frenchman Louis Julien obtained permission from the owner to conduct excavations and, after removing about 8 meters of deposits at the cave entrance, discovered the burial of a man covered with red ochre, accompanied by flint blades. The skeleton was prepared for transport to a museum; however, a dispute over the rights to the finds broke out, resulting in most of the skeleton being destroyed. Further excavations were undertaken by the cave’s owner himself, with very practical goals - to quarry stone for building a terrace under his vineyard. In February 1892, one of Abbo’s children, playing in the cave, came across human bones. The find turned out to be a triple burial of ancient humans. The discovery attracted scholars, who determined that the skeletons had likely been placed in an artificial pit. This conclusion was confirmed by further excavations in the cave. Later, the English patron Thomas Hanbury built a small museum in Grimaldi, where the three discovered skeletons were put on public display. This is the only skeletal material from Grimaldi that has remained in Italy. Barma Grande 2 (the man) lay on his back, while the two adolescents, Barma Grande 3 and 4, lay side by side on their sides, facing the cave entrance. All three appear to have been buried at the same time. The skeletons were covered with ochre, and the grave contained numerous perforated marine shells, deer canines, fish vertebrae, beads and ivory pendants, as well as extraordinarily long flint blades (Gravettian culture). Beneath the skull of BG3, who lay in the middle, was the bone of a horned animal, and beneath the occiput of BG4 was a large flint tool. The ornaments apparently once adorned their clothing. The skeletons belonged to a mature man and two adolescents aged 12–13 and 14–15. Initially, anthropologists assumed that one adolescent was a girl and the other a boy. Nearly 100 years later, skeletal analysis confirmed that Barma Grande 3 was female, but uncertainty remained regarding the second adolescent. The question was finally resolved by recent DNA analysis: both adolescents were girls. Certain features of the skull structure suggested close kinship among all three individuals. This hypothesis was confirmed by mitochondrial DNA analysis of the skeletons in 2006. The man was very tall - 188 cm, with a massive skull and robust limbs. Marked asymmetry in his arms indicated that, due to an injury, he had been forced for a long time to rely almost exclusively on his right hand.

Facial reconstruction of a 25,000-year-old Gravettian This man was buried together with two teenage girls—his close relatives. Barma Grande is a cave belonging to the famous Grimaldi cave complex in Liguria. The cave was first explored in 1872. Later, Abbo, a local entrepreneur, purchased it for limestone extraction. In 1884, the Frenchman Louis Julien obtained permission from the owner to conduct excavations and, after removing about 8 meters of deposits at the cave entrance, discovered the burial of a man covered with red ochre, accompanied by flint blades. The skeleton was prepared for transport to a museum; however, a dispute over the rights to the finds broke out, resulting in most of the skeleton being destroyed. Further excavations were undertaken by the cave’s owner himself, with very practical goals - to quarry stone for building a terrace under his vineyard. In February 1892, one of Abbo’s children, playing in the cave, came across human bones. The find turned out to be a triple burial of ancient humans. The discovery attracted scholars, who determined that the skeletons had likely been placed in an artificial pit. This conclusion was confirmed by further excavations in the cave. Later, the English patron Thomas Hanbury built a small museum in Grimaldi, where the three discovered skeletons were put on public display. This is the only skeletal material from Grimaldi that has remained in Italy. Barma Grande 2 (the man) lay on his back, while the two adolescents, Barma Grande 3 and 4, lay side by side on their sides, facing the cave entrance. All three appear to have been buried at the same time. The skeletons were covered with ochre, and the grave contained numerous perforated marine shells, deer canines, fish vertebrae, beads and ivory pendants, as well as extraordinarily long flint blades (Gravettian culture). Beneath the skull of BG3, who lay in the middle, was the bone of a horned animal, and beneath the occiput of BG4 was a large flint tool. The ornaments apparently once adorned their clothing. The skeletons belonged to a mature man and two adolescents aged 12–13 and 14–15. Initially, anthropologists assumed that one adolescent was a girl and the other a boy. Nearly 100 years later, skeletal analysis confirmed that Barma Grande 3 was female, but uncertainty remained regarding the second adolescent. The question was finally resolved by recent DNA analysis: both adolescents were girls. Certain features of the skull structure suggested close kinship among all three individuals. This hypothesis was confirmed by mitochondrial DNA analysis of the skeletons in 2006. The man was very tall - 188 cm, with a massive skull and robust limbs. Marked asymmetry in his arms indicated that, due to an injury, he had been forced for a long time to rely almost exclusively on his right hand.

Ancestral Whispers

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Hailuo MiniMax H3 vs. Seedance 2.0 Experimented more for comparisons, i am loving MiniMax H3. 2K resolution videos for 4 times cheaper than seedance 2.0 is too hot to resist. Thank you Hailuo AI (MiniMax) for making it easier to creators. Its not just cheap, in some cases it is also performing way better than seedance 2.0 in terms of visuals and framing. One example is given below. Used same Text to Video Prompt Prompt: Create a 15-second photorealistic cinematic dark-fantasy sequence in 16:9 widescreen. The video must contain exactly three clearly separated cinematic shots connected by clean hard cuts. No dissolves, morphing transitions or continuous camera orbit. MASTER DRAGON LOCK: Show one enormous ancient dragon with a broad powerful body, charcoal-black overlapping scales, subtle dark crimson colouring across its head and neck, two swept-back horns, smaller facial spikes, glowing amber-orange eyes, one long tail and one pair of enormous bat-like wings with dark leathery membranes. The dragon has four legs: two forelegs and two hind legs. Its design, size, horns, colour, anatomy and facial structure remain identical in all three shots. The dragon must feel extremely heavy, ancient and physically realistic. MASTER RIDER LOCK: One adult armoured rider is already seated securely in a dark leather saddle on the dragon from the very first frame. The rider wears detailed weathered silver plate armour, dark under-clothing, a fitted medieval helmet with a narrow shadowed visor and a long dark cloak. The rider’s face is never clearly visible. The rider holds leather reins connected to the saddle and remains seated throughout the entire sequence. The rider does not suddenly appear, mount, dismount or change clothing. During the first shot, the rider is naturally hidden behind the dragon’s large head, neck and folded wings. ENVIRONMENT AND LIGHTING: The sequence takes place inside a gigantic ancient mountain cave. The cave contains rough black rock walls, enormous stone formations, drifting mist, scattered bones and faint glowing embers between cracks in the ground. The far interior is almost black, but the dragon must remain readable through soft amber reflections and cold blue rim light entering from the cave mouth. The cave entrance opens from a high mountain cliff into a vast dramatic landscape of jagged mountains, deep valleys, distant waterfalls, rolling clouds and pale stormy daylight. Maintain a cinematic cold-blue and muted-amber colour palette with deep shadows, volumetric light rays and realistic atmospheric haze. Dark and mysterious, but never so underexposed that the dragon or rider becomes blurry or invisible. SHOT 1 — DRAGON EMERGES, 0–5 SECONDS: Begin with a symmetrical low frontal wide shot positioned near the cave entrance, facing deep into the darkness. The camera slowly tracks backward toward the entrance as the enormous dragon walks forward out of the black cave interior. The dragon’s wings remain completely folded against both sides of its body. Its glowing amber eyes appear first, followed by its horned head, shoulders and powerful forelegs becoming visible through the mist. Each heavy footstep shakes the cave floor and dislodges small stones and dust from the ceiling. The dragon exhales dense vapour from its nostrils and releases a deep restrained growl. Its head moves naturally with the weight of each step. The dragon looks directly past the camera toward the cave opening. The rider is already seated but remains hidden behind the dragon’s head and neck. Do not reveal the rider clearly during this shot. SHOT 2 — RIDER REVEAL, 5–9 SECONDS: Clean hard cut to a low three-quarter side tracking shot beside the moving dragon. Begin close to the dragon’s horned head and sharply detailed scales. Track smoothly backward along the dragon’s neck and folded wing while the dragon continues walking toward the cave entrance. As the camera reaches the dragon’s shoulder, reveal the single armoured rider seated in the saddle between the folded wings. Hold the composition long enough to clearly show the rider’s silver armour, helmet, dark cloak and both hands gripping the reins. The rider looks toward the bright cave exit and leans slightly forward in preparation for takeoff. The dragon and rider remain in continuous forward motion. Do not show a separate rider anywhere else in the cave. SHOT 3 — REAR TAKEOFF AND FLIGHT, 9–15 SECONDS: Clean hard cut to an epic wide rear view positioned behind and slightly above the dragon and rider. The bright cave mouth and vast mountain landscape fill the background ahead of them. The dragon accelerates into a powerful run toward the cave opening while its wings remain folded enough to pass safely through the cave. The dragon reaches the cliff edge and makes one forceful leap completely out of the cave. Only after clearing the rock opening, it spreads both enormous wings to their full symmetrical width. The sudden wing expansion pushes mist, dust and loose stones outward from the cave entrance. The rider leans forward, grips the reins and remains firmly attached to the saddle. The dragon performs one enormous downward wingbeat, catches the air and transitions naturally into stable forward flight. Loose stones fall from the cliff beneath it. The camera rapidly follows from behind as the dragon and rider soar away over the deep valley between jagged mountain peaks. The long tail streams naturally behind the dragon and the rider’s cloak whips in the wind. End on a majestic wide rear silhouette of the dragon flying into the open mountain landscape as sunlight breaks through the storm clouds. CAMERA AND MOTION: Premium cinematic camera movement with realistic scale and parallax. Shot one is a controlled backward dolly. Shot two is a smooth low side-tracking reveal. Shot three is a dynamic rear pursuit shot that follows the takeoff out of the cave. Use natural motion blur only during the leap and wingbeat. Keep the dragon’s movement heavy on the ground and powerful but graceful in the air. No shaky chaotic framing and no extreme close-ups that obscure the action. CINEMATIC QUALITY: Big-budget photorealistic dark-fantasy visual effects, highly detailed scales and armour, realistic creature muscles beneath the skin, physically accurate wing membranes, believable foot contact, convincing dust and falling-rock physics, volumetric cave mist, dramatic rim lighting, strong depth, atmospheric perspective and stable character consistency. AUDIO: No dialogue and no music. Deep dragon breathing, restrained growl, heavy echoing footsteps, claws scraping stone, armour movement, leather saddle creaking, falling pebbles, rushing cave wind, powerful wingbeat and a deep dragon roar as it enters open air. STRICT CONSISTENCY: Exactly one dragon and one rider. The rider is seated on the dragon from the beginning and never disappears. No additional people, dragons or creatures. No dragon transformation or colour change. No extra heads, horns, tails, wings, legs or riders. The wings remain folded inside the cave and open only after the dragon has completely cleared the cave mouth. The wings must not clip through the cave walls. The rider must not float above the saddle or merge into the dragon. No fire breathing, combat, dialogue, text, logos, blood or visible injuries.

Hailuo MiniMax H3 vs. Seedance 2.0 Experimented more for comparisons, i am loving MiniMax H3. 2K resolution videos for 4 times cheaper than seedance 2.0 is too hot to resist. Thank you Hailuo AI (MiniMax) for making it easier to creators. Its not just cheap, in some cases it is also performing way better than seedance 2.0 in terms of visuals and framing. One example is given below. Used same Text to Video Prompt Prompt: Create a 15-second photorealistic cinematic dark-fantasy sequence in 16:9 widescreen. The video must contain exactly three clearly separated cinematic shots connected by clean hard cuts. No dissolves, morphing transitions or continuous camera orbit. MASTER DRAGON LOCK: Show one enormous ancient dragon with a broad powerful body, charcoal-black overlapping scales, subtle dark crimson colouring across its head and neck, two swept-back horns, smaller facial spikes, glowing amber-orange eyes, one long tail and one pair of enormous bat-like wings with dark leathery membranes. The dragon has four legs: two forelegs and two hind legs. Its design, size, horns, colour, anatomy and facial structure remain identical in all three shots. The dragon must feel extremely heavy, ancient and physically realistic. MASTER RIDER LOCK: One adult armoured rider is already seated securely in a dark leather saddle on the dragon from the very first frame. The rider wears detailed weathered silver plate armour, dark under-clothing, a fitted medieval helmet with a narrow shadowed visor and a long dark cloak. The rider’s face is never clearly visible. The rider holds leather reins connected to the saddle and remains seated throughout the entire sequence. The rider does not suddenly appear, mount, dismount or change clothing. During the first shot, the rider is naturally hidden behind the dragon’s large head, neck and folded wings. ENVIRONMENT AND LIGHTING: The sequence takes place inside a gigantic ancient mountain cave. The cave contains rough black rock walls, enormous stone formations, drifting mist, scattered bones and faint glowing embers between cracks in the ground. The far interior is almost black, but the dragon must remain readable through soft amber reflections and cold blue rim light entering from the cave mouth. The cave entrance opens from a high mountain cliff into a vast dramatic landscape of jagged mountains, deep valleys, distant waterfalls, rolling clouds and pale stormy daylight. Maintain a cinematic cold-blue and muted-amber colour palette with deep shadows, volumetric light rays and realistic atmospheric haze. Dark and mysterious, but never so underexposed that the dragon or rider becomes blurry or invisible. SHOT 1 — DRAGON EMERGES, 0–5 SECONDS: Begin with a symmetrical low frontal wide shot positioned near the cave entrance, facing deep into the darkness. The camera slowly tracks backward toward the entrance as the enormous dragon walks forward out of the black cave interior. The dragon’s wings remain completely folded against both sides of its body. Its glowing amber eyes appear first, followed by its horned head, shoulders and powerful forelegs becoming visible through the mist. Each heavy footstep shakes the cave floor and dislodges small stones and dust from the ceiling. The dragon exhales dense vapour from its nostrils and releases a deep restrained growl. Its head moves naturally with the weight of each step. The dragon looks directly past the camera toward the cave opening. The rider is already seated but remains hidden behind the dragon’s head and neck. Do not reveal the rider clearly during this shot. SHOT 2 — RIDER REVEAL, 5–9 SECONDS: Clean hard cut to a low three-quarter side tracking shot beside the moving dragon. Begin close to the dragon’s horned head and sharply detailed scales. Track smoothly backward along the dragon’s neck and folded wing while the dragon continues walking toward the cave entrance. As the camera reaches the dragon’s shoulder, reveal the single armoured rider seated in the saddle between the folded wings. Hold the composition long enough to clearly show the rider’s silver armour, helmet, dark cloak and both hands gripping the reins. The rider looks toward the bright cave exit and leans slightly forward in preparation for takeoff. The dragon and rider remain in continuous forward motion. Do not show a separate rider anywhere else in the cave. SHOT 3 — REAR TAKEOFF AND FLIGHT, 9–15 SECONDS: Clean hard cut to an epic wide rear view positioned behind and slightly above the dragon and rider. The bright cave mouth and vast mountain landscape fill the background ahead of them. The dragon accelerates into a powerful run toward the cave opening while its wings remain folded enough to pass safely through the cave. The dragon reaches the cliff edge and makes one forceful leap completely out of the cave. Only after clearing the rock opening, it spreads both enormous wings to their full symmetrical width. The sudden wing expansion pushes mist, dust and loose stones outward from the cave entrance. The rider leans forward, grips the reins and remains firmly attached to the saddle. The dragon performs one enormous downward wingbeat, catches the air and transitions naturally into stable forward flight. Loose stones fall from the cliff beneath it. The camera rapidly follows from behind as the dragon and rider soar away over the deep valley between jagged mountain peaks. The long tail streams naturally behind the dragon and the rider’s cloak whips in the wind. End on a majestic wide rear silhouette of the dragon flying into the open mountain landscape as sunlight breaks through the storm clouds. CAMERA AND MOTION: Premium cinematic camera movement with realistic scale and parallax. Shot one is a controlled backward dolly. Shot two is a smooth low side-tracking reveal. Shot three is a dynamic rear pursuit shot that follows the takeoff out of the cave. Use natural motion blur only during the leap and wingbeat. Keep the dragon’s movement heavy on the ground and powerful but graceful in the air. No shaky chaotic framing and no extreme close-ups that obscure the action. CINEMATIC QUALITY: Big-budget photorealistic dark-fantasy visual effects, highly detailed scales and armour, realistic creature muscles beneath the skin, physically accurate wing membranes, believable foot contact, convincing dust and falling-rock physics, volumetric cave mist, dramatic rim lighting, strong depth, atmospheric perspective and stable character consistency. AUDIO: No dialogue and no music. Deep dragon breathing, restrained growl, heavy echoing footsteps, claws scraping stone, armour movement, leather saddle creaking, falling pebbles, rushing cave wind, powerful wingbeat and a deep dragon roar as it enters open air. STRICT CONSISTENCY: Exactly one dragon and one rider. The rider is seated on the dragon from the beginning and never disappears. No additional people, dragons or creatures. No dragon transformation or colour change. No extra heads, horns, tails, wings, legs or riders. The wings remain folded inside the cave and open only after the dragon has completely cleared the cave mouth. The wings must not clip through the cave walls. The rider must not float above the saddle or merge into the dragon. No fire breathing, combat, dialogue, text, logos, blood or visible injuries.

MadMax

13,880 views • 15 days ago

This has been circulating in expedition forums for weeks. No location. No names. No paper. Someone with a camera walked up to an opening in the rock and started filming. Look at what's inside. It's not a bear. Bears have fur, and this doesn't. It's not a rock. Rocks don't have that shape. Whatever it is, it fills the entire cavity. Nothing behind it. Nothing beside it. Just this. The clip ends before anyone gets closer. Nobody does. What do you think is inside that cave?

This has been circulating in expedition forums for weeks. No location. No names. No paper. Someone with a camera walked up to an opening in the rock and started filming. Look at what's inside. It's not a bear. Bears have fur, and this doesn't. It's not a rock. Rocks don't have that shape. Whatever it is, it fills the entire cavity. Nothing behind it. Nothing beside it. Just this. The clip ends before anyone gets closer. Nobody does. What do you think is inside that cave?

DarkFootage_0_o

8,755,457 views • 1 month ago

REMOTE-CONTROL EXCAVATORS ARE HERE TO BANISH WOLF WHISTLES FROM CONSTRUCTION SITES Used to be, running a 100-ton excavator meant sweating in a metal box, inches from rockslides, cave-ins, and everything else that ruins your week. Now? You run the same beast from a comfy control room, sipping coffee while digging holes the size of houses. The CAT 395 can now be piloted remotely with HD cameras, zero lag controls, and a signal strong enough to work hundreds of feet underground. You’re not just safer; you’re more precise, more efficient, and let’s be honest, way cooler. Real-life video game? Basically. Source: Wealth IG

REMOTE-CONTROL EXCAVATORS ARE HERE TO BANISH WOLF WHISTLES FROM CONSTRUCTION SITES Used to be, running a 100-ton excavator meant sweating in a metal box, inches from rockslides, cave-ins, and everything else that ruins your week. Now? You run the same beast from a comfy control room, sipping coffee while digging holes the size of houses. The CAT 395 can now be piloted remotely with HD cameras, zero lag controls, and a signal strong enough to work hundreds of feet underground. You’re not just safer; you’re more precise, more efficient, and let’s be honest, way cooler. Real-life video game? Basically. Source: Wealth IG

Mario Nawfal

55,369 views • 1 year ago

A Roman emperor ate his meals in a sea cave, a few feet from a massive marble sculpture of the moment Odysseus blinds the Cyclops. Eventually it lay shattered in thousands of pieces on the floor of that cave, and stayed there until 1957... The emperor was Tiberius, who ruled Rome after Augustus, and the cave is at Sperlonga, on the coast between Rome and Naples. It was a natural grotto opening onto the sea, and he turned it into a private dining hall, with pools of water reaching into the mouth of the cave and a platform where he and his guests reclined to eat, the waves echoing off the rock around them... Definitely not a bad place to host dinner. The sculpture stood at the deepest point of the cave and it showed the most terrifying scene in Homer's poem, when Odysseus and his men are trapped inside the cave of Polyphemus, a one-eyed man-eating giant who has sealed them in with a boulder too heavy to move and is eating the crew alive, one by one. Odysseus cannot simply kill him in his sleep, or they will be entombed with the corpse forever. So he gets the giant drunk, waits for him to pass out, hardens the tip of an olive-wood stake in the fire, and drives it into the Cyclops's single eye. The sculptors depicted the instant just before the stake goes in... The colossal figure of Polyphemus sprawls backward, drunk and unaware. Odysseus, the one closest to the Cyclops, and three of his men strain upward with the spike. It was carved larger than life and set in shadow at the back of the grotto, so that as the lamplight shifted, the whole scene seemed to move over the emperor's dinner. The Roman historians Tacitus and Suetonius both record that in the year 26 AD, while Tiberius was dining there, rocks fell from the roof of the grotto, crushing several of his attendants and nearly killing the emperor, who was shielded and dragged out. In that collapse, or in a later one, the great marble scenes were smashed into thousands of fragments. There they lay, at the bottom of the cave, until 1957, when workers building a coastal road cut into the ground and found them. Among the rubble they pulled out the colossal head of the giant himself, and slowly, piece by piece, the scene was put back together. The cave gave up two more secrets: the first was an inscription, ten lines of Latin verse, praising the grotto and saying that only a new Virgil could do justice to its statues of Scylla and the blinding of the monster by the man from Ithaca. It told the archaeologists exactly what they had found. The second was carved into the base of the neighbouring ship: three names, Athenodoros, Agesander, and Polydorus, the same sculptors the Roman writer Pliny had named as the creators of the Laocoön, the statue I wrote about yesterday. Homer's Odyssey is one of the oldest stories in the world, and it has outlived the emperor, the civilization that first told it, and every person who has ever loved it. Nearly three thousand years later, we are still telling the story of a man lost far from home, because some part of us always is... I started my newsletter because the past is full of stories like this one, and so few people ever stop to tell us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

A Roman emperor ate his meals in a sea cave, a few feet from a massive marble sculpture of the moment Odysseus blinds the Cyclops. Eventually it lay shattered in thousands of pieces on the floor of that cave, and stayed there until 1957... The emperor was Tiberius, who ruled Rome after Augustus, and the cave is at Sperlonga, on the coast between Rome and Naples. It was a natural grotto opening onto the sea, and he turned it into a private dining hall, with pools of water reaching into the mouth of the cave and a platform where he and his guests reclined to eat, the waves echoing off the rock around them... Definitely not a bad place to host dinner. The sculpture stood at the deepest point of the cave and it showed the most terrifying scene in Homer's poem, when Odysseus and his men are trapped inside the cave of Polyphemus, a one-eyed man-eating giant who has sealed them in with a boulder too heavy to move and is eating the crew alive, one by one. Odysseus cannot simply kill him in his sleep, or they will be entombed with the corpse forever. So he gets the giant drunk, waits for him to pass out, hardens the tip of an olive-wood stake in the fire, and drives it into the Cyclops's single eye. The sculptors depicted the instant just before the stake goes in... The colossal figure of Polyphemus sprawls backward, drunk and unaware. Odysseus, the one closest to the Cyclops, and three of his men strain upward with the spike. It was carved larger than life and set in shadow at the back of the grotto, so that as the lamplight shifted, the whole scene seemed to move over the emperor's dinner. The Roman historians Tacitus and Suetonius both record that in the year 26 AD, while Tiberius was dining there, rocks fell from the roof of the grotto, crushing several of his attendants and nearly killing the emperor, who was shielded and dragged out. In that collapse, or in a later one, the great marble scenes were smashed into thousands of fragments. There they lay, at the bottom of the cave, until 1957, when workers building a coastal road cut into the ground and found them. Among the rubble they pulled out the colossal head of the giant himself, and slowly, piece by piece, the scene was put back together. The cave gave up two more secrets: the first was an inscription, ten lines of Latin verse, praising the grotto and saying that only a new Virgil could do justice to its statues of Scylla and the blinding of the monster by the man from Ithaca. It told the archaeologists exactly what they had found. The second was carved into the base of the neighbouring ship: three names, Athenodoros, Agesander, and Polydorus, the same sculptors the Roman writer Pliny had named as the creators of the Laocoön, the statue I wrote about yesterday. Homer's Odyssey is one of the oldest stories in the world, and it has outlived the emperor, the civilization that first told it, and every person who has ever loved it. Nearly three thousand years later, we are still telling the story of a man lost far from home, because some part of us always is... I started my newsletter because the past is full of stories like this one, and so few people ever stop to tell us why they matter. Every week I try to. If that is something you'd like to be part of, you can join through the link in my bio, and if you'd like to support my work, a paid subscription is what makes it possible. Thanks for reading.

James Lucas

398,514 views • 1 month ago

In a remote area of Sinaloa, members of La Mayiza showcased an FPV drone equipped with a fiber optic module, claiming it belongs to “La Chapiza.” However, it may be linked to the CJNG–Chapiza alliance, though confirmation is uncertain. The drone, a 10-inch Mark4 V2, uses a fiber optic module for transmission via a thin cable instead of radio frequency, making it resistant to standard electronic countermeasures. While not invincible—shotguns or cable-cutting can disable it—this technology shifts the dynamics of confrontations between cartels and Mexican law enforcement. Initially, the video’s authenticity was questioned, but analysis by specialists (Pernicious Propaganda via X) found no evidence to dispute its legitimacy or that it was filmed in Mexico. This case highlights a trend: cartels are advancing technologically in a decentralized way. Skilled “drone pilots” innovate with advanced platforms like fiber optic-equipped drones, while others use less reliable, rudimentary versions. Such technology has been observed across regions like Veracruz, Guerrero, Michoacán, and Sinaloa, ranging from modified DJI Avata 2 drones to cutting-edge systems.

In a remote area of Sinaloa, members of La Mayiza showcased an FPV drone equipped with a fiber optic module, claiming it belongs to “La Chapiza.” However, it may be linked to the CJNG–Chapiza alliance, though confirmation is uncertain. The drone, a 10-inch Mark4 V2, uses a fiber optic module for transmission via a thin cable instead of radio frequency, making it resistant to standard electronic countermeasures. While not invincible—shotguns or cable-cutting can disable it—this technology shifts the dynamics of confrontations between cartels and Mexican law enforcement. Initially, the video’s authenticity was questioned, but analysis by specialists (Pernicious Propaganda via X) found no evidence to dispute its legitimacy or that it was filmed in Mexico. This case highlights a trend: cartels are advancing technologically in a decentralized way. Skilled “drone pilots” innovate with advanced platforms like fiber optic-equipped drones, while others use less reliable, rudimentary versions. Such technology has been observed across regions like Veracruz, Guerrero, Michoacán, and Sinaloa, ranging from modified DJI Avata 2 drones to cutting-edge systems.

Cartel Watch

126,578 views • 10 months ago

LEONARDO, also called LEO, was built by researchers at Caltech’s Center for Autonomous Systems and Technologies. Its full name means LEgs ONboARD drOne. The idea is simple but unusual: • Build a small biped robot • Give it drone-style thrust • Use the legs for ground contact • Use the propellers for balance and lift • Combine walking, hopping and flying in one system LEO is basically a hybrid between a walking robot and a flying drone. How it was built: • Two lightweight legs • Three actuated joints in each leg • Four propeller thrusters near the shoulders • A lightweight body • Leg motors for ground movement • Propellers for balance, lift and aerial control • Real-time control software that synchronizes the legs and propellers How it walks: • The legs move the robot forward • The feet touch the ground like a normal biped • The propellers constantly correct balance from above • The robot can stay upright even in unstable situations • The thrust reduces the risk of falling during difficult motions How it flies: • The legs stop being the main locomotion system • The four propellers generate lift • The robot behaves more like a drone • It can take off, fly over obstacles and land back on its legs What makes it different: • It does not walk like a normal humanoid • It does not fly like a normal drone • It blends both systems • The legs handle contact with the ground • The propellers act like fast stabilizers • The control system decides how much help comes from the legs and how much comes from thrust That is why LEO can: • Walk • Hop • Fly over obstacles • Ride a skateboard • Balance on a slackline The key idea is walking with aerial stabilization.

LEONARDO, also called LEO, was built by researchers at Caltech’s Center for Autonomous Systems and Technologies. Its full name means LEgs ONboARD drOne. The idea is simple but unusual: • Build a small biped robot • Give it drone-style thrust • Use the legs for ground contact • Use the propellers for balance and lift • Combine walking, hopping and flying in one system LEO is basically a hybrid between a walking robot and a flying drone. How it was built: • Two lightweight legs • Three actuated joints in each leg • Four propeller thrusters near the shoulders • A lightweight body • Leg motors for ground movement • Propellers for balance, lift and aerial control • Real-time control software that synchronizes the legs and propellers How it walks: • The legs move the robot forward • The feet touch the ground like a normal biped • The propellers constantly correct balance from above • The robot can stay upright even in unstable situations • The thrust reduces the risk of falling during difficult motions How it flies: • The legs stop being the main locomotion system • The four propellers generate lift • The robot behaves more like a drone • It can take off, fly over obstacles and land back on its legs What makes it different: • It does not walk like a normal humanoid • It does not fly like a normal drone • It blends both systems • The legs handle contact with the ground • The propellers act like fast stabilizers • The control system decides how much help comes from the legs and how much comes from thrust That is why LEO can: • Walk • Hop • Fly over obstacles • Ride a skateboard • Balance on a slackline The key idea is walking with aerial stabilization.

Techniahqrobot | humanoid robots

135,515 views • 1 month ago

He was a good stalker. Here's something crazy that happened to Eurogamer: "The surprises didn't end here either. I agreed to help Squint by retrieving the artefact, and descended into a cave system for a fraught encounter with a bloodsucker – a tentacle-faced mutant that can turn invisible. But after defeating the creature and retrieving the artefact, I received a "mission failed" notification. Excuse me, Stalker 2, but don't you mean "mission succeeded"? I soon found out the game was in the right, as upon returning to Squint’s hidey-hole, I discovered that he was dead. I asked the developer supervising the session if this was supposed to happen, to which he shrugged, explaining that Squint was not a particularly important character. This much certainly proved true. Despite "failing" to help Squint, the story continued unhindered, and I got to sell the artefact I found for a nice cash bonus."

He was a good stalker. Here's something crazy that happened to Eurogamer: "The surprises didn't end here either. I agreed to help Squint by retrieving the artefact, and descended into a cave system for a fraught encounter with a bloodsucker – a tentacle-faced mutant that can turn invisible. But after defeating the creature and retrieving the artefact, I received a "mission failed" notification. Excuse me, Stalker 2, but don't you mean "mission succeeded"? I soon found out the game was in the right, as upon returning to Squint’s hidey-hole, I discovered that he was dead. I asked the developer supervising the session if this was supposed to happen, to which he shrugged, explaining that Squint was not a particularly important character. This much certainly proved true. Despite "failing" to help Squint, the story continued unhindered, and I got to sell the artefact I found for a nice cash bonus."

S.T.A.L.K.E.R. 2 News

25,212 views • 1 year ago

Whoopsie~ <3 I kinda can’t believe you fell for that~ 💕 Obviously you weren’t gonna quit after one sacrifice~ I just said that to see if you were weak enough~ 𝐃𝐞𝐬𝐩𝐞𝐫𝐚𝐭𝐞 enough~ To actually cave~ And what do you know~ Deep down~ In that pretty lil heart~ You were a needy, xp 𝐬𝐩𝐮𝐫𝐭𝐢𝐧𝐠 lil simp~ And now your fucked~ Hooked to the feeling that rises when you simp away yummy xp at my pretty feet~ Don’t worry simpy~ This is your perf place~ 𝐃𝐞𝐬𝐩𝐞𝐫𝐚𝐭𝐞~ Obedient~ And totally 𝐦𝐢𝐧𝐞~ <3

Whoopsie~ <3 I kinda can’t believe you fell for that~ 💕 Obviously you weren’t gonna quit after one sacrifice~ I just said that to see if you were weak enough~ 𝐃𝐞𝐬𝐩𝐞𝐫𝐚𝐭𝐞 enough~ To actually cave~ And what do you know~ Deep down~ In that pretty lil heart~ You were a needy, xp 𝐬𝐩𝐮𝐫𝐭𝐢𝐧𝐠 lil simp~ And now your fucked~ Hooked to the feeling that rises when you simp away yummy xp at my pretty feet~ Don’t worry simpy~ This is your perf place~ 𝐃𝐞𝐬𝐩𝐞𝐫𝐚𝐭𝐞~ Obedient~ And totally 𝐦𝐢𝐧𝐞~ <3

💖~CatfishSuccubrat Alice~💖

10,150 views • 2 months ago

Must Watch: BBC Middle East Correspondent Hugo Bachega interviewed Ghazi Hamad, the spokesperson of Hamas. Hamad claimed, "I think from the first moment, we declared that this operation was not directed at the civilians. But I can confirm and assure again and again that there was no command to kill any civilians." After Hamad insisted again that the group's attack on Israel, which killed over 1,400 people was a "military operation," Bachega asked him "How do you justify killing people as they sleep, families." This is how Hamad reacted... Thoughts?

Must Watch: BBC Middle East Correspondent Hugo Bachega interviewed Ghazi Hamad, the spokesperson of Hamas. Hamad claimed, "I think from the first moment, we declared that this operation was not directed at the civilians. But I can confirm and assure again and again that there was no command to kill any civilians." After Hamad insisted again that the group's attack on Israel, which killed over 1,400 people was a "military operation," Bachega asked him "How do you justify killing people as they sleep, families." This is how Hamad reacted... Thoughts?

Brian Krassenstein

1,377,219 views • 2 years ago

✨ I added actual collision maps to as Javi Lopez ⛩️ kept telling me to do at our weekly coworking day today This means now the drone can not fly through buildings but it can fly through holes inside buildings like windows etc. Buildings are important because you can take cover there, bullets also hit the collision maps At the end of the video to show it worked I flew the drone a bit too hard into the wall so it died 😂 The tech behind it is Mesh BVH, so cool!!! "Mesh BVH is a THREE.js addon that builds a Bounding Volume Hierarchy from a mesh's triangles. A BVH is a tree where each node holds a box containing some triangles; child nodes split those triangles into smaller boxes. Queries walk the tree and skip entire branches that can't possibly contain the answer, turning "check all 5,000 triangles" into "check ~log₂(5000) ≈ 12 boxes."

✨ I added actual collision maps to as Javi Lopez ⛩️ kept telling me to do at our weekly coworking day today This means now the drone can not fly through buildings but it can fly through holes inside buildings like windows etc. Buildings are important because you can take cover there, bullets also hit the collision maps At the end of the video to show it worked I flew the drone a bit too hard into the wall so it died 😂 The tech behind it is Mesh BVH, so cool!!! "Mesh BVH is a THREE.js addon that builds a Bounding Volume Hierarchy from a mesh's triangles. A BVH is a tree where each node holds a box containing some triangles; child nodes split those triangles into smaller boxes. Queries walk the tree and skip entire branches that can't possibly contain the answer, turning "check all 5,000 triangles" into "check ~log₂(5000) ≈ 12 boxes."

@levelsio

87,643 views • 4 months ago