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I've been obsessed with motion amplified videos lately. By utilizing high definition video & image processing, the tiniest of movements are amplified into clearly seen real-time motion. Clips from RDI Technologies & RMS Ltd. dynamically demonstrate what these systems are capable of. Potential problems become highlighted, with the software... show more

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99,184 views • 5 days ago •via X (Twitter)

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Excited to launch Figma Motion! I joined this effort a few months ago, and one of the many things I’ve been able to design so far: Motion Styles! You’ll be able to save and distribute your own styles very soon. But to get you started, we have 36 premade styles ready for you to play with. We have a ton of stuff in the pipeline, and are working hard to make this the best motion tool out there. Let us know what you need! We’re listening.

Excited to launch Figma Motion! I joined this effort a few months ago, and one of the many things I’ve been able to design so far: Motion Styles! You’ll be able to save and distribute your own styles very soon. But to get you started, we have 36 premade styles ready for you to play with. We have a ton of stuff in the pipeline, and are working hard to make this the best motion tool out there. Let us know what you need! We’re listening.

Billy Sweeney

34,022 views • 2 months ago

19 days after Figma FIGMA MOTION dropped and I was able to squeeze this out of it. For a software in Beta, not bad.. 🚀🔥💜 I did my best to pay as much attention to the original as I could😄. I've been seeing alot of fancy & cool stuffs done with it, but I actually wanted to see it do the hard stuff that brands could pay $$ for. Thank you all once again for your support, following the process from the day I started. It gets better from here🚀💜. UI design & Motion - Figma Sound & Video edit - CapCut

19 days after Figma FIGMA MOTION dropped and I was able to squeeze this out of it. For a software in Beta, not bad.. 🚀🔥💜 I did my best to pay as much attention to the original as I could😄. I've been seeing alot of fancy & cool stuffs done with it, but I actually wanted to see it do the hard stuff that brands could pay $$ for. Thank you all once again for your support, following the process from the day I started. It gets better from here🚀💜. UI design & Motion - Figma Sound & Video edit - CapCut

Khlaseek designer

16,243 views • 1 month ago

Today Luma launched their new RAY3 model, capable of generating High Dynamic Range (HDR) videos natively. Thrilled to share that I’m now a creative partner with Luma. As part of that, I had early access to RAY3 and spent time pushing it to its limits. Here’s one of my test videos. I intentionally let certain shots run long to see how well fidelity and motion would hold up — and it’s impressive. This feels like the closest I’ve seen yet to true handheld camera movement. The potential here for high-motion, action-driven sequences is huge. #ray3

Today Luma launched their new RAY3 model, capable of generating High Dynamic Range (HDR) videos natively. Thrilled to share that I’m now a creative partner with Luma. As part of that, I had early access to RAY3 and spent time pushing it to its limits. Here’s one of my test videos. I intentionally let certain shots run long to see how well fidelity and motion would hold up — and it’s impressive. This feels like the closest I’ve seen yet to true handheld camera movement. The potential here for high-motion, action-driven sequences is huge. #ray3

Ellenor Argyropoulos

37,214 views • 11 months ago

On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.

On Figma Motion, my demo & review. This is one of those updates that clicked swiftly into my workflow. Like in my 3D pipeline, using this stick shift animation, I emphasize hardware feedback with motion from Figma Motion. Assets are animated in Fig Motion and loaded into Blender as video textures for mesh and material control. It's advantageous since it is built into an ubiquitous ecosystem. A lot of work these days start in Figma even for someone like me that works outside the tool frequently. Can't over-emphasize my appreciation for the schema used to introduce motion to nearly all properties. Reminds me of how motion works in Blender - with better complexity management. Better than introducing more menus for those. Ease curves iD between keyframes is also an improvement over existing systems. Having spent some time on the tool, here are updates I'll like to see to Figma Motion. These are based on my immediate needs as at the time of working on this demo: • Using modifier keys (CMD, Shift, Ctrl) to jump / nudge across the timeline. E.g: holding down Shift key to make the playhead jump 100ms etc. • Jump to previous or next keyframe. • Better anchor point trails • Renaming layers from the timeline as well. • Editable custom bezier styles: after saving a style, I should be able to edit the curve - just as you can edit colour styles. • Enable transform on the timeline. I should be able to flip or scale keyframes. I hope to continue trying more ideas. Craft focused tools have had to take a backseat in recent times. Pleasing to see this come to light.

seyi

29,245 views • 2 months ago

Sharing our computer vision system design for TRON: Ares. We approached these shots from the perspective of the machine. The frame becomes a field of observation. Every pixel is potential information waiting to be interpreted. The process begins by squarepacking the live action plates, dividing the image into a computational lattice. Once the grid exists, the system begins to read. Targets emerge. Motion vectors form. Signals ripple through layers of analysis. Inside these overlays lives the source code of the system itself. Streams of logic, fragments of instruction, the internal language of the machine. At times the imagery dissolves directly into that code, as if the world itself is being rewritten from within. Visual information collapses into structure, then reconstructs again as data. Scanning pulses move across the frame. Timers react. Coordinates lock. Each layer is part of a larger ecosystem of perception, constantly processing, evaluating, and iterating. The goal was maximum detail and living systems. Interfaces that breathe, think, and evolve in real time.

Sharing our computer vision system design for TRON: Ares. We approached these shots from the perspective of the machine. The frame becomes a field of observation. Every pixel is potential information waiting to be interpreted. The process begins by squarepacking the live action plates, dividing the image into a computational lattice. Once the grid exists, the system begins to read. Targets emerge. Motion vectors form. Signals ripple through layers of analysis. Inside these overlays lives the source code of the system itself. Streams of logic, fragments of instruction, the internal language of the machine. At times the imagery dissolves directly into that code, as if the world itself is being rewritten from within. Visual information collapses into structure, then reconstructs again as data. Scanning pulses move across the frame. Timers react. Coordinates lock. Each layer is part of a larger ecosystem of perception, constantly processing, evaluating, and iterating. The goal was maximum detail and living systems. Interfaces that breathe, think, and evolve in real time.

GMUNK

37,625 views • 5 months ago

Here's how to record motion data in VRChat💃 I've always done mocap in Unity, but a friend prefers VRChat’s beautiful and detailed IK. So I tested two reliable methods (Shader Motion and Json2Anim) and recorded the full process. Hope this helps! All tools and files you need are in the links below👇 I've been practicing guitar a lot lately for some big projects, so no new mocap videos for now. Let's start with tutorial videos instead🤫

Here's how to record motion data in VRChat💃 I've always done mocap in Unity, but a friend prefers VRChat’s beautiful and detailed IK. So I tested two reliable methods (Shader Motion and Json2Anim) and recorded the full process. Hope this helps! All tools and files you need are in the links below👇 I've been practicing guitar a lot lately for some big projects, so no new mocap videos for now. Let's start with tutorial videos instead🤫

chacha🎸

17,791 views • 5 months ago

Privileged to have inaugurated a project sanctioned by my brother Shri Rahul Gandhi and to have been able to provide water for the Mylukunnu unnathi and all these lovely ladies. I also discussed the long term maintenance issues of these projects with officials of the department and we followed up with a discussion in the DISHA meeting as well. We have suggested some steps to ensure that the handing over of these projects over a period of one year are accompanied by hand holding and guidance by the officials.

Privileged to have inaugurated a project sanctioned by my brother Shri Rahul Gandhi and to have been able to provide water for the Mylukunnu unnathi and all these lovely ladies. I also discussed the long term maintenance issues of these projects with officials of the department and we followed up with a discussion in the DISHA meeting as well. We have suggested some steps to ensure that the handing over of these projects over a period of one year are accompanied by hand holding and guidance by the officials.

Priyanka Gandhi Vadra

66,099 views • 11 months ago

Today, being the Sabbath, I chose to celebrate the gift of life by sharing lunch with vulnerable families from different centers in Kibra. Together, we were able to feed over 500 children. I was also honored to be joined by the CEO of Sialkot Motor Ltd, who has been supporting me in these noble initiatives. While most people prefer to feed such families with the usual meals they are accustomed to, I decided to take a different and unique approach by serving them pizza something many of the children told me they had only seen on TV or in adverts. In total, I was able to feed 563 children with pizza and soda, and I also provided them with maize flour to be used to cook food for them .

Today, being the Sabbath, I chose to celebrate the gift of life by sharing lunch with vulnerable families from different centers in Kibra. Together, we were able to feed over 500 children. I was also honored to be joined by the CEO of Sialkot Motor Ltd, who has been supporting me in these noble initiatives. While most people prefer to feed such families with the usual meals they are accustomed to, I decided to take a different and unique approach by serving them pizza something many of the children told me they had only seen on TV or in adverts. In total, I was able to feed 563 children with pizza and soda, and I also provided them with maize flour to be used to cook food for them .

Geoffrey Mosiria

308,198 views • 1 year ago

[CLIP] by Hand ✍️ The CLIP (Contrastive Language–Image Pre-training) model, a groundbreaking work by OpenAI, redefines the intersection of computer vision and natural language processing. It is the basis of all the multi-modal foundation models we see today. How does CLIP work? Goal: 🟨 Learn a shared embedding space for text and image [1] Given ↳ A mini batch of 3 text-image pairs ↳ OpenAI used 400 million text-image pairs to train its original CLIP model. Process 1st pair: "big table" [2] 🟪 Text → 2 Vectors (3D) ↳ Look up word embedding vectors using word2vec. [3] 🟩 Image → 2 Vectors (4D) ↳ Divide the image into two patches. ↳ Flatten each patch [4] Process other pairs ↳ Repeat [2]-[3] [5] 🟪 Text Encoder & 🟩 Image Encoder ↳ Encode input vectors into feature vectors ↳ Here, both encoders are simple one layer perceptron (linear + ReLU) ↳ In practice, the encoders are usually transformer models. [6] 🟪 🟩 Mean Pooling: 2 → 1 vector ↳ Average 2 feature vectors into a single vector by averaging across the columns ↳ The goal is to have one vector to represent each image or text [7] 🟪 🟩 -> 🟨 Projection ↳ Note that the text and image feature vectors from the encoders have different dimensions (3D vs. 4D). ↳ Use a linear layer to project image and text vectors to a 2D shared embedding space. 🏋️ Contrastive Pre-training 🏋️ [8] Prepare for MatMul ↳ Copy text vectors (T1,T2,T3) ↳ Copy the transpose of image vectors (I1,I2,I3) ↳ They are all in the 2D shared embedding space. [9] 🟦 MatMul ↳ Multiply T and I matrices. ↳ This is equivalent to taking dot product between every pair of image and text vectors. ↳ The purpose is to use dot product to estimate the similarity between a pair of image-text. [10] 🟦 Softmax: e^x ↳ Raise e to the power of the number in each cell ↳ To simplify hand calculation, we approximate e^□ with 3^□. [11] 🟦 Softmax: ∑ ↳ Sum each row for 🟩 image→🟪 text ↳ Sum each column for 🟪 text→ 🟩 image [12] 🟦 Softmax: 1 / sum ↳ Divide each element by the column sum to obtain a similarity matrix for 🟪 text→🟩 image ↳ Divide each element by the row sum to obtain a similarity matrix for 🟩 image→🟪 text [13] 🟥 Loss Gradients ↳ The "Targets" for the similarity matrices are Identity Matrices. ↳ Why? If I and T come from the same pair (i=j), we want the highest value, which is 1, and 0 otherwise. ↳ Apply the simple equation of [Similarity - Target] to compute gradients of for both directions. ↳ Why so simple? Because when Softmax and Cross-Entropy Loss are used together, the math magically works out that way. ↳ These gradients kick off the backpropagation process to update weights and biases of the encoders and projection layers (red borders).

[CLIP] by Hand ✍️ The CLIP (Contrastive Language–Image Pre-training) model, a groundbreaking work by OpenAI, redefines the intersection of computer vision and natural language processing. It is the basis of all the multi-modal foundation models we see today. How does CLIP work? Goal: 🟨 Learn a shared embedding space for text and image [1] Given ↳ A mini batch of 3 text-image pairs ↳ OpenAI used 400 million text-image pairs to train its original CLIP model. Process 1st pair: "big table" [2] 🟪 Text → 2 Vectors (3D) ↳ Look up word embedding vectors using word2vec. [3] 🟩 Image → 2 Vectors (4D) ↳ Divide the image into two patches. ↳ Flatten each patch [4] Process other pairs ↳ Repeat [2]-[3] [5] 🟪 Text Encoder & 🟩 Image Encoder ↳ Encode input vectors into feature vectors ↳ Here, both encoders are simple one layer perceptron (linear + ReLU) ↳ In practice, the encoders are usually transformer models. [6] 🟪 🟩 Mean Pooling: 2 → 1 vector ↳ Average 2 feature vectors into a single vector by averaging across the columns ↳ The goal is to have one vector to represent each image or text [7] 🟪 🟩 -> 🟨 Projection ↳ Note that the text and image feature vectors from the encoders have different dimensions (3D vs. 4D). ↳ Use a linear layer to project image and text vectors to a 2D shared embedding space. 🏋️ Contrastive Pre-training 🏋️ [8] Prepare for MatMul ↳ Copy text vectors (T1,T2,T3) ↳ Copy the transpose of image vectors (I1,I2,I3) ↳ They are all in the 2D shared embedding space. [9] 🟦 MatMul ↳ Multiply T and I matrices. ↳ This is equivalent to taking dot product between every pair of image and text vectors. ↳ The purpose is to use dot product to estimate the similarity between a pair of image-text. [10] 🟦 Softmax: e^x ↳ Raise e to the power of the number in each cell ↳ To simplify hand calculation, we approximate e^□ with 3^□. [11] 🟦 Softmax: ∑ ↳ Sum each row for 🟩 image→🟪 text ↳ Sum each column for 🟪 text→ 🟩 image [12] 🟦 Softmax: 1 / sum ↳ Divide each element by the column sum to obtain a similarity matrix for 🟪 text→🟩 image ↳ Divide each element by the row sum to obtain a similarity matrix for 🟩 image→🟪 text [13] 🟥 Loss Gradients ↳ The "Targets" for the similarity matrices are Identity Matrices. ↳ Why? If I and T come from the same pair (i=j), we want the highest value, which is 1, and 0 otherwise. ↳ Apply the simple equation of [Similarity - Target] to compute gradients of for both directions. ↳ Why so simple? Because when Softmax and Cross-Entropy Loss are used together, the math magically works out that way. ↳ These gradients kick off the backpropagation process to update weights and biases of the encoders and projection layers (red borders).

Tom Yeh

67,883 views • 2 years ago

Google presents Still-Moving Customized Video Generation without Customized Video Data Customizing text-to-image (T2I) models has seen tremendous progress recently, particularly in areas such as personalization, stylization, and conditional generation. However, expanding this progress to video generation is still in its infancy, primarily due to the lack of customized video data. In this work, we introduce Still-Moving, a novel generic framework for customizing a text-to-video (T2V) model, without requiring any customized video data. The framework applies to the prominent T2V design where the video model is built over a text-to-image (T2I) model (e.g., via inflation). We assume access to a customized version of the T2I model, trained only on still image data (e.g., using DreamBooth or StyleDrop). Naively plugging in the weights of the customized T2I model into the T2V model often leads to significant artifacts or insufficient adherence to the customization data. To overcome this issue, we train lightweight Spatial Adapters that adjust the features produced by the injected T2I layers. Importantly, our adapters are trained on "frozen videos" (i.e., repeated images), constructed from image samples generated by the customized T2I model. This training is facilitated by a novel Motion Adapter module, which allows us to train on such static videos while preserving the motion prior of the video model. At test time, we remove the Motion Adapter modules and leave in only the trained Spatial Adapters. This restores the motion prior of the T2V model while adhering to the spatial prior of the customized T2I model. We demonstrate the effectiveness of our approach on diverse tasks including personalized, stylized, and conditional generation. In all evaluated scenarios, our method seamlessly integrates the spatial prior of the customized T2I model with a motion prior supplied by the T2V model.

Google presents Still-Moving Customized Video Generation without Customized Video Data Customizing text-to-image (T2I) models has seen tremendous progress recently, particularly in areas such as personalization, stylization, and conditional generation. However, expanding this progress to video generation is still in its infancy, primarily due to the lack of customized video data. In this work, we introduce Still-Moving, a novel generic framework for customizing a text-to-video (T2V) model, without requiring any customized video data. The framework applies to the prominent T2V design where the video model is built over a text-to-image (T2I) model (e.g., via inflation). We assume access to a customized version of the T2I model, trained only on still image data (e.g., using DreamBooth or StyleDrop). Naively plugging in the weights of the customized T2I model into the T2V model often leads to significant artifacts or insufficient adherence to the customization data. To overcome this issue, we train lightweight Spatial Adapters that adjust the features produced by the injected T2I layers. Importantly, our adapters are trained on "frozen videos" (i.e., repeated images), constructed from image samples generated by the customized T2I model. This training is facilitated by a novel Motion Adapter module, which allows us to train on such static videos while preserving the motion prior of the video model. At test time, we remove the Motion Adapter modules and leave in only the trained Spatial Adapters. This restores the motion prior of the T2V model while adhering to the spatial prior of the customized T2I model. We demonstrate the effectiveness of our approach on diverse tasks including personalized, stylized, and conditional generation. In all evaluated scenarios, our method seamlessly integrates the spatial prior of the customized T2I model with a motion prior supplied by the T2V model.

AK

40,485 views • 2 years ago

Ross Coulthart confirms the Egg UFO footage from his News Nation special wasn’t From Jake barber Ross also says the “gatekeepers” know they have a lot more evidence and are very nervous about what they’re going to do with it Source -Need to Know 🔗 in comments Ross -“Clearly I have many other sources inside the Legacy program. Clearly there are other people talking to me, and clearly I've been able to procure the video from the retrieval program in a completely separate operation from Jake Barber. Barber did not give me that video period.” “They know what we're sitting on, and they're very nervous about what we're going to do with the rest of what we've got. And they better make a decision”

Ross Coulthart confirms the Egg UFO footage from his News Nation special wasn’t From Jake barber Ross also says the “gatekeepers” know they have a lot more evidence and are very nervous about what they’re going to do with it Source -Need to Know 🔗 in comments Ross -“Clearly I have many other sources inside the Legacy program. Clearly there are other people talking to me, and clearly I've been able to procure the video from the retrieval program in a completely separate operation from Jake Barber. Barber did not give me that video period.” “They know what we're sitting on, and they're very nervous about what we're going to do with the rest of what we've got. And they better make a decision”

neandrewthal

70,720 views • 1 year ago

🔥 Sending Russian fascists into orbit along with their military equipment. The selection of January raids behind the front line from the 412th Nemesis unmanned systems regiment with the destruction of Russian military equipment. Quite a few published shots of this regiment's defeats are bombings of equipment on the march. The regiment's fighters were clearly able to combine high-quality equipment capable of catching up with Russian vehicles, effective ammunition that causes significant damage, and also develop piloting skills that allow them to conduct bombings at significant speed. Their telegram channel:

🔥 Sending Russian fascists into orbit along with their military equipment. The selection of January raids behind the front line from the 412th Nemesis unmanned systems regiment with the destruction of Russian military equipment. Quite a few published shots of this regiment's defeats are bombings of equipment on the march. The regiment's fighters were clearly able to combine high-quality equipment capable of catching up with Russian vehicles, effective ammunition that causes significant damage, and also develop piloting skills that allow them to conduct bombings at significant speed. Their telegram channel:

✙ Albina Fella ✙ 🇺🇦🇫🇷🇬🇧🇮🇹🇪🇸🇸🇪🇫🇮

65,149 views • 1 year ago

A metric shit ton of small business owners in SW Washington (myself included) have wasted precious time and bile figuring out if a scary letter is from a legit government agency or a weasel dick scammer with letterhead. The mailers are written to try and intimidate us into paying three-figure "processing fees" directly to the scammer to get the federal licenses we need for our livelihoods. For shit that is basically free, already. I'm here to choke out these scammers and save us time and money.

A metric shit ton of small business owners in SW Washington (myself included) have wasted precious time and bile figuring out if a scary letter is from a legit government agency or a weasel dick scammer with letterhead. The mailers are written to try and intimidate us into paying three-figure "processing fees" directly to the scammer to get the federal licenses we need for our livelihoods. For shit that is basically free, already. I'm here to choke out these scammers and save us time and money.

Rep. Marie Gluesenkamp Perez

90,876 views • 7 months ago

Introducing TopoTaxi: A completely new approach to real-time character motion. TopoTaxi opens a game-changing direction for real-time animation. Instead of selecting from prebuilt animation clips or blending between fixed movement states, TopoTaxi generates a continuously evolving performance from the character’s current intent, movement, posture, style, and environment. Locomotion such as actions (walk, run, jump, etc.), idles, interactions, and much more can all be expressed through the same emergent motion system. Everything you see in this video is running through three models natively in UE5. There are no authored animation clips, no blending, and no fixed animation state machine driving the performance. New intent can arrive while motion is already being generated, allowing the character to continue moving, revise its future, and transition into new movement without a visible break. The result is motion that is more adaptive, expressive, and responsive to what is happening in real time.

Introducing TopoTaxi: A completely new approach to real-time character motion. TopoTaxi opens a game-changing direction for real-time animation. Instead of selecting from prebuilt animation clips or blending between fixed movement states, TopoTaxi generates a continuously evolving performance from the character’s current intent, movement, posture, style, and environment. Locomotion such as actions (walk, run, jump, etc.), idles, interactions, and much more can all be expressed through the same emergent motion system. Everything you see in this video is running through three models natively in UE5. There are no authored animation clips, no blending, and no fixed animation state machine driving the performance. New intent can arrive while motion is already being generated, allowing the character to continue moving, revise its future, and transition into new movement without a visible break. The result is motion that is more adaptive, expressive, and responsive to what is happening in real time.

TREE Industries

239,810 views • 7 days ago

GOTCHA ....LIAR A Ukrainian journalist was exposed by the locals for her lies, the journalist pretended the town was been shelled by the Russian army, but the Babushkas where quick to call her out and correct her. - Everyone is shot at with missiles... - And we are shot at by Ukrainian tanks! - Are you sure these are Ukrainian tanks? -Yes of course! ◾Personally I've caught out all these morons 1000+ times on X and X spaces with their lies that they still to this day provide on Western Media !! And I quite enjoy it

GOTCHA ....LIAR A Ukrainian journalist was exposed by the locals for her lies, the journalist pretended the town was been shelled by the Russian army, but the Babushkas where quick to call her out and correct her. - Everyone is shot at with missiles... - And we are shot at by Ukrainian tanks! - Are you sure these are Ukrainian tanks? -Yes of course! ◾Personally I've caught out all these morons 1000+ times on X and X spaces with their lies that they still to this day provide on Western Media !! And I quite enjoy it

𝐃𝐚𝐯𝐢𝐝 𝐙 🇷🇺🇮🇪

73,448 views • 3 months ago

Thoughts on transferable skills. I was surprised reading the comments to Riley’s question about best UI animation tool for web. To anyone interested in diving into motion design I would strongly recommend - aim to become a motion expert, not Jitter/Rive/Lottie specialist. If you start from the foundations, jumping into any animation tool will feel like a walk in the park. Keyframes, easing functions, transformations - same concepts are shared between all of them. Getting to know the foundations on the web means starting with CSS, Tailwind or React Motion. I’m often creating small motion concepts in Figma (see video) and then recreating them manually in code. Any language, it doesn’t matter because principles are the same. I recently made the switch to Swift and built a small animation tool for myself (see video) that I’ll discard after I’m done with the motion. This level of comfortableness with motion gives you unmatched flexibility. From that point, tools are just interfaces for expressing something you already deeply understand. This is not about performance or technical optimizations (Lottie files can outperform CSS equivalents), tools mentioned above really are great - it’s about developing transferable creative skill that lets you think across any medium, platform or tool.

Thoughts on transferable skills. I was surprised reading the comments to Riley’s question about best UI animation tool for web. To anyone interested in diving into motion design I would strongly recommend - aim to become a motion expert, not Jitter/Rive/Lottie specialist. If you start from the foundations, jumping into any animation tool will feel like a walk in the park. Keyframes, easing functions, transformations - same concepts are shared between all of them. Getting to know the foundations on the web means starting with CSS, Tailwind or React Motion. I’m often creating small motion concepts in Figma (see video) and then recreating them manually in code. Any language, it doesn’t matter because principles are the same. I recently made the switch to Swift and built a small animation tool for myself (see video) that I’ll discard after I’m done with the motion. This level of comfortableness with motion gives you unmatched flexibility. From that point, tools are just interfaces for expressing something you already deeply understand. This is not about performance or technical optimizations (Lottie files can outperform CSS equivalents), tools mentioned above really are great - it’s about developing transferable creative skill that lets you think across any medium, platform or tool.

Natko Hasic

64,045 views • 1 year ago

I don’t trade with technical analysis alone. I don’t trade with fundamentals alone either. I combine both. I use technicals to screen for stocks with improving setups and solid fundamental support. Then I use fundamentals to filter for the chart patterns that are actually worth my attention. Recently, before the rotation into AI software names became obvious, we were able to identify several stocks that had likely been unfairly sold off. One of them was cybersecurity name $CRWD. Here’s the rationale behind the setup — and my personal entry timing. 👇

I don’t trade with technical analysis alone. I don’t trade with fundamentals alone either. I combine both. I use technicals to screen for stocks with improving setups and solid fundamental support. Then I use fundamentals to filter for the chart patterns that are actually worth my attention. Recently, before the rotation into AI software names became obvious, we were able to identify several stocks that had likely been unfairly sold off. One of them was cybersecurity name $CRWD. Here’s the rationale behind the setup — and my personal entry timing. 👇

J Law

19,368 views • 3 months ago

What if geoengineering wasn't just about blocking out the sun for "climate change" purposes, but was for a more nefarious intention to alter the schumann resonance of the earth to influence human behavior and perception? These earthly derived frequencies are profoundly connected to human health, circadian rhythms, nervous system function, human brainwave patterns, and so many other aspects of our physiology. By putting reflective particulate matter into the atmosphere, we are altering the resonance between the surface and ionosphere, giving these frequencies another layer to bounce off of to change the tone, or to be blocked entirely. I think the geoengineering agenda is multifaceted with numerous motivations, with one thing I know for absolute sure. It's not to stop climate change. Here are some interesting papers on the coherence between the earthly resonances/frequencies and human physiology, and a clip describing the connection between schumann and human alpha brainwaves. Human intelligence: The brain, an electromagnetic system synchronised by the Schumann Resonance signal Innovative technical implementation of the Schumann resonances and its influence on organisms and biological cells Synchronization of Human Autonomic Nervous System Rhythms with Geomagnetic Activity Similar Spectral Power Densities Within the Schumann Resonance and a Large Population of Quantitative Electroencephalographic Profiles: Supportive Evidence for Koenig and Pobachenko Electromagnetic activity: a possible player in epilepsy Schumann Resonances, a plausible biophysical mechanism for the human health effects of Solar/Geomagnetic Activity

What if geoengineering wasn't just about blocking out the sun for "climate change" purposes, but was for a more nefarious intention to alter the schumann resonance of the earth to influence human behavior and perception? These earthly derived frequencies are profoundly connected to human health, circadian rhythms, nervous system function, human brainwave patterns, and so many other aspects of our physiology. By putting reflective particulate matter into the atmosphere, we are altering the resonance between the surface and ionosphere, giving these frequencies another layer to bounce off of to change the tone, or to be blocked entirely. I think the geoengineering agenda is multifaceted with numerous motivations, with one thing I know for absolute sure. It's not to stop climate change. Here are some interesting papers on the coherence between the earthly resonances/frequencies and human physiology, and a clip describing the connection between schumann and human alpha brainwaves. Human intelligence: The brain, an electromagnetic system synchronised by the Schumann Resonance signal Innovative technical implementation of the Schumann resonances and its influence on organisms and biological cells Synchronization of Human Autonomic Nervous System Rhythms with Geomagnetic Activity Similar Spectral Power Densities Within the Schumann Resonance and a Large Population of Quantitative Electroencephalographic Profiles: Supportive Evidence for Koenig and Pobachenko Electromagnetic activity: a possible player in epilepsy Schumann Resonances, a plausible biophysical mechanism for the human health effects of Solar/Geomagnetic Activity

Inversionism

144,671 views • 3 years ago