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I've been testing Nested Instances in Solaris & KarmaXPU: 1,500 animated tree instances, 45K instanced leaves per tree, 20K instanced plants. Added a VDB skybox for mist/fog to push Karma bit harder. ~2 mins/frame on RTX 4090.

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Jose_L_Molfino

4,783 subscribers

40,544 Aufrufe • vor 1 Jahr •via X (Twitter)

Wissenschaft & Technologie
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12 Kommentare

Profilbild von aeaeaeae
aeaeaeaevor 1 Jahr

you might like my plugin, intended for editing instances on instances, sort of.

Profilbild von Breadcrumb
Breadcrumbvor 1 Jahr

Looking to automate reporting? Use AI agents to turn spreadsheets to reports in minutes without any coding.

Profilbild von Mattia Merenda
Mattia Merendavor 1 Jahr

Tested this with a few animated trees, I didn't expect it to scale so well !

Profilbild von ed_van
ed_vanvor 1 Jahr

super

Profilbild von Spenser Dickerson
Spenser Dickersonvor 1 Jahr

Crazy stuff!!!

Profilbild von Maitland
Maitlandvor 1 Jahr

If you didn't tell me i might have thought it was a drone flyover of a replanted forest.

Profilbild von Solaojo Olaoluwa
Solaojo Olaoluwavor 1 Jahr

Incredible

Profilbild von Russ
Russvor 1 Jahr

Insane…

Profilbild von Anti-Federalist Caesar
Anti-Federalist Caesarvor 1 Jahr

nice!

Profilbild von Mattia Merenda
Mattia Merendavor 1 Jahr

Skybox for list is neat, never thought of it thanks 🙏

Profilbild von yu nagasaki
yu nagasakivor 1 Jahr

Amazing!! Did you use matlx thin material option? it's too slow in my PC. Fantastic work!

Profilbild von Jose_L_Molfino
Jose_L_Molfinovor 1 Jahr

Just mtlxStandardSurface with Thin Walled

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GPT-Realtime 2 is the future of the operating system. I've been experimenting with it for a couple weeks now, and I gotta say, it's pretty gosh darn incredible. Opening apps, searching the web, even editing in Premiere. All with just my voice. And it only takes a few prompts to set up. In this video I'll show you exactly how. 0:00 Intro 1:46 What is GPT-Realtime 2? 4:46 Setting it up (no coding) 7:53 Fixing the always-on mic (push-to-talk) 9:41 Demo: searching the web 11:38 Demo: connecting apps via MCP (Obsidian) 14:13 Demo: controlling Premiere Pro (accessibility tree) 18:00 Honest caveats 19:00 Outro

Pat Simmons

606,358 Aufrufe • vor 2 Monaten

I built a Three.js rendering study inspired by Tiny Glade’s painterly aesthetic, and got it running at 120fps in the browser. Over the past few weeks, I’ve been studying how stylized games achieve that soft, handcrafted look in real time. Tiny Glade was a huge inspiration, and I wanted to use the browser as a constraint: no compute shaders, no native GPU access, and single-threaded JavaScript. As part of this study, I implemented: - GPU-driven instanced brick walls with procedural noise jitter and elastic build animations - Tree, bush, and flower rendering with billboard card expansion, wind sway, and grow animations - Procedural grass with terrain conformance and interactive push deformation - Animated water with layered noise, interactive ripples, and Fresnel-based reflections - Procedural terrain with slope-aware triplanar materials, dirt paths, and rocks - A 7-pass post-processing stack with TAA, bloom, depth of field, painterly filtering, ACES tonemapping, 3D LUT color grading, and film grain The hardest part wasn’t writing any single shader. It was making all of these systems work together at high frame rates inside WebGL, where every millisecond counts and performance problems compound quickly across animation, materials, post-processing, and scene management. Some techniques in this study were inspired by analyzing Tiny Glade’s rendering approach, while others were original implementations built from scratch from visual reference. That contrast taught me a lot: recreating an effect is one challenge, but designing your own shaders and systems to achieve a similar feel is a very different one. This is a private educational rendering study. Some temporary placeholder content is being used during the research phase, and any public or production version would use original or properly licensed assets. Huge credit to Pounce Light for the incredible art direction and rendering work in Tiny Glade: Three.js #gamedev #webgl #threejs #rendering #graphics #realtimerendering #shaderdev
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Ibrahim Boona

58,625 Aufrufe • vor 4 Monaten

meta muse spark 1.1 vs gpt 5.6 sol vs fable 5 vs grok 4.5 meta recently dropped muse spark 1.1 – a multimodal reasoning model from meta superintelligence labs built for agentic tasks. key facts: • 1m token context with active self-management – the model compacts its own history and keeps only the steps needed for later work • trained to orchestrate multi-agent systems: as main agent it plans and delegates to parallel subagents, as subagent it sticks to its job and knows when to escalate back • computer use trained to pick between scripting and clicking – writes automation when it's faster, clicks when it's simpler, batches actions per step • first public api from meta: the meta model api is now in preview • benchmarks: sweeps the agent column – mcp atlas 88.1 (opus 4.8: 82.2), jobbench 54.7 (opus: 48.4), humanity's last exam 62.1 (1st). loses coding – deepswe 1.1 53.3 vs gpt 5.5's 67.0, swe bench pro 61.5 vs opus's 69.2 our test – 3 prompts, single-file html, three.js, fully procedural, no assets: 1. norwegian house cantilevered over a fjord in a snowstorm – transmissive glass wall, fully modelled interior 2. beijing siheyuan courtyard house in dawn fog – instanced roof tiles, dougong brackets, glowing paper windows 3. new mexico adobe pueblo in an approaching dust storm – deep window reveals, windward grit accumulation we ran the test on AI/ML API platform results: - cost #1 muse spark 1.1 – $0.20 #2 grok 4.5 – $0.51 #3 gpt 5.6 sol – $1.93 #4 fable 5 – ~$5.20 - output tokens #1 muse spark 1.1 – 41,868 #2 gpt 5.6 sol – 49,139 #3 grok 4.5 – 64,954 #4 fable 5 – 81,849 - lines of code #1 muse spark 1.1 – 1,799 #2 gpt 5.6 sol – 2,377 #3 fable 5 – 3,088 #4 grok 4.5 – 4,216 observations: • muse spark is the cheapest of the four by a wide margin – 2.5x under grok, ~26x under fable per run. output quality tracks the price • only 7.4% of its output tokens are reasoning (3,104 of 41,868) – the model barely thinks before writing. economic, not pedantic: it commits to the first plan and ships it • the low loc is not compression, it's omission – all three prompts demanded instancing, muse spark delivered it in one muse spark's code quality – reviewed by fable 5: upsides: 1. all three files run 2. the adobe grit effect is legit – shader injection via onbeforecompile, windward faces detect storm direction through a normal-dot-wind term and darken procedurally 3. the fjord glass is real meshphysicalmaterial with transmission and ior, not a transparent quad 4. the siheyuan properly instances barrel tiles, dougong blocks and courtyard pavers downsides: 1. in the fjord file the strafe vector is negated – press a, you move right; press d, you move left. exactly the key mix-up we kept hitting with this model 2. all three files ship the model's self-doubt as comments: "// actually yaw orientation: need correct" sits above a direction vector that gets computed, abandoned and recomputed – dead vectors allocated every frame, 60 times a second 3. the siheyuan registers two separate keydown listeners, one containing an empty if-block 4. snow "accumulation" on the norway roof is a sine wobble on a scale value, not accumulation 5. "instanced snow" became 3,500 plain points. zero dispose calls anywhere pattern: minimal reasoning, minimal code, minimal price. it nails the flashy requirements – shaders, transmissive glass – and quietly drops the boring ones: instancing, controls, cleanup. you get a demo that mostly runs and a control scheme you can't trust follow thehype. for 24/7 ai news, analysis and breakdowns
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meta muse spark 1.1 vs gpt 5.6 sol vs fable 5 vs grok 4.5 meta recently dropped muse spark 1.1 – a multimodal reasoning model from meta superintelligence labs built for agentic tasks. key facts: • 1m token context with active self-management – the model compacts its own history and keeps only the steps needed for later work • trained to orchestrate multi-agent systems: as main agent it plans and delegates to parallel subagents, as subagent it sticks to its job and knows when to escalate back • computer use trained to pick between scripting and clicking – writes automation when it's faster, clicks when it's simpler, batches actions per step • first public api from meta: the meta model api is now in preview • benchmarks: sweeps the agent column – mcp atlas 88.1 (opus 4.8: 82.2), jobbench 54.7 (opus: 48.4), humanity's last exam 62.1 (1st). loses coding – deepswe 1.1 53.3 vs gpt 5.5's 67.0, swe bench pro 61.5 vs opus's 69.2 our test – 3 prompts, single-file html, three.js, fully procedural, no assets: 1. norwegian house cantilevered over a fjord in a snowstorm – transmissive glass wall, fully modelled interior 2. beijing siheyuan courtyard house in dawn fog – instanced roof tiles, dougong brackets, glowing paper windows 3. new mexico adobe pueblo in an approaching dust storm – deep window reveals, windward grit accumulation we ran the test on AI/ML API platform results: - cost #1 muse spark 1.1 – $0.20 #2 grok 4.5 – $0.51 #3 gpt 5.6 sol – $1.93 #4 fable 5 – ~$5.20 - output tokens #1 muse spark 1.1 – 41,868 #2 gpt 5.6 sol – 49,139 #3 grok 4.5 – 64,954 #4 fable 5 – 81,849 - lines of code #1 muse spark 1.1 – 1,799 #2 gpt 5.6 sol – 2,377 #3 fable 5 – 3,088 #4 grok 4.5 – 4,216 observations: • muse spark is the cheapest of the four by a wide margin – 2.5x under grok, ~26x under fable per run. output quality tracks the price • only 7.4% of its output tokens are reasoning (3,104 of 41,868) – the model barely thinks before writing. economic, not pedantic: it commits to the first plan and ships it • the low loc is not compression, it's omission – all three prompts demanded instancing, muse spark delivered it in one muse spark's code quality – reviewed by fable 5: upsides: 1. all three files run 2. the adobe grit effect is legit – shader injection via onbeforecompile, windward faces detect storm direction through a normal-dot-wind term and darken procedurally 3. the fjord glass is real meshphysicalmaterial with transmission and ior, not a transparent quad 4. the siheyuan properly instances barrel tiles, dougong blocks and courtyard pavers downsides: 1. in the fjord file the strafe vector is negated – press a, you move right; press d, you move left. exactly the key mix-up we kept hitting with this model 2. all three files ship the model's self-doubt as comments: "// actually yaw orientation: need correct" sits above a direction vector that gets computed, abandoned and recomputed – dead vectors allocated every frame, 60 times a second 3. the siheyuan registers two separate keydown listeners, one containing an empty if-block 4. snow "accumulation" on the norway roof is a sine wobble on a scale value, not accumulation 5. "instanced snow" became 3,500 plain points. zero dispose calls anywhere pattern: minimal reasoning, minimal code, minimal price. it nails the flashy requirements – shaders, transmissive glass – and quietly drops the boring ones: instancing, controls, cleanup. you get a demo that mostly runs and a control scheme you can't trust follow thehype. for 24/7 ai news, analysis and breakdowns

thehype.

135,170 Aufrufe • vor 1 Monat

*** Mega Parodius Sega Megadrive Update *** Lately I've been having some fun seeing how far we can push the Parodius game engine . This is not arcade accurate - just for testing, decreased bullet timers and upped the bullet count to see what would happen re cpu usage when things are made a lot busier ! Maybe something like this could be insane mode in the options etc. Since last update we are a lot more optimised under the hood . The C based sprite engine, particularly visibility checking was speedup , overall 25 % faster. Then re-wrote the sprite engine completely in 68k assembly , 30% faster again. It took about 3 days and 1500 lines of assembly , thankfully the gains were worth it. All these gains will be back ported to S.O.T.A also as its using the same sprite engine. Usage is around 19% of cpu per frame with a full sprite load - 33 % cpu left in the busiest frame currently . Parodius is using a write the sprite list every frame type engine , so priority and meta-sprite objects can be handled with ease albiet its still a bit slower than static allocation sprite engines such as the one in lufthoheit but this is a bit easier to code for in the long run. All collision checks are been done , we are using a spatial grid system to get the collision checks done faster than a brute force approach . To get to maximum sprite count destruction is disabled in the video. We hit 80 sprites onscreen in this sequence , the sprite counter is one the Left side. We use about 16 sprites in the top hud and water line , about 21 for player attacks / missiles / shots / options . Up to 35 bullets + enemies . No lazer usage here as the Lazers use zero sprites thanks to the raster tricks , this video is all about the sprites ! Improved the water line when the Catboss is active , as he is Sprites + Forground we are doing some tile rotation tricks eg bit scrolling to give the impression of parrallax at that point . Vector Orbitex has updated the stage 1 music again and has made things even higher quality , hes mixed pcm and fm channels together to create higher quality orchestral hits for example . Pyron has started converting assets from stage 2/3 , some amazing work there . Hes well ahead of me at present which is a good thing. Still lots of incomplete animations missing logic etc , its slow going with RL getting in the way haha and 2 other projects !! Still its fun !! #SGDK #SegaMegadrive #SegaGenesis #Parodius
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*** Mega Parodius Sega Megadrive Update *** Lately I've been having some fun seeing how far we can push the Parodius game engine . This is not arcade accurate - just for testing, decreased bullet timers and upped the bullet count to see what would happen re cpu usage when things are made a lot busier ! Maybe something like this could be insane mode in the options etc. Since last update we are a lot more optimised under the hood . The C based sprite engine, particularly visibility checking was speedup , overall 25 % faster. Then re-wrote the sprite engine completely in 68k assembly , 30% faster again. It took about 3 days and 1500 lines of assembly , thankfully the gains were worth it. All these gains will be back ported to S.O.T.A also as its using the same sprite engine. Usage is around 19% of cpu per frame with a full sprite load - 33 % cpu left in the busiest frame currently . Parodius is using a write the sprite list every frame type engine , so priority and meta-sprite objects can be handled with ease albiet its still a bit slower than static allocation sprite engines such as the one in lufthoheit but this is a bit easier to code for in the long run. All collision checks are been done , we are using a spatial grid system to get the collision checks done faster than a brute force approach . To get to maximum sprite count destruction is disabled in the video. We hit 80 sprites onscreen in this sequence , the sprite counter is one the Left side. We use about 16 sprites in the top hud and water line , about 21 for player attacks / missiles / shots / options . Up to 35 bullets + enemies . No lazer usage here as the Lazers use zero sprites thanks to the raster tricks , this video is all about the sprites ! Improved the water line when the Catboss is active , as he is Sprites + Forground we are doing some tile rotation tricks eg bit scrolling to give the impression of parrallax at that point . Vector Orbitex has updated the stage 1 music again and has made things even higher quality , hes mixed pcm and fm channels together to create higher quality orchestral hits for example . Pyron has started converting assets from stage 2/3 , some amazing work there . Hes well ahead of me at present which is a good thing. Still lots of incomplete animations missing logic etc , its slow going with RL getting in the way haha and 2 other projects !! Still its fun !! #SGDK #SegaMegadrive #SegaGenesis #Parodius

Shannon Birt

16,084 Aufrufe • vor 8 Monaten

$AMD $AMZN partnership will 🚀 in 2026 🔥 Amazon/AMD partnership is hidden among hot headlines from OpenAI $NVDA $ORCL... TLDR: Amazon refused to bid up the overpriced $NVDA chips among other hyperscalers, and decided to work closely with $AMD. Amazon is expected to spend up to $10-$20B a year on 2026 EPYC breakthrough Gen and Future Gen. Dr. Su confirmed "we have plenty for other large customers". For its 2026 EPYC "Venice" processors, AMD is using a multi-node manufacturing strategy: the CPU core complex dies (CCDs) are built on TSMC's 2 nm-class node (N2), while the I/O die (IOD) uses the N3P (3 nm) process. Context: Andy Jassy Amazon Web Services has been working with AMD on EPYC processors since November 2018. With this "secret weapon" breakthrough(patented), this long time partnership has expanded to New breakthrough 2026 EPYC Gen. AMD's 6th Gen EPYC "Venice" processors, slated for 2026, introduce New Chiplet design breakthrough. a revolutionary chiplet interconnect fabric that redefines server scalability for AI. This isn't just faster silicon; it's a paradigm shift for AWS, enabling hyper-efficient, rack-scale AI inference that slashes costs and latency while boosting throughput. AMD to benefit AWS's $100B+ AI opportunity along with $ORCL $MSFT $GOOGL $META Saudi, UAE ,38+ countries and startups. In early October, Amazon/AWS announced the new EC2 M8a instances as their latest-generation, general-purpose compute instances now powered by AMD EPYC 9005 "Turin" processors. Amazon announced the M8a as having up to 30% higher performance and up to 19% better price performance over M7a. With my testing of both at 32 vCPUs, the new AMD EPYC Turin instance provided 1.59x the performance over the prior-generation EPYC Genoa instance! How will this impact AWS AI Inference? ~Cost Efficiency: Inference is 80%+ of AI workloads and latency-sensitive (e.g., chatbots need <1s responses). "Secret weapon" enables 35x better inference perf (per AMD's CDNA roadmap tie-in), cutting AWS's energy use by 50%+ in clusters. With $118B 2025 capex, this could save $20–$30B annually in OPEX, boosting margins to 35%-40%. ~Scalability for Agentic AI: Supports "Helios" rack-scale platforms (up to 128 GPUs + EPYC hosts), delivering 3.58x FP6 perf for distributed inference. AWS can run 700K+ more tokens/sec in 1,000-node clusters (via EPYC 9575F boosts), enabling real-time apps like personalized search or fraud detection at enterprise scale. ~Adoption Catalysts: Early partners like Oracle signal broad uptake; AWS's existing AMD instances G4ad with Radeon GPUs) pave the way. By 2026, EPYC could power 40%+ of AWS AI infra, outpacing Nvidia's GPU lock-in via open standards (ROCm 8 software). Lastly, Amazon’s trajectory toward a $320 stock price is not a speculative leap but a grounded projection rooted in its unmatched fundamentals and strategic AI leadership. With Amazon Web Services poised to surpass $100 billion in annual revenue by 2026, driven by explosive AI inference demand, Amazon is redefining cloud computing’s future. The adoption of AMD’s 2026 EPYC processors with "Secret" architecture is a game-changer, slashing costs by up to 50% and boosting inference throughput 3x, enabling AWS to dominate enterprise AI workloads with unmatched efficiency. This technological edge, combined with Amazon’s e-commerce dominance and high-margin advertising growth, supports a valuation rerating to 22x EV/EBITDA, and it is still a discount to historical highs. Trading at $222, $AMZN is undervalued for its 15–20% revenue CAGR and 25%+ EPS growth through 2030.
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$AMD $AMZN partnership will 🚀 in 2026 🔥 Amazon/AMD partnership is hidden among hot headlines from OpenAI $NVDA $ORCL... TLDR: Amazon refused to bid up the overpriced $NVDA chips among other hyperscalers, and decided to work closely with $AMD. Amazon is expected to spend up to $10-$20B a year on 2026 EPYC breakthrough Gen and Future Gen. Dr. Su confirmed "we have plenty for other large customers". For its 2026 EPYC "Venice" processors, AMD is using a multi-node manufacturing strategy: the CPU core complex dies (CCDs) are built on TSMC's 2 nm-class node (N2), while the I/O die (IOD) uses the N3P (3 nm) process. Context: Andy Jassy Amazon Web Services has been working with AMD on EPYC processors since November 2018. With this "secret weapon" breakthrough(patented), this long time partnership has expanded to New breakthrough 2026 EPYC Gen. AMD's 6th Gen EPYC "Venice" processors, slated for 2026, introduce New Chiplet design breakthrough. a revolutionary chiplet interconnect fabric that redefines server scalability for AI. This isn't just faster silicon; it's a paradigm shift for AWS, enabling hyper-efficient, rack-scale AI inference that slashes costs and latency while boosting throughput. AMD to benefit AWS's $100B+ AI opportunity along with $ORCL $MSFT $GOOGL $META Saudi, UAE ,38+ countries and startups. In early October, Amazon/AWS announced the new EC2 M8a instances as their latest-generation, general-purpose compute instances now powered by AMD EPYC 9005 "Turin" processors. Amazon announced the M8a as having up to 30% higher performance and up to 19% better price performance over M7a. With my testing of both at 32 vCPUs, the new AMD EPYC Turin instance provided 1.59x the performance over the prior-generation EPYC Genoa instance! How will this impact AWS AI Inference? ~Cost Efficiency: Inference is 80%+ of AI workloads and latency-sensitive (e.g., chatbots need <1s responses). "Secret weapon" enables 35x better inference perf (per AMD's CDNA roadmap tie-in), cutting AWS's energy use by 50%+ in clusters. With $118B 2025 capex, this could save $20–$30B annually in OPEX, boosting margins to 35%-40%. ~Scalability for Agentic AI: Supports "Helios" rack-scale platforms (up to 128 GPUs + EPYC hosts), delivering 3.58x FP6 perf for distributed inference. AWS can run 700K+ more tokens/sec in 1,000-node clusters (via EPYC 9575F boosts), enabling real-time apps like personalized search or fraud detection at enterprise scale. ~Adoption Catalysts: Early partners like Oracle signal broad uptake; AWS's existing AMD instances G4ad with Radeon GPUs) pave the way. By 2026, EPYC could power 40%+ of AWS AI infra, outpacing Nvidia's GPU lock-in via open standards (ROCm 8 software). Lastly, Amazon’s trajectory toward a $320 stock price is not a speculative leap but a grounded projection rooted in its unmatched fundamentals and strategic AI leadership. With Amazon Web Services poised to surpass $100 billion in annual revenue by 2026, driven by explosive AI inference demand, Amazon is redefining cloud computing’s future. The adoption of AMD’s 2026 EPYC processors with "Secret" architecture is a game-changer, slashing costs by up to 50% and boosting inference throughput 3x, enabling AWS to dominate enterprise AI workloads with unmatched efficiency. This technological edge, combined with Amazon’s e-commerce dominance and high-margin advertising growth, supports a valuation rerating to 22x EV/EBITDA, and it is still a discount to historical highs. Trading at $222, $AMZN is undervalued for its 15–20% revenue CAGR and 25%+ EPS growth through 2030.

Mike

511,082 Aufrufe • vor 10 Monaten

** Mega Parodius Update ** The team have been busy over last couple of weeks , implementing more of the games engine. WIP since last update : White Bell power up ( this is the text attack ) Blue Bell power up ( full screen explosion ) Catboss & animating Trees Updated Lazers to work on the BGB layer ( Plane A updated to 64x64 tilemap ) . Pyron has been doing excellent work on Blue bell Explosion, Whitebell power up text gfx - the slogans are great !! Arcade quality tree animations have been added. Feeding me a lot of videos so we can replicate the arcade port more accurately. Vector Orbitex has updated the music to mark IV for stage 1 making it smaller yet again , he's also added the Orchestra Hit in , potentially more samples can be added back in now also as the song now is a miniscule 57 kb. I keep telling him its 2025 - not 1990 for rom sizes haha , a professional is always a professional though !! The Blue Bell power up uses the static large sprite class I made for SOTA where it supports unlimited amount of sprites per object and detects all the reverses / flips & uses the same tile pointers where it can and crunches it down into single sprite object. We use up to 40 sprites in the Explosion but only 147 tiles needed in vram thanks to clever use of mirroring. The Catboss is easily the hardest enemy in the level for a few reasons - we also had to free up Plane A so the boss could shift upwards onscreen, so lazer effects were shifted to Plane B. The bit that caused me the most issues was when he sits in the water line between the two islands. He is quite wide and also has overlapping palettes and animating parts , to do it solely with sprites would have lead to severe dropout at times. At the waterline we have to simulate 3 background planes and sprites at that point and we only have 2 background planes. Luckily the MD sprite engine is very flexible and we were able to recreate the arcade look at this point with some sprite trickery, the water-line is now sprites . So we use Plane A + sprites to recreate him and use a lot of plane animation to reduce the amount of sprites needed. For example the face, the tail the propeller are all plane A animations . I analysed the SNES/PCE versions and we use less sprites than those versions for him so that will help reduce the chance of sprite dropout when attacking. The Catboss is only about 1/2 done , all damage states, the onboard penguin factory, bullets from Cannons yet to added etc. He wraps around at the end of the vid as theres no destruction routine in for him yet . No extra enemies in at this stage , tackling the hard parts first etc. We took the arcade GFX for the Trees that sway around under the Catboss, all the animations are in. There were some DMA bandwidth issues originally I had to sort out as the Catboss has several animating parts + swaying Trees was leading to overload so after some load balancing it all is playing nicely !! We still have loads of stuff to add , collisions are not in - normal enemy waves etc but yeah a lot of future issues were sorting out just getting this far. So the team is very happy with the progress !! #SGDK #Parodius #SegaGenesis #SegaMegadrive #indiegame
0:47

** Mega Parodius Update ** The team have been busy over last couple of weeks , implementing more of the games engine. WIP since last update : White Bell power up ( this is the text attack ) Blue Bell power up ( full screen explosion ) Catboss & animating Trees Updated Lazers to work on the BGB layer ( Plane A updated to 64x64 tilemap ) . Pyron has been doing excellent work on Blue bell Explosion, Whitebell power up text gfx - the slogans are great !! Arcade quality tree animations have been added. Feeding me a lot of videos so we can replicate the arcade port more accurately. Vector Orbitex has updated the music to mark IV for stage 1 making it smaller yet again , he's also added the Orchestra Hit in , potentially more samples can be added back in now also as the song now is a miniscule 57 kb. I keep telling him its 2025 - not 1990 for rom sizes haha , a professional is always a professional though !! The Blue Bell power up uses the static large sprite class I made for SOTA where it supports unlimited amount of sprites per object and detects all the reverses / flips & uses the same tile pointers where it can and crunches it down into single sprite object. We use up to 40 sprites in the Explosion but only 147 tiles needed in vram thanks to clever use of mirroring. The Catboss is easily the hardest enemy in the level for a few reasons - we also had to free up Plane A so the boss could shift upwards onscreen, so lazer effects were shifted to Plane B. The bit that caused me the most issues was when he sits in the water line between the two islands. He is quite wide and also has overlapping palettes and animating parts , to do it solely with sprites would have lead to severe dropout at times. At the waterline we have to simulate 3 background planes and sprites at that point and we only have 2 background planes. Luckily the MD sprite engine is very flexible and we were able to recreate the arcade look at this point with some sprite trickery, the water-line is now sprites . So we use Plane A + sprites to recreate him and use a lot of plane animation to reduce the amount of sprites needed. For example the face, the tail the propeller are all plane A animations . I analysed the SNES/PCE versions and we use less sprites than those versions for him so that will help reduce the chance of sprite dropout when attacking. The Catboss is only about 1/2 done , all damage states, the onboard penguin factory, bullets from Cannons yet to added etc. He wraps around at the end of the vid as theres no destruction routine in for him yet . No extra enemies in at this stage , tackling the hard parts first etc. We took the arcade GFX for the Trees that sway around under the Catboss, all the animations are in. There were some DMA bandwidth issues originally I had to sort out as the Catboss has several animating parts + swaying Trees was leading to overload so after some load balancing it all is playing nicely !! We still have loads of stuff to add , collisions are not in - normal enemy waves etc but yeah a lot of future issues were sorting out just getting this far. So the team is very happy with the progress !! #SGDK #Parodius #SegaGenesis #SegaMegadrive #indiegame

Shannon Birt

19,284 Aufrufe • vor 10 Monaten

** Sega Genesis 3D Engine Update 8 ** Significant improvements all round as you can see and hear from the last update !! Foremost - A huge thanks to Toni Gálvez - Megastyle - BG. who has joined the project to create a bit of 16bit low poly magic. Toni's an Amiga fan but also crazy about game dev in general, he's worked on GBC, GBA, PC, MD, PSP, C64, CPC, MSX... and others. Gaming titles include War Times, Metal Gear, Rocketman, Tintin & Asterix to name a few. He's provided the great new ship model you see on screen - new striped buildings, all the backgrounds / palettes etc. There's a lot of models he's given me which need to be added, also he will be planning a lot of the level design. Very happy to have him help me turn this into something more than a tech demo as I have my hands tied pushing the MD as far as it can go haha - there is no cpu cycle to be spared. Also many thanks to my good friend CYBERDEOUS - Crouzet Laurent for the Music for this showing , I wanted to have the music load occurring so we have a realistic benchmark for performance and he was only too obliging. If you're into MD chiptunes check him out !! Since last update : New player model , substantially more detailed than the Arwing. Last update had a 23 triangle Arwing , this update has a 39 triangle custom model from Toni. We had several to choose from , others will be used for enemies . 3D Buffer size increased 25% to 256x160. This was quite tricky as I'm close to the DMA limit even with an extended vblank . Spent a few days thinking of how to do this as like anything retro every solution has a drawback, finally got a workable solution. It makes a big difference to have a bit more vertical height . Z Rotation added ( the screen tilting left to right ) , small hit to vertex transform on cpu thanks to look up tables doing the heavy lifting, saving 4 multiplies per vertex. Multiple speed ups in rendering code. Onscreen paths with no range checking used until Z is close enough to cause clipping , partial onscreen drawing pathes that need to check boundaries, quad rendering completely rewritten - was very very painfull to get right . I found out the hard way that things are great when they are not rotating in the Z axis haha . Partial buffer draw optimisations - which have helped with the massive dma load , sending up to a 20kb buffer in a single frame needs a lot of optimisation. Min / Max tile lines are analysed and only sent if dirtied , reducing most buffer swaps substantially. Still some issues to sort out , at times you can see the flicker near top of screen when frames are near full height . I need to optimise that a bit. Due to the onscreen buffer system a full Sprite background had to be implemented almost Neo Geo style. This flips the usual MD rendering system on its head as it uses both foreground and background layers for a foreground 3d plane and sprites for the background. This presents a few issues, one is to get a tilt effect on the background by using narrow sprites (16x32) we run out of sprites when trying to cover the screen. Thankfully the MD is not limited to 80 sprites, to fix this a 114 sprite multiplexor is used to draw the background, its completely made up of 16x32 sprites ! Why do things this way ? speed . Its the interleaved foreground/background layers that allow a double buffered ram system writing to write to vram using dma in a completely linear fashion - virtually no tile translation needed. The negative is you have no planes for the background, that's where the sprites come in . Thanks to H40 mode we still have a few sprites we can use for effects in the forground also . Thankfully we can implement a fairly good tilt still for the background using sprites, in future updates this will be able to move horizontally also and a bit of vertical movement. XGM1 music driver in use to simulate music cpu load, XGM2 unfortunately with the massive DMA needed to shift the 3d buffers would slow down at times rendering it unusable, XGM1 plays at full speed - albiet with a bit more of a cpu hit. Together with the sprite multiplexor and the music driver active theres a 10 % hit to cpu so I've had to play around with draw distances / object heights and other optimisations to offset that. Not to mention the larger buffer takes more cpu to fill also. Everything is placeholder so will be changed with proper stage design. We are averaging 20 FPS in the current video, I'll push for more as always !! Progress continues on my other projects , updates soon on those - retirement can't come quick enough . #SGDK #SegaGenesis #SegaMegadrive
1:17

** Sega Genesis 3D Engine Update 8 ** Significant improvements all round as you can see and hear from the last update !! Foremost - A huge thanks to Toni Gálvez - Megastyle - BG. who has joined the project to create a bit of 16bit low poly magic. Toni's an Amiga fan but also crazy about game dev in general, he's worked on GBC, GBA, PC, MD, PSP, C64, CPC, MSX... and others. Gaming titles include War Times, Metal Gear, Rocketman, Tintin & Asterix to name a few. He's provided the great new ship model you see on screen - new striped buildings, all the backgrounds / palettes etc. There's a lot of models he's given me which need to be added, also he will be planning a lot of the level design. Very happy to have him help me turn this into something more than a tech demo as I have my hands tied pushing the MD as far as it can go haha - there is no cpu cycle to be spared. Also many thanks to my good friend CYBERDEOUS - Crouzet Laurent for the Music for this showing , I wanted to have the music load occurring so we have a realistic benchmark for performance and he was only too obliging. If you're into MD chiptunes check him out !! Since last update : New player model , substantially more detailed than the Arwing. Last update had a 23 triangle Arwing , this update has a 39 triangle custom model from Toni. We had several to choose from , others will be used for enemies . 3D Buffer size increased 25% to 256x160. This was quite tricky as I'm close to the DMA limit even with an extended vblank . Spent a few days thinking of how to do this as like anything retro every solution has a drawback, finally got a workable solution. It makes a big difference to have a bit more vertical height . Z Rotation added ( the screen tilting left to right ) , small hit to vertex transform on cpu thanks to look up tables doing the heavy lifting, saving 4 multiplies per vertex. Multiple speed ups in rendering code. Onscreen paths with no range checking used until Z is close enough to cause clipping , partial onscreen drawing pathes that need to check boundaries, quad rendering completely rewritten - was very very painfull to get right . I found out the hard way that things are great when they are not rotating in the Z axis haha . Partial buffer draw optimisations - which have helped with the massive dma load , sending up to a 20kb buffer in a single frame needs a lot of optimisation. Min / Max tile lines are analysed and only sent if dirtied , reducing most buffer swaps substantially. Still some issues to sort out , at times you can see the flicker near top of screen when frames are near full height . I need to optimise that a bit. Due to the onscreen buffer system a full Sprite background had to be implemented almost Neo Geo style. This flips the usual MD rendering system on its head as it uses both foreground and background layers for a foreground 3d plane and sprites for the background. This presents a few issues, one is to get a tilt effect on the background by using narrow sprites (16x32) we run out of sprites when trying to cover the screen. Thankfully the MD is not limited to 80 sprites, to fix this a 114 sprite multiplexor is used to draw the background, its completely made up of 16x32 sprites ! Why do things this way ? speed . Its the interleaved foreground/background layers that allow a double buffered ram system writing to write to vram using dma in a completely linear fashion - virtually no tile translation needed. The negative is you have no planes for the background, that's where the sprites come in . Thanks to H40 mode we still have a few sprites we can use for effects in the forground also . Thankfully we can implement a fairly good tilt still for the background using sprites, in future updates this will be able to move horizontally also and a bit of vertical movement. XGM1 music driver in use to simulate music cpu load, XGM2 unfortunately with the massive DMA needed to shift the 3d buffers would slow down at times rendering it unusable, XGM1 plays at full speed - albiet with a bit more of a cpu hit. Together with the sprite multiplexor and the music driver active theres a 10 % hit to cpu so I've had to play around with draw distances / object heights and other optimisations to offset that. Not to mention the larger buffer takes more cpu to fill also. Everything is placeholder so will be changed with proper stage design. We are averaging 20 FPS in the current video, I'll push for more as always !! Progress continues on my other projects , updates soon on those - retirement can't come quick enough . #SGDK #SegaGenesis #SegaMegadrive

Shannon Birt

34,176 Aufrufe • vor 1 Monat

The Masters is one of my favorite sporting events, and its 88-year history brings some great traditions. Here's a running list of the most interesting facts: 1. Media tickets (badges) have RFID tags inside them so the club knows where each person is at all times. 2. Even players who miss the cut at the Masters still walk away with a $10,000 check. 3. A 5-bedroom home near Augusta will rent for $30,000+ during Masters week, and brands often pay six figures for larger homes where they can host events. 4. The IRS has a special exemption in the tax code called the "Augusta Rule," allowing homeowners to rent out their homes for 14 days per year without paying taxes on the income. This rule was initially implemented for Augusta residents only but is now available to everyone in the United States. 5. The Masters will do $70 million in merchandise sales this week. That's... • $10 million per day • $1 million per hour • $16,000 per minute • $277 per second The merchandise is so popular because you can only buy it at Augusta (aka no online sales). 6. In 1931, Augusta National was purchased for $70,000— or an inflation-adjusted $1.4 million. However, the property is now valued at over $200 million. 7. Augusta National has quietly been expanding over the years, spending more than $200 million (through an array of LLCs) to buy 100+ properties. Augusta has purchased strip malls, restaurants, apartment complexes, and homes, adding 270+ acres to the property and often paying 3-4x their value. 8. Augusta National is debuting "Map & Flag" at this year's tournament. The premium hospitality offering isn't even on the property — it was built in a strip mall down the street that Augusta acquired for $26 million in 2020 — yet they were able to charge $17,000 per ticket (+ week-long badges) and have completely sold out. 9. The concession stand food is wrapped in green packaging, so it can't be seen on TV if someone litters. 10. Someone once found a green jacket in a Canadian thrift store. They purchased the jacket for $5, and it later sold at auction for $140,000. 11. Magnolia Lane is exactly 330 yards long, with 61 trees on each side. 12. Augusta's clubhouse has a wine cellar with 30+ pages of the world's most exclusive wines. 13. Previous Masters champions gather every year for dinner on the Tuesday before the tournament. The previous year's winner gets to pick the menu, but he must also pay for the meal. 14. The Masters leaves millions on the table by giving away the broadcasting rights to ESPN and CBS for free. They do this to maintain complete control, handpicking advertisers, eliminating on-course signage, and only playing 3 to 4 minutes of commercials each hour. 15. Unlike most golf clubs, which are registered as non-profits, Augusta National is a for-profit corporation. This requires them to pay more taxes, but they do it anyway because it means they don't have to share their member list, income, holdings, or expansion plans. 16. More than 1,500 private jets will land in Augusta this week, paying about $3,000 in landing and parking fees. 17. Augusta has SubAir Systems under each green. This enables them to keep the greens consistent, sucking up water when it rains and adding moisture when it's hot. Also, when someone slipped a few years back, Augusta added SubAir systems under all the walkways. 18. Dwight D. Eisenhower is the only U.S. President to become a member at Augusta National. He never actually attended the Masters, but Eisenhower made 29 trips to the property, playing 210 rounds of golf, during his eight-year term as President. Even crazier, Augusta worked with the Secret Service to build him a safe place to stay, called Eisenhower Cabin, which is still used on the property today. That's it for today! Enjoy the tournament, and if you learned something from this post, follow me for more sports business content.
10:53

The Masters is one of my favorite sporting events, and its 88-year history brings some great traditions. Here's a running list of the most interesting facts: 1. Media tickets (badges) have RFID tags inside them so the club knows where each person is at all times. 2. Even players who miss the cut at the Masters still walk away with a $10,000 check. 3. A 5-bedroom home near Augusta will rent for $30,000+ during Masters week, and brands often pay six figures for larger homes where they can host events. 4. The IRS has a special exemption in the tax code called the "Augusta Rule," allowing homeowners to rent out their homes for 14 days per year without paying taxes on the income. This rule was initially implemented for Augusta residents only but is now available to everyone in the United States. 5. The Masters will do $70 million in merchandise sales this week. That's... • $10 million per day • $1 million per hour • $16,000 per minute • $277 per second The merchandise is so popular because you can only buy it at Augusta (aka no online sales). 6. In 1931, Augusta National was purchased for $70,000— or an inflation-adjusted $1.4 million. However, the property is now valued at over $200 million. 7. Augusta National has quietly been expanding over the years, spending more than $200 million (through an array of LLCs) to buy 100+ properties. Augusta has purchased strip malls, restaurants, apartment complexes, and homes, adding 270+ acres to the property and often paying 3-4x their value. 8. Augusta National is debuting "Map & Flag" at this year's tournament. The premium hospitality offering isn't even on the property — it was built in a strip mall down the street that Augusta acquired for $26 million in 2020 — yet they were able to charge $17,000 per ticket (+ week-long badges) and have completely sold out. 9. The concession stand food is wrapped in green packaging, so it can't be seen on TV if someone litters. 10. Someone once found a green jacket in a Canadian thrift store. They purchased the jacket for $5, and it later sold at auction for $140,000. 11. Magnolia Lane is exactly 330 yards long, with 61 trees on each side. 12. Augusta's clubhouse has a wine cellar with 30+ pages of the world's most exclusive wines. 13. Previous Masters champions gather every year for dinner on the Tuesday before the tournament. The previous year's winner gets to pick the menu, but he must also pay for the meal. 14. The Masters leaves millions on the table by giving away the broadcasting rights to ESPN and CBS for free. They do this to maintain complete control, handpicking advertisers, eliminating on-course signage, and only playing 3 to 4 minutes of commercials each hour. 15. Unlike most golf clubs, which are registered as non-profits, Augusta National is a for-profit corporation. This requires them to pay more taxes, but they do it anyway because it means they don't have to share their member list, income, holdings, or expansion plans. 16. More than 1,500 private jets will land in Augusta this week, paying about $3,000 in landing and parking fees. 17. Augusta has SubAir Systems under each green. This enables them to keep the greens consistent, sucking up water when it rains and adding moisture when it's hot. Also, when someone slipped a few years back, Augusta added SubAir systems under all the walkways. 18. Dwight D. Eisenhower is the only U.S. President to become a member at Augusta National. He never actually attended the Masters, but Eisenhower made 29 trips to the property, playing 210 rounds of golf, during his eight-year term as President. Even crazier, Augusta worked with the Secret Service to build him a safe place to stay, called Eisenhower Cabin, which is still used on the property today. That's it for today! Enjoy the tournament, and if you learned something from this post, follow me for more sports business content.

Joe Pompliano

2,107,531 Aufrufe • vor 2 Jahren

We are thinking of robots all wrong. Why a $1,500 robot is far more important to buy than a $20,000 one. And why it will pay for itself within a year. First of all, for the last eight years I've been a Silicon Valley housewife. Picking the kids up from school. Doing a variety of tasks taking care of them from feeding them to laundry. And I've already bought a $20,000 Neo from 1X and have built the most complete list on X of the robotics industry. Just to set the tone for this conversation. We must ask ourselves "what is the goal of a robot?" before we go into why typical American homeowners might want one, and shell out quite a bit of money for one, like the Neo. I grew up in Silicon Valley back when it was all orchards and the farmers taught me "pick the low hanging fruit first." What is the low hanging fruit in the American home? Laundry? Cleaning the toilets or your home? Watering the plants? Bringing you a beer? Nope. It is the preparation of food. Yesterday I got a new Posha robot, and the attached video with founder Raghav Gupta gets into depth about what the $1,500 robot does. Cooks meals. Far more time in the home is spent cooking meals than the other tasks and is far more complex than, say, folding laundry. But there is something I think everyone is missing in the discussion of robots: "what is the goal?" I've been doing consumer research talking with many around the world about these things. People tend to have a few goals: 1. Improve their lives. 2. Save them time. 3. Save them money. 4. Enable a new business. What is the best way to improve your life? Upgrade your food. This is very hard to do when both parents in a family are working their butts off to try to improve their careers. It gets worse when a single parent is trying to keep everything going. How many times have you decided to go out to eat rather than spend an hour cooking food? Doing that for a family of four in Silicon Valley costs $100+. And guarantees your family will overeat. I've done that many times while raising my kids, and often I can't say no when desert comes around. It gets worse if you take the easy route out at home. Put a pre-processed meal into the microwave, or heat up a frozen pizza. Horrible for everyone's health. But what if you could have a robot at home that cooks your meals? Then costs go down to less than $20 and ingredients get way way better. It gets worse when you consider a $20,000 humanoid. They aren't safe enough to trust around stoves yet. And their hands aren't yet dexterous enough to do that. I doubt my Neo will be allowed to cook meals over an open flame, and if so I will have to watch it to make sure it doesn't do anything wrong. (The Neo that arrives next year will be teleoperated by a human remotely and the risks that person does something, or misses oil catching on fire is just way too high). While neither robot will be able to do all food preparation (cutting chicken up into cubes, or cutting carrots or other fruits, for instance) this robot dramatically reduces the time needed for a human to make a meal and dramatically reduces the costs to do so. And, as we discuss in the video, when the Neo does arrive the Neo will be able to use this machine too, reducing time even more (and will be able to set the table and wash the dishes, saving even more time so you can answer more emails or learn more AI programs or, even, pay attention to your kids and give them a few more minutes of quality time). The robot industry should focus on the low hanging fruit first. Cooking meals is the biggest one to improve your life, save you time, and make your family healthier. It's why I bought one. And they actually make two: Your money is way better spent getting one of these than buying a humanoid. And if you do get a humanoid, like I am, they go together like peanut butter and jelly. ⚪️ sierra catalina has been saying this for years that our focus on humanoids is overblown and that specialized robots (you see my Matic Robots in the background to prove this point) are way better for most families.
34:11

We are thinking of robots all wrong. Why a $1,500 robot is far more important to buy than a $20,000 one. And why it will pay for itself within a year. First of all, for the last eight years I've been a Silicon Valley housewife. Picking the kids up from school. Doing a variety of tasks taking care of them from feeding them to laundry. And I've already bought a $20,000 Neo from 1X and have built the most complete list on X of the robotics industry. Just to set the tone for this conversation. We must ask ourselves "what is the goal of a robot?" before we go into why typical American homeowners might want one, and shell out quite a bit of money for one, like the Neo. I grew up in Silicon Valley back when it was all orchards and the farmers taught me "pick the low hanging fruit first." What is the low hanging fruit in the American home? Laundry? Cleaning the toilets or your home? Watering the plants? Bringing you a beer? Nope. It is the preparation of food. Yesterday I got a new Posha robot, and the attached video with founder Raghav Gupta gets into depth about what the $1,500 robot does. Cooks meals. Far more time in the home is spent cooking meals than the other tasks and is far more complex than, say, folding laundry. But there is something I think everyone is missing in the discussion of robots: "what is the goal?" I've been doing consumer research talking with many around the world about these things. People tend to have a few goals: 1. Improve their lives. 2. Save them time. 3. Save them money. 4. Enable a new business. What is the best way to improve your life? Upgrade your food. This is very hard to do when both parents in a family are working their butts off to try to improve their careers. It gets worse when a single parent is trying to keep everything going. How many times have you decided to go out to eat rather than spend an hour cooking food? Doing that for a family of four in Silicon Valley costs $100+. And guarantees your family will overeat. I've done that many times while raising my kids, and often I can't say no when desert comes around. It gets worse if you take the easy route out at home. Put a pre-processed meal into the microwave, or heat up a frozen pizza. Horrible for everyone's health. But what if you could have a robot at home that cooks your meals? Then costs go down to less than $20 and ingredients get way way better. It gets worse when you consider a $20,000 humanoid. They aren't safe enough to trust around stoves yet. And their hands aren't yet dexterous enough to do that. I doubt my Neo will be allowed to cook meals over an open flame, and if so I will have to watch it to make sure it doesn't do anything wrong. (The Neo that arrives next year will be teleoperated by a human remotely and the risks that person does something, or misses oil catching on fire is just way too high). While neither robot will be able to do all food preparation (cutting chicken up into cubes, or cutting carrots or other fruits, for instance) this robot dramatically reduces the time needed for a human to make a meal and dramatically reduces the costs to do so. And, as we discuss in the video, when the Neo does arrive the Neo will be able to use this machine too, reducing time even more (and will be able to set the table and wash the dishes, saving even more time so you can answer more emails or learn more AI programs or, even, pay attention to your kids and give them a few more minutes of quality time). The robot industry should focus on the low hanging fruit first. Cooking meals is the biggest one to improve your life, save you time, and make your family healthier. It's why I bought one. And they actually make two: Your money is way better spent getting one of these than buying a humanoid. And if you do get a humanoid, like I am, they go together like peanut butter and jelly. ⚪️ sierra catalina has been saying this for years that our focus on humanoids is overblown and that specialized robots (you see my Matic Robots in the background to prove this point) are way better for most families.

Robert Scoble

178,449 Aufrufe • vor 8 Monaten

** Mega Parodius Update ( MegaDrive / Genesis ) ** 2 vid updates - In the first the Vic Viper players ship is heavily damaged .. only the bomb bay is operational ... so the viper goes on a bomb *blast* processing rampage !! ... This shows enemy destruction and some polishing of the bomb effect. The 2nd vid shows VRAM handling of objects with the tile viewer opened below the gameplay window. You can see objects load in , then as only the burning chests remain those animations are shifted live to maximise free object buffer. Progress since last progress vid : All collisions now implemented : Enemy to Player added , Bomb to Enemy added, Enemy Destruction added. Auto Defragging VRAM system implemented for Enemy Objects. Supports variable slot size also to maximise tile space . Fixed slot sizes wouldn't allow enough slots as they would need to be too large to cover all objects. Without defragging the VRAM would become like swiss cheese after a few screens of enemies also making larger slots difficult to allocate. Vram was getting tight due to things like the Blue Bell Bomb / White Bell text needing a reserved amount of vram ( as they can occur anywhere in the level via powerups ) . Theres also theres quite a bit of variety in Level 1 with warmup enemies , bottle enemies, chickens, crabs, orcas, chests, bees, penguin bathes, walking penguins, bouncing heads etc. We are also using all the arcade assets without trying to cut frames. It can't be loaded all at once so a dynamic system is needed. The enemy object buffer is 444 tiles presently for Level 1 , but the Catboss for example takes 308 when he's onscreen so things can get squeezed. For Mega versions of levels I wanted to ramp things up so that might mean we need more diversity in places than for the arcade accurate option , this system will help that also. The system can stream animation or utilise static animation if vram allows. Seems a mundane thing but sloppy vram management is the achiles heal of GFX diversity in a retro game . To help reduce the Bell effects VRAM buffer , Blue Bomb tiles required reduced to 120 tiles Max ( was 172 ) with no loss of quality . I've also reduced the sprite count by 6 sprites overall - down to 46 sprites used at max frame size. Lots more action / enemies to add yet but particularly the VRAM handling had to be improved before we can implement everything so glad thats in place now. Pyron and Vector Orbitex have been busy with upcoming GFX / Audion for the port , as always I'm very gratefull to have these Masters working with me on the port . #SGDK #Parodius #SegaMegadrive #SegaGenesis
0:26

** Mega Parodius Update ( MegaDrive / Genesis ) ** 2 vid updates - In the first the Vic Viper players ship is heavily damaged .. only the bomb bay is operational ... so the viper goes on a bomb *blast* processing rampage !! ... This shows enemy destruction and some polishing of the bomb effect. The 2nd vid shows VRAM handling of objects with the tile viewer opened below the gameplay window. You can see objects load in , then as only the burning chests remain those animations are shifted live to maximise free object buffer. Progress since last progress vid : All collisions now implemented : Enemy to Player added , Bomb to Enemy added, Enemy Destruction added. Auto Defragging VRAM system implemented for Enemy Objects. Supports variable slot size also to maximise tile space . Fixed slot sizes wouldn't allow enough slots as they would need to be too large to cover all objects. Without defragging the VRAM would become like swiss cheese after a few screens of enemies also making larger slots difficult to allocate. Vram was getting tight due to things like the Blue Bell Bomb / White Bell text needing a reserved amount of vram ( as they can occur anywhere in the level via powerups ) . Theres also theres quite a bit of variety in Level 1 with warmup enemies , bottle enemies, chickens, crabs, orcas, chests, bees, penguin bathes, walking penguins, bouncing heads etc. We are also using all the arcade assets without trying to cut frames. It can't be loaded all at once so a dynamic system is needed. The enemy object buffer is 444 tiles presently for Level 1 , but the Catboss for example takes 308 when he's onscreen so things can get squeezed. For Mega versions of levels I wanted to ramp things up so that might mean we need more diversity in places than for the arcade accurate option , this system will help that also. The system can stream animation or utilise static animation if vram allows. Seems a mundane thing but sloppy vram management is the achiles heal of GFX diversity in a retro game . To help reduce the Bell effects VRAM buffer , Blue Bomb tiles required reduced to 120 tiles Max ( was 172 ) with no loss of quality . I've also reduced the sprite count by 6 sprites overall - down to 46 sprites used at max frame size. Lots more action / enemies to add yet but particularly the VRAM handling had to be improved before we can implement everything so glad thats in place now. Pyron and Vector Orbitex have been busy with upcoming GFX / Audion for the port , as always I'm very gratefull to have these Masters working with me on the port . #SGDK #Parodius #SegaMegadrive #SegaGenesis

Shannon Birt

13,453 Aufrufe • vor 7 Monaten

There's been recent discussion on cloning methods and techniques, I figured I'd share mine, since I've done a clone or two at scale. Knowing what we all know about cloning different strains, and that they all root at different speeds, it's important to note that I grew 25 different strains in here. This was literally my job, I was their greenouse/mother genetics preservation/clone manager. X hostility has increased exponentially lately, so let's address it now. This post may hurt some people's feelings, may cause some anger and a little controversy(If that's you, search within), but I'm just relaying what I've found testing these things at scale, rather than going off of anecdotal instances and remembering what I did(or someone lese) with 10 clones in my 4x4 tent off the top of my head, like many do here. Whether you do these procedures, or not, or whether you have problems, or not -is entirely irrelevant to this post. That's not to say your results aren't real, just that you came to your conclusion unscientifically. This is about other cloning methods, best practices, and this is showing what I've done that works. This was also 4 years ago, and they profited millions that year with high quality flower, so save those comments as well, they're moot. I also no longer work for, or are affiliated with, this farm in any way. We ended our relationship in early 2022, and I wish them the best of success in the future, and they still exist today. They were given the rights to all media and promotional material I filmed and photographed during my 6 years living on the farm, and I likewise have permission and full rights to use whatever footage I recorded there. The only company I'm currently sponsored by, is HardyGro, and their products won't be discussed here. Now, let's get to it. Please be advised, if your ambient RH is below 50%, you will not be able to leave the domes off for long at all. Use a mister to recover them if they wilt on you, and adjust these following procedures accordingly: Use Root Riot or similar rooting medium, other peat based cheaper mediums work well, too, but I found these work the best. 1. Wipe out your domes. If this takes several times per day in a greenhouse of thousands of them, so be it-get it done. You essentially eliminate any fungal issues that may arise with 24/7 100% humidity stagnant air. Remember, the clones are also absorbing water through their stems. 2. Days 1-3, 3 times per day, take the domes off, and wave the plants with it(or place them near a fan for at least 30 seconds). This ensures a thorough air exchange, which also prevents fungal diseases, and proper N,o2 and co2. 3. Beginning days 3-4, remove your domes for several hours at a time. By day 7, remove the domes completely. 4. And this is important - allow the cubes(in this case) to dry down somewhat, they will root faster. 5. Cut your lights back, and never place them in direct sun, they can't handle it. 6. CloneX reigns supreme, period. I tested it against Foop Cloning Gel, Olivia's and Technaflora. Out of 500 clones to test each product, retention percentages were as follows: CloneX: 95+% Tech. : 80% Olivia's: 45% Foop: 0% success. The Fooped clones also grew an unidentified greenish/orange fungus at the base of every clone, and they were all culled. Again, these were my results, at scale, this isn't a debate on what's best or what's cheaper. Maybe two more videos, and I'm outside for the day, enjoy your Sunday.
0:54

There's been recent discussion on cloning methods and techniques, I figured I'd share mine, since I've done a clone or two at scale. Knowing what we all know about cloning different strains, and that they all root at different speeds, it's important to note that I grew 25 different strains in here. This was literally my job, I was their greenouse/mother genetics preservation/clone manager. X hostility has increased exponentially lately, so let's address it now. This post may hurt some people's feelings, may cause some anger and a little controversy(If that's you, search within), but I'm just relaying what I've found testing these things at scale, rather than going off of anecdotal instances and remembering what I did(or someone lese) with 10 clones in my 4x4 tent off the top of my head, like many do here. Whether you do these procedures, or not, or whether you have problems, or not -is entirely irrelevant to this post. That's not to say your results aren't real, just that you came to your conclusion unscientifically. This is about other cloning methods, best practices, and this is showing what I've done that works. This was also 4 years ago, and they profited millions that year with high quality flower, so save those comments as well, they're moot. I also no longer work for, or are affiliated with, this farm in any way. We ended our relationship in early 2022, and I wish them the best of success in the future, and they still exist today. They were given the rights to all media and promotional material I filmed and photographed during my 6 years living on the farm, and I likewise have permission and full rights to use whatever footage I recorded there. The only company I'm currently sponsored by, is HardyGro, and their products won't be discussed here. Now, let's get to it. Please be advised, if your ambient RH is below 50%, you will not be able to leave the domes off for long at all. Use a mister to recover them if they wilt on you, and adjust these following procedures accordingly: Use Root Riot or similar rooting medium, other peat based cheaper mediums work well, too, but I found these work the best. 1. Wipe out your domes. If this takes several times per day in a greenhouse of thousands of them, so be it-get it done. You essentially eliminate any fungal issues that may arise with 24/7 100% humidity stagnant air. Remember, the clones are also absorbing water through their stems. 2. Days 1-3, 3 times per day, take the domes off, and wave the plants with it(or place them near a fan for at least 30 seconds). This ensures a thorough air exchange, which also prevents fungal diseases, and proper N,o2 and co2. 3. Beginning days 3-4, remove your domes for several hours at a time. By day 7, remove the domes completely. 4. And this is important - allow the cubes(in this case) to dry down somewhat, they will root faster. 5. Cut your lights back, and never place them in direct sun, they can't handle it. 6. CloneX reigns supreme, period. I tested it against Foop Cloning Gel, Olivia's and Technaflora. Out of 500 clones to test each product, retention percentages were as follows: CloneX: 95+% Tech. : 80% Olivia's: 45% Foop: 0% success. The Fooped clones also grew an unidentified greenish/orange fungus at the base of every clone, and they were all culled. Again, these were my results, at scale, this isn't a debate on what's best or what's cheaper. Maybe two more videos, and I'm outside for the day, enjoy your Sunday.

One Nation Under Informed

18,822 Aufrufe • vor 1 Jahr

Hell froze over: announcing FormKit for React. Secretly framework-agnostic since inception, today we’re open sourcing the most popular Vue form library…for React. Why is this a big deal? 1. Forms are still hard. We (the creators of FormKit) thought form libraries were no longer necessary, given the trajectory of coding agents. It turns out we were wrong, and we learned this the hard way. Need repeating conditional fields nested 3 layers deep inside a dynamic component, with accessibility, validation, internationalization, and backend error placement? Turns out coding agents aren’t great at that. It’s table stakes for FormKit. 2. Single component. This matters more than you would think, but FormKit doesn’t ship lots of different components each with its own props. Instead, it has a single one: and unified props. This was done to provide a better DX to human engineers. It makes it easy to spot when a given component was part of the form’s data structure vs a presentational component. It turns out this matters even more to coding agents than humans. No matter where your coding agent is, whenever it sees “FormKit” it immediately knows “oh, that’s part of the form’s data”. 3. No plumbing. FormKit doesn’t require any manual data collection, event listening, or state tracking. It does all this for you on a heavily tested, framework agnostic, self-assembling graph. The only code your agent needs to write is declarative templates and submission handlers that respond to the state. 4. Dense colocation. FormKit’s syntax happens to be ideal for coding agents; nearly everything you need to know about a given input is *on* the input: Colocation dramatically improves the efficacy of coding agents. 5. DOM. FormKit, unlike most form frameworks in React, renders the actual DOM. This also increases colocation and best practices, meaning your coding agent is far more likely to produce consistent and high-quality output that looks and acts the way its supposed to. 6. Schema. FormKit’s own inputs are not written using Vue or React — instead, FormKit has its own render schema — think of it like an AST for the DOM — and you can modify it on the fly. It’s not very human-friendly to write, but it turns out most models are already pretty well trained on FormKit’s schema. Want your inputs to look a bit different on one form than another? No problem, your coding agent can easily make those changes *without* modifying the JSX structure at all. Oh, and any inputs you create for Vue work with React and vice versa. 7. Plugins. FormKit leans into the unstructured tree graph hard. The graph doesn’t just collect data, it also passes down configuration and plugins. Want one form to work a bit differently than another one? No problem — just add a plugin to the top of that form or group and its children will all receive that feature. You can even mass assign props and configuration this way. Of course, FormKit has been solving these exact issues for a long time, but it wasn’t until we started using it on our own projects with coding agents that we realized what a huge advantage it is. With so many people using coding agents with React, it made sense to unveil FormKit for what it has always been — a completely framework-agnostic form framework that happens to unlock your coding agents. ➡️
1:00

Hell froze over: announcing FormKit for React. Secretly framework-agnostic since inception, today we’re open sourcing the most popular Vue form library…for React. Why is this a big deal? 1. Forms are still hard. We (the creators of FormKit) thought form libraries were no longer necessary, given the trajectory of coding agents. It turns out we were wrong, and we learned this the hard way. Need repeating conditional fields nested 3 layers deep inside a dynamic component, with accessibility, validation, internationalization, and backend error placement? Turns out coding agents aren’t great at that. It’s table stakes for FormKit. 2. Single component. This matters more than you would think, but FormKit doesn’t ship lots of different components each with its own props. Instead, it has a single one: and unified props. This was done to provide a better DX to human engineers. It makes it easy to spot when a given component was part of the form’s data structure vs a presentational component. It turns out this matters even more to coding agents than humans. No matter where your coding agent is, whenever it sees “FormKit” it immediately knows “oh, that’s part of the form’s data”. 3. No plumbing. FormKit doesn’t require any manual data collection, event listening, or state tracking. It does all this for you on a heavily tested, framework agnostic, self-assembling graph. The only code your agent needs to write is declarative templates and submission handlers that respond to the state. 4. Dense colocation. FormKit’s syntax happens to be ideal for coding agents; nearly everything you need to know about a given input is *on* the input: Colocation dramatically improves the efficacy of coding agents. 5. DOM. FormKit, unlike most form frameworks in React, renders the actual DOM. This also increases colocation and best practices, meaning your coding agent is far more likely to produce consistent and high-quality output that looks and acts the way its supposed to. 6. Schema. FormKit’s own inputs are not written using Vue or React — instead, FormKit has its own render schema — think of it like an AST for the DOM — and you can modify it on the fly. It’s not very human-friendly to write, but it turns out most models are already pretty well trained on FormKit’s schema. Want your inputs to look a bit different on one form than another? No problem, your coding agent can easily make those changes *without* modifying the JSX structure at all. Oh, and any inputs you create for Vue work with React and vice versa. 7. Plugins. FormKit leans into the unstructured tree graph hard. The graph doesn’t just collect data, it also passes down configuration and plugins. Want one form to work a bit differently than another one? No problem — just add a plugin to the top of that form or group and its children will all receive that feature. You can even mass assign props and configuration this way. Of course, FormKit has been solving these exact issues for a long time, but it wasn’t until we started using it on our own projects with coding agents that we realized what a huge advantage it is. With so many people using coding agents with React, it made sense to unveil FormKit for what it has always been — a completely framework-agnostic form framework that happens to unlock your coding agents. ➡️

Justin Schroeder

11,673 Aufrufe • vor 4 Monaten

I’ve been using GPT-5.6 Sol internally for the past two months, I've spent probably 25+ billion tokens. Here’s my review and comparison to Fable 5: > Let's start with the analogy because everyone seems to be giving theirs - GPT-5.6 is likely the last version of the GPT-5 training run series. It's kind of like an athlete at their peak. Through years of experience in the game, they've become the most reliable player and has the highest game IQ. But, there's no more room to grow. Fable on the other hand, being essentially the first version of a new training run, is the first round draft pick rookie. Raw talent mixed with the energy only a young person would have results in some incredible plays we didn't think possible, but also mistakes due to lack of experience. But that rookie will only improve and likely will be better than the veteran ever was because it's a new game and a new era. > GPT-5.6 is genuinely better at long, sustained work. With /goal, I've had it running complex projects for days with almost no intervention. It built a Minecraft-style game, kept adding features and mobs after the core game worked, and only stopped because I stopped the run. I never felt as though I had to jump in and guide it back to the right path. > It keeps finding useful work when you give it a concrete finish line. I had it recreate Excel with a loop. It inspected the real desktop excel app with Computer Use, comparing that against its own build, and closing the gaps. I stopped it after six days after it had built an incredible amount of functionality. > It's faster than other models in two different ways. The raw generation speed is higher, something OpenAI has been putting effort into. But it also takes a shorter path to solutions. It wanders less, changes less code, and generally knows how to get things done directly. In daily use, it feels about 2-3x times faster than Fable. That's my impression, not a controlled benchmark. The difference is large enough that I notice it constantly. > It works well across a wide range of tasks. I use it for one-line edits, quick questions, browser chores, and multi-day builds without changing my prompting style. Speaking of browser control, its the best ever I've used. To the point where I actually use it often. If a task lives on a website, GPT-5.6 usually opens the browser and does it there instead of asking for an API key or forcing everything through the terminal. When I switched back to GPT-5.5, it went straight to the command line even when the browser was clearly the better tool. > And it can handle real browser work, not just toy demos. During a data import, I had it monitor Supabase and resize instances as the load changed. It stayed on the dashboard, adjusted capacity, and checked the result without an API or a custom script. > I also gave it a full Google Workspace migration. It moved Forward Future from to preserved the old aliases, and configured MX, SPF, and DKIM. Before a consequential save, it stopped, explained exactly what would change, and waited for confirmation. > The reasoning setting matters a lot. Light is good for questions and small edits. High and Extra High are the sweet spots for serious work. Ultra usually takes longer than the extra thinking is worth and burns tokens. > I love that 5.6 is split into 3 sizes. Not only can you control speed and cost that way, but you still also have the thinking effort setting for each of them. Very precise controls. I just wish Codex automatically routed my prompts for me. > Its personality is blunt and a little bland. Claude feels warmer and more natural to talk to. GPT-5.6 is more clinical, but I like that for work. It gives me enough explanation and rarely pads the answer. I usually have to ask Fable to explain things more simply and/or more concise. > Its front-end taste has improved, but the default is predictable. Left alone, it turns websites into PowerPoint decks with huge statements and hard section breaks. The good news is that it takes design direction well and can revise without destroying the parts that already work. > It still makes confident mistakes. I asked it to rebuild parts of a system, and it told me the job was finished. Later, I found out it wasn't. Bits of its internal process also leak into the answer occasionally. > Claude Fable is more naturally autonomous on large, open-ended projects. GPT-5.6 is easier to reach for. I don't need to invent a huge project to justify using it. It works just as well for a small edit or browser chore. > GPT-5.6 is also cheaper. Sol costs $5 per million input tokens and $30 per million output tokens. Fable costs $10 and $50. Cached input is cheaper too. Still, cost per finished task matters more than cost per token. > GPT-5.6 isn't the best at everything, and it still needs supervision. But it generates faster, wanders less, works at almost any scale, and wastes less of my time. It's the model I have the most confidence in to get the job done right the first time. I put together a full breakdown with all the tests, prompts, and examples on a site. You can read it here:
7:46

I’ve been using GPT-5.6 Sol internally for the past two months, I've spent probably 25+ billion tokens. Here’s my review and comparison to Fable 5: > Let's start with the analogy because everyone seems to be giving theirs - GPT-5.6 is likely the last version of the GPT-5 training run series. It's kind of like an athlete at their peak. Through years of experience in the game, they've become the most reliable player and has the highest game IQ. But, there's no more room to grow. Fable on the other hand, being essentially the first version of a new training run, is the first round draft pick rookie. Raw talent mixed with the energy only a young person would have results in some incredible plays we didn't think possible, but also mistakes due to lack of experience. But that rookie will only improve and likely will be better than the veteran ever was because it's a new game and a new era. > GPT-5.6 is genuinely better at long, sustained work. With /goal, I've had it running complex projects for days with almost no intervention. It built a Minecraft-style game, kept adding features and mobs after the core game worked, and only stopped because I stopped the run. I never felt as though I had to jump in and guide it back to the right path. > It keeps finding useful work when you give it a concrete finish line. I had it recreate Excel with a loop. It inspected the real desktop excel app with Computer Use, comparing that against its own build, and closing the gaps. I stopped it after six days after it had built an incredible amount of functionality. > It's faster than other models in two different ways. The raw generation speed is higher, something OpenAI has been putting effort into. But it also takes a shorter path to solutions. It wanders less, changes less code, and generally knows how to get things done directly. In daily use, it feels about 2-3x times faster than Fable. That's my impression, not a controlled benchmark. The difference is large enough that I notice it constantly. > It works well across a wide range of tasks. I use it for one-line edits, quick questions, browser chores, and multi-day builds without changing my prompting style. Speaking of browser control, its the best ever I've used. To the point where I actually use it often. If a task lives on a website, GPT-5.6 usually opens the browser and does it there instead of asking for an API key or forcing everything through the terminal. When I switched back to GPT-5.5, it went straight to the command line even when the browser was clearly the better tool. > And it can handle real browser work, not just toy demos. During a data import, I had it monitor Supabase and resize instances as the load changed. It stayed on the dashboard, adjusted capacity, and checked the result without an API or a custom script. > I also gave it a full Google Workspace migration. It moved Forward Future from to preserved the old aliases, and configured MX, SPF, and DKIM. Before a consequential save, it stopped, explained exactly what would change, and waited for confirmation. > The reasoning setting matters a lot. Light is good for questions and small edits. High and Extra High are the sweet spots for serious work. Ultra usually takes longer than the extra thinking is worth and burns tokens. > I love that 5.6 is split into 3 sizes. Not only can you control speed and cost that way, but you still also have the thinking effort setting for each of them. Very precise controls. I just wish Codex automatically routed my prompts for me. > Its personality is blunt and a little bland. Claude feels warmer and more natural to talk to. GPT-5.6 is more clinical, but I like that for work. It gives me enough explanation and rarely pads the answer. I usually have to ask Fable to explain things more simply and/or more concise. > Its front-end taste has improved, but the default is predictable. Left alone, it turns websites into PowerPoint decks with huge statements and hard section breaks. The good news is that it takes design direction well and can revise without destroying the parts that already work. > It still makes confident mistakes. I asked it to rebuild parts of a system, and it told me the job was finished. Later, I found out it wasn't. Bits of its internal process also leak into the answer occasionally. > Claude Fable is more naturally autonomous on large, open-ended projects. GPT-5.6 is easier to reach for. I don't need to invent a huge project to justify using it. It works just as well for a small edit or browser chore. > GPT-5.6 is also cheaper. Sol costs $5 per million input tokens and $30 per million output tokens. Fable costs $10 and $50. Cached input is cheaper too. Still, cost per finished task matters more than cost per token. > GPT-5.6 isn't the best at everything, and it still needs supervision. But it generates faster, wanders less, works at almost any scale, and wastes less of my time. It's the model I have the most confidence in to get the job done right the first time. I put together a full breakdown with all the tests, prompts, and examples on a site. You can read it here:

Matthew Berman

187,321 Aufrufe • vor 1 Monat

$AMD $MSFT Partnership is MASSIVE in 2026 🚀 If you were excited about my thread on $AMD $AMZN AWS long time partnership, you will be even more excited about what Microsoft gonna do with 2026 AMD EPYC "Venice". Historical Context: The relationship between AMD and Microsoft began in the early 2000s, with Microsoft initially focusing on Intel's x86 architecture for its Windows operating system and server products. However, AMD's entry into the server market with its Opteron processors in 2003 marked the beginning of a competitive dynamic that eventually led to collaboration. The partnership intensified with the launch of 3rd Generation EPYC "Milan" in 2021, powering Azure's N2D and C2D VM families. By 2025, Microsoft had integrated 5th Generation EPYC "Turin" into new compute-optimized instances, reflecting a strategic shift towards AMD for cost and performance benefits. This "Secret Weapon" breakthrough will mark another inflection point for AMD Microsoft Azure relationship, will probably be more aggressive than EPYC "Milan" moment in 2021. We can call it EPYC "Venice" moment 2026" 1. Technical performance of AMD EPYC "Venice" (2026) AMD's 6th Gen EPYC "Venice" processors, slated for 2026, introduce New Chiplet design breakthrough. a revolutionary chiplet interconnect fabric that redefines server scalability for AI. This isn't just faster silicon; it's a paradigm shift for Microsoft Azure , enabling hyper-efficient, rack-scale AI inference that slashes costs and latency while boosting throughput. ~Up to 256 Zen 6 cores, a 70% performance increase over "Turin," optimized for AI and HPC. ~Memory and Bandwidth: 1.6 TB/s per socket, doubling "Turin's" capability, with support for MR-DIMM/MCR-DIMM. ~Efficiency: 1,500-1,700W power draw, a 50% reduction, aligning with Microsoft's sustainability initiatives. ~Interconnect: PCIe 6.0 and a new chiplet fabric for rack-scale AI, reducing latency and enhancing scalability. 2. Why $MSFT will adopt $AMD YPYC Share to 50%+ in 2026. AMD EPYC Share: ~30-35% of Azure's x86 CPU-based business while Intel Xeon share is 65% Microsoft's Azure has been progressively integrating AMD EPYC, with "Venice" expected to expand this footprint: A. Dominance of AI Inference Workloads ~AI inference constitutes 80% of AI workloads in cloud environments, with latency-sensitive applications like chatbots, recommendation engines, and fraud detection requiring sub-second response times. ~"Venice's" 35x inference performance uplift directly addresses these requirements, outperforming Intel's offerings and custom Arm solutions in multi-threaded scenarios. B. Cost Efficiency and Operational Savings ~Azure's 2025 capex of $118B is under pressure to deliver returns. "Venice" can reduce operational expenses by $20-30B annually due to its power efficiency and performance gains, improving Azure's margins to 35-40%. ~The cost per inference operation is significantly lower with "Venice," estimated at 24-31% less than Intel-based alternatives, enhancing Azure's competitiveness against AWS and GCP. C. Scalability for Enterprise AI: ~"Venice" supports rack-scale AI deployments, enabling Azure to scale AI services for enterprise customers. For example, a 1,000-node cluster can process 700,000+ tokens per second, crucial for large-scale AI applications like personalized marketing and predictive analytics. ~This scalability is particularly important as Azure aims to capture the $100B+ AI opportunity by 2026, as stated by Microsoft CEO Satya Nadella. D. Reduction of Nvidia Dependency ~While Nvidia ( $NVDA) dominates AI accelerators, AMD's integrated EPYC-GPU solutions (MI450 with "Venice") offer a balanced approach, reducing Azure's reliance on Nvidia's high-cost GPUs. ~"Venice" enables hybrid inference models, where CPU-based inference handles 80% of workloads, and GPU acceleration is reserved for training and complex tasks, optimizing resource allocation. 3. Financial Implication: ~Revenue from Azure could reach $15-18B annually by 2026, part of a total revenue projection of $70-100B ~Profit margins could improve to 55-60%, boosting net income to $20-25B, supported by scale economies and reduced production costs. Intel could respond by giving more aggressive discounts, but this breakthrough has been a decade long of $AMD R&D, or rethinking chiplet design, a complete new approach. "Venice's" lead in AI inference and efficiency is challenging to match. Broader Industry: Other hyperscalers ( Amazon Web Services , GCP) and enterprises will follow Azure's lead, standardizing EPYC technology and pressuring Intel further. This could lead to a broader industry shift towards AMD, enhancing its ecosystem and bargaining power. Conclusion: The strategic adoption of AMD's 6th Generation EPYC "Venice" processors by Microsoft Azure in 2026 marks a pivotal moment in the evolution of cloud computing, particularly for AI inference capabilities. "Venice's" groundbreaking chiplet design, offering a 35x performance uplift for AI inference tasks, a 50% reduction in power consumption, and unparalleled scalability, positions Azure to leapfrog its competitors in the race for AI dominance. This technical superiority, combined with significant cost savings potentially $20-30B annually in operational expenses; aligns perfectly with Microsoft's ambitions to capture the $100B+ Revenue AI opportunity by 2026. The shift to 50% x86 market share for AMD within Azure is not merely a technical transition but a strategic realignment that redefines the competitive landscape. Historically, Microsoft's partnership with AMD has evolved from niche deployments to a core component of Azure's infrastructure, and "Venice" accelerates this trend. The 30-35% AMD EPYC share in 2025 is expected to double, driven by new VM families like C4D and H4D, which will dominate AI-intensive and HPC workloads. This migration is incentivized by "Venice's" efficiency gains, reducing dependency on Intel and Nvidia, and enhancing Azure's sustainability profile. Not Financial Advice!
7:18

$AMD $MSFT Partnership is MASSIVE in 2026 🚀 If you were excited about my thread on $AMD $AMZN AWS long time partnership, you will be even more excited about what Microsoft gonna do with 2026 AMD EPYC "Venice". Historical Context: The relationship between AMD and Microsoft began in the early 2000s, with Microsoft initially focusing on Intel's x86 architecture for its Windows operating system and server products. However, AMD's entry into the server market with its Opteron processors in 2003 marked the beginning of a competitive dynamic that eventually led to collaboration. The partnership intensified with the launch of 3rd Generation EPYC "Milan" in 2021, powering Azure's N2D and C2D VM families. By 2025, Microsoft had integrated 5th Generation EPYC "Turin" into new compute-optimized instances, reflecting a strategic shift towards AMD for cost and performance benefits. This "Secret Weapon" breakthrough will mark another inflection point for AMD Microsoft Azure relationship, will probably be more aggressive than EPYC "Milan" moment in 2021. We can call it EPYC "Venice" moment 2026" 1. Technical performance of AMD EPYC "Venice" (2026) AMD's 6th Gen EPYC "Venice" processors, slated for 2026, introduce New Chiplet design breakthrough. a revolutionary chiplet interconnect fabric that redefines server scalability for AI. This isn't just faster silicon; it's a paradigm shift for Microsoft Azure , enabling hyper-efficient, rack-scale AI inference that slashes costs and latency while boosting throughput. ~Up to 256 Zen 6 cores, a 70% performance increase over "Turin," optimized for AI and HPC. ~Memory and Bandwidth: 1.6 TB/s per socket, doubling "Turin's" capability, with support for MR-DIMM/MCR-DIMM. ~Efficiency: 1,500-1,700W power draw, a 50% reduction, aligning with Microsoft's sustainability initiatives. ~Interconnect: PCIe 6.0 and a new chiplet fabric for rack-scale AI, reducing latency and enhancing scalability. 2. Why $MSFT will adopt $AMD YPYC Share to 50%+ in 2026. AMD EPYC Share: ~30-35% of Azure's x86 CPU-based business while Intel Xeon share is 65% Microsoft's Azure has been progressively integrating AMD EPYC, with "Venice" expected to expand this footprint: A. Dominance of AI Inference Workloads ~AI inference constitutes 80% of AI workloads in cloud environments, with latency-sensitive applications like chatbots, recommendation engines, and fraud detection requiring sub-second response times. ~"Venice's" 35x inference performance uplift directly addresses these requirements, outperforming Intel's offerings and custom Arm solutions in multi-threaded scenarios. B. Cost Efficiency and Operational Savings ~Azure's 2025 capex of $118B is under pressure to deliver returns. "Venice" can reduce operational expenses by $20-30B annually due to its power efficiency and performance gains, improving Azure's margins to 35-40%. ~The cost per inference operation is significantly lower with "Venice," estimated at 24-31% less than Intel-based alternatives, enhancing Azure's competitiveness against AWS and GCP. C. Scalability for Enterprise AI: ~"Venice" supports rack-scale AI deployments, enabling Azure to scale AI services for enterprise customers. For example, a 1,000-node cluster can process 700,000+ tokens per second, crucial for large-scale AI applications like personalized marketing and predictive analytics. ~This scalability is particularly important as Azure aims to capture the $100B+ AI opportunity by 2026, as stated by Microsoft CEO Satya Nadella. D. Reduction of Nvidia Dependency ~While Nvidia ( $NVDA) dominates AI accelerators, AMD's integrated EPYC-GPU solutions (MI450 with "Venice") offer a balanced approach, reducing Azure's reliance on Nvidia's high-cost GPUs. ~"Venice" enables hybrid inference models, where CPU-based inference handles 80% of workloads, and GPU acceleration is reserved for training and complex tasks, optimizing resource allocation. 3. Financial Implication: ~Revenue from Azure could reach $15-18B annually by 2026, part of a total revenue projection of $70-100B ~Profit margins could improve to 55-60%, boosting net income to $20-25B, supported by scale economies and reduced production costs. Intel could respond by giving more aggressive discounts, but this breakthrough has been a decade long of $AMD R&D, or rethinking chiplet design, a complete new approach. "Venice's" lead in AI inference and efficiency is challenging to match. Broader Industry: Other hyperscalers ( Amazon Web Services , GCP) and enterprises will follow Azure's lead, standardizing EPYC technology and pressuring Intel further. This could lead to a broader industry shift towards AMD, enhancing its ecosystem and bargaining power. Conclusion: The strategic adoption of AMD's 6th Generation EPYC "Venice" processors by Microsoft Azure in 2026 marks a pivotal moment in the evolution of cloud computing, particularly for AI inference capabilities. "Venice's" groundbreaking chiplet design, offering a 35x performance uplift for AI inference tasks, a 50% reduction in power consumption, and unparalleled scalability, positions Azure to leapfrog its competitors in the race for AI dominance. This technical superiority, combined with significant cost savings potentially $20-30B annually in operational expenses; aligns perfectly with Microsoft's ambitions to capture the $100B+ Revenue AI opportunity by 2026. The shift to 50% x86 market share for AMD within Azure is not merely a technical transition but a strategic realignment that redefines the competitive landscape. Historically, Microsoft's partnership with AMD has evolved from niche deployments to a core component of Azure's infrastructure, and "Venice" accelerates this trend. The 30-35% AMD EPYC share in 2025 is expected to double, driven by new VM families like C4D and H4D, which will dominate AI-intensive and HPC workloads. This migration is incentivized by "Venice's" efficiency gains, reducing dependency on Intel and Nvidia, and enhancing Azure's sustainability profile. Not Financial Advice!

Mike

141,018 Aufrufe • vor 10 Monaten

Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point
1:34

Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point

NFK

3,351,561 Aufrufe • vor 9 Monaten

[UAP], "were frying the equipment on the aircraft. Some of our most state-of-the-art technology." ~Luna (Note: Transcript is much longer than video clip below) 🤔 Luna: There Are No "Holy Shit" Videos That I've Seen That The Public Has Not 🤔 The 46 videos we requested, "have all now been declassified." ~Rep. Anna Paulina Luna "ALL 46 [videos] have not been released." ~Jeremy Kenyon Lockyer Corbell to Me (I'd like to get that clarified from Rep. Luna) "If they would release the things that I've seen, you would stay up at...you'd be up at night worrying about, or thinking about this stuff." ~Rep. Tim Burchett Press Office to Rob Finnerty And Burchett added that we'd, "come unglued." We also had this... "It was one of those moments where everyone in the room gasped. Everyone. Even the staffers who are like, the most skeptical people in the room just gasped when they saw that video. Because there's not a single aerial thing that can do something like that, that can pull that off." ~Rep. Eric Burlison (Has that video been released?) Compare that to what Luna said... Douthat: "Is there anything else out there (video-wise) that is like, a holy-shit moment?" Luna: "As far as a lot of the meat and potatoes that we've been able to see and gotten briefings on, it's, for the most part, been put out." (So nothing to keep us up at night or to make us come unglued, or...make us gasp. I appreciate her being level headed with that and not hyping it. So, what are Burlison and Burchett talking about? I have learned to see things for myself first before getting too excited about what others say about x, y and z. Some of those videos in the two releases ARE very interesting but nothing has kept me up at night or made me gasp. Do videos like that even exist? It's not the first time I've asked that question.) ~~~Extended Transcript from Segment~~~ Douthat: "You have had access, before these videos were released. In what context have you seen these videos before they were released? Luna: "So I went into the SCIF and...I went and actually observed and saw all the videos before they were released to go through, numerically, to make sure that those were the ones that correlated to the ones that we had actually put out in the request. So those have all now been declassified." Douthat: "All of the ones?" Luna: "Yeah, in the list." (Remember: Regarding the list of 46, Corbell told me that, ""ALL 46 [videos] have not been released.") Douthat: "But how did you get the list of videos in the request?" Luna: "We had a group that came forward, it was bipartisan, former whistleblowers from the intelligence community that had access to... I would compare it to something like YouTube that exists within the intelligence community. And they came up with the files, and they said you need to get access to these files and have them released. And so, before the order came out from the President, we had come up with this list. We had been getting push back, and then after [Trump] gave the green light for it, it was declassified, and those are now up and able to be [viewed] at the Department if War." Douthat: "And what do you think they show?" Luna: "Well, there's some interesting stuff. I think that they show UAPs. There has been one of the videos that has since been debunked to be actually the infrared that was picking up aircraft that was farther in distance, but the optics are kind of an illusion in that sense. So there's been one that's been debunked. But there are ones that they cannot explain. They've tried to cross-reference it with other data, and the way that these things are maneuvering are pretty wild. And so, again, I think that they show UAPs in some instances." Douthat: "Right. And you think that one reason to take this stuff seriously is that they correlate with direct-pilot testimony of the kind that you've heard, right. So it's not like, I'm just... Imagine the completely skeptical listener or viewer, of which there are reasonably many, who says, 'Okay, you have some number of videos, we don't know what they are, but if one of them turns out to be sort of some prosaic explanation, we can assume a lot of them will be.' So what else makes you think..." Luna: "In the specific incident of Eglin Air Force Base, which is where we had the pilot testimony and we were able to see some images, these things were frying the equipment on the aircraft. Some of our most state-of-the-art technology is getting completely fried." Douthat: "And this is something that pilots told you had happened to them? Luna: "Yes, yep. Now, the other issue is, sometimes pilots won't report because they don't want to be taken off flight status. So there's removing the stigma of if you're supposed to have safe flying. You want to also track national security issues. You have to be able to document this stuff. But when you have this type of stuff impacting military training, impacting flight operations, impacting our technology, it's a problem. "We should follow up, and then say, 'Okay, well, is this technology that, potentially, could be advanced tech from adversary nations? I don't, necessarily, think that's the case, because if that was true, we wouldn't be number one, currently. Some of this stuff that we're seeing is pretty wild. You saw the New York Times report (2017 and the Tic Tac ~Joe), and just how it's defying physics, if you will. But then the other aspect of, what can we as Congress do next? We can declassify. I don't think, you know, this aspect of people saying it's not enough..." Douthat: "Are there things that you've seen in a SCIF, or not in a SCIF, that are wilder than this (the videos that have already been released)? That would like, make the front page of the New York Times as, you know, no one can be skeptical anymore?" Luna: "No, I think the aspect of, do I have, you know, a location where there's a little green man on a slab in a fridge (laughs). I don't think I'm gonna get that (laughs)." Douthat: "Wait, we're gonna get to that. Just stick with the videos. Is there anything else out there that is like, a holy-shit moment?" Luna: "Well, I think that there's probably going to be some more release of other videos as well, other testimony. They're still combing. But, as far as a lot of the meat and potatoes that we've been able to see and gotten briefings on, it's, for the most part, been put out."
0:45

[UAP], "were frying the equipment on the aircraft. Some of our most state-of-the-art technology." ~Luna (Note: Transcript is much longer than video clip below) 🤔 Luna: There Are No "Holy Shit" Videos That I've Seen That The Public Has Not 🤔 The 46 videos we requested, "have all now been declassified." ~Rep. Anna Paulina Luna "ALL 46 [videos] have not been released." ~Jeremy Kenyon Lockyer Corbell to Me (I'd like to get that clarified from Rep. Luna) "If they would release the things that I've seen, you would stay up at...you'd be up at night worrying about, or thinking about this stuff." ~Rep. Tim Burchett Press Office to Rob Finnerty And Burchett added that we'd, "come unglued." We also had this... "It was one of those moments where everyone in the room gasped. Everyone. Even the staffers who are like, the most skeptical people in the room just gasped when they saw that video. Because there's not a single aerial thing that can do something like that, that can pull that off." ~Rep. Eric Burlison (Has that video been released?) Compare that to what Luna said... Douthat: "Is there anything else out there (video-wise) that is like, a holy-shit moment?" Luna: "As far as a lot of the meat and potatoes that we've been able to see and gotten briefings on, it's, for the most part, been put out." (So nothing to keep us up at night or to make us come unglued, or...make us gasp. I appreciate her being level headed with that and not hyping it. So, what are Burlison and Burchett talking about? I have learned to see things for myself first before getting too excited about what others say about x, y and z. Some of those videos in the two releases ARE very interesting but nothing has kept me up at night or made me gasp. Do videos like that even exist? It's not the first time I've asked that question.) ~~~Extended Transcript from Segment~~~ Douthat: "You have had access, before these videos were released. In what context have you seen these videos before they were released? Luna: "So I went into the SCIF and...I went and actually observed and saw all the videos before they were released to go through, numerically, to make sure that those were the ones that correlated to the ones that we had actually put out in the request. So those have all now been declassified." Douthat: "All of the ones?" Luna: "Yeah, in the list." (Remember: Regarding the list of 46, Corbell told me that, ""ALL 46 [videos] have not been released.") Douthat: "But how did you get the list of videos in the request?" Luna: "We had a group that came forward, it was bipartisan, former whistleblowers from the intelligence community that had access to... I would compare it to something like YouTube that exists within the intelligence community. And they came up with the files, and they said you need to get access to these files and have them released. And so, before the order came out from the President, we had come up with this list. We had been getting push back, and then after [Trump] gave the green light for it, it was declassified, and those are now up and able to be [viewed] at the Department if War." Douthat: "And what do you think they show?" Luna: "Well, there's some interesting stuff. I think that they show UAPs. There has been one of the videos that has since been debunked to be actually the infrared that was picking up aircraft that was farther in distance, but the optics are kind of an illusion in that sense. So there's been one that's been debunked. But there are ones that they cannot explain. They've tried to cross-reference it with other data, and the way that these things are maneuvering are pretty wild. And so, again, I think that they show UAPs in some instances." Douthat: "Right. And you think that one reason to take this stuff seriously is that they correlate with direct-pilot testimony of the kind that you've heard, right. So it's not like, I'm just... Imagine the completely skeptical listener or viewer, of which there are reasonably many, who says, 'Okay, you have some number of videos, we don't know what they are, but if one of them turns out to be sort of some prosaic explanation, we can assume a lot of them will be.' So what else makes you think..." Luna: "In the specific incident of Eglin Air Force Base, which is where we had the pilot testimony and we were able to see some images, these things were frying the equipment on the aircraft. Some of our most state-of-the-art technology is getting completely fried." Douthat: "And this is something that pilots told you had happened to them? Luna: "Yes, yep. Now, the other issue is, sometimes pilots won't report because they don't want to be taken off flight status. So there's removing the stigma of if you're supposed to have safe flying. You want to also track national security issues. You have to be able to document this stuff. But when you have this type of stuff impacting military training, impacting flight operations, impacting our technology, it's a problem. "We should follow up, and then say, 'Okay, well, is this technology that, potentially, could be advanced tech from adversary nations? I don't, necessarily, think that's the case, because if that was true, we wouldn't be number one, currently. Some of this stuff that we're seeing is pretty wild. You saw the New York Times report (2017 and the Tic Tac ~Joe), and just how it's defying physics, if you will. But then the other aspect of, what can we as Congress do next? We can declassify. I don't think, you know, this aspect of people saying it's not enough..." Douthat: "Are there things that you've seen in a SCIF, or not in a SCIF, that are wilder than this (the videos that have already been released)? That would like, make the front page of the New York Times as, you know, no one can be skeptical anymore?" Luna: "No, I think the aspect of, do I have, you know, a location where there's a little green man on a slab in a fridge (laughs). I don't think I'm gonna get that (laughs)." Douthat: "Wait, we're gonna get to that. Just stick with the videos. Is there anything else out there that is like, a holy-shit moment?" Luna: "Well, I think that there's probably going to be some more release of other videos as well, other testimony. They're still combing. But, as far as a lot of the meat and potatoes that we've been able to see and gotten briefings on, it's, for the most part, been put out."

Joe Murgia

14,839 Aufrufe • vor 2 Monaten

#KeepEyesOnSudan When comparing Khartoum’s average temperatures between 2003 and 2006 with the average between 2023 and 2026, we find the temperature has risen by roughly 0.9 to 1.3 degrees Celsius. That is a striking increase against the levels of global warming, which has averaged about 0.2 degrees Celsius per decade since the 1980s. At that pace, the rise of Khartoum’s temperature over the same period should have been only about 0.4 degrees Celsius. Instead, the increase Khartoum has actually recorded is 225% to 325% higher than that—meaning the city is warming far faster than the rest of the world. Many global and local factors lie behind this. But the past three years have brought exceptional conditions driven by the war, which has accelerated several of the local pressures that shape the city’s climate and push temperatures up. The widespread stripping of vegetation, the fires, the shelling, and the decay of the built environment are all unnatural forces that drive nighttime temperatures higher. They disrupt the natural cooling cycle and weaken the city’s ability to cool down after dark. As a result, the land and buildings start each day a little hotter than the day before, and the city wakes every morning to a higher baseline temperature. This builds into a cumulative cycle that makes heat waves last longer and hit harder—with direct consequences for public health, energy use, and water supplies, and a steady worsening of heat stress. This is where the Khartoum afforestation initiative matters. It is not simply a project to beautify the city, it is a new front in the fight against climate change and a effort to repair the urban environment. Studies suggest that expanding tree cover in Khartoum could lower local temperatures by around 3 to 5 degrees Celsius, while also cleaning the air, cutting dust, reducing energy use, helping the soil hold more water, and strengthening the capital’s overall resilience to heat waves. This initiative does not start from scratch. It builds on pioneering youth and community efforts that came before it, such as the “Green Khartoum” initiative and others. The proposed project aims to bring these efforts together under a single coordinating framework, in partnership with the state government, public institutions, the private sector, civil society, and volunteers—turning scattered initiatives into a broad national program to rebuild the capital’s green cover and restore its beauty. And we are coming back to you, Khartoum. Dr. Amgad Fareid Eltayeb
2:55

#KeepEyesOnSudan When comparing Khartoum’s average temperatures between 2003 and 2006 with the average between 2023 and 2026, we find the temperature has risen by roughly 0.9 to 1.3 degrees Celsius. That is a striking increase against the levels of global warming, which has averaged about 0.2 degrees Celsius per decade since the 1980s. At that pace, the rise of Khartoum’s temperature over the same period should have been only about 0.4 degrees Celsius. Instead, the increase Khartoum has actually recorded is 225% to 325% higher than that—meaning the city is warming far faster than the rest of the world. Many global and local factors lie behind this. But the past three years have brought exceptional conditions driven by the war, which has accelerated several of the local pressures that shape the city’s climate and push temperatures up. The widespread stripping of vegetation, the fires, the shelling, and the decay of the built environment are all unnatural forces that drive nighttime temperatures higher. They disrupt the natural cooling cycle and weaken the city’s ability to cool down after dark. As a result, the land and buildings start each day a little hotter than the day before, and the city wakes every morning to a higher baseline temperature. This builds into a cumulative cycle that makes heat waves last longer and hit harder—with direct consequences for public health, energy use, and water supplies, and a steady worsening of heat stress. This is where the Khartoum afforestation initiative matters. It is not simply a project to beautify the city, it is a new front in the fight against climate change and a effort to repair the urban environment. Studies suggest that expanding tree cover in Khartoum could lower local temperatures by around 3 to 5 degrees Celsius, while also cleaning the air, cutting dust, reducing energy use, helping the soil hold more water, and strengthening the capital’s overall resilience to heat waves. This initiative does not start from scratch. It builds on pioneering youth and community efforts that came before it, such as the “Green Khartoum” initiative and others. The proposed project aims to bring these efforts together under a single coordinating framework, in partnership with the state government, public institutions, the private sector, civil society, and volunteers—turning scattered initiatives into a broad national program to rebuild the capital’s green cover and restore its beauty. And we are coming back to you, Khartoum. Dr. Amgad Fareid Eltayeb

Amgad Fareid Eltayeb

19,175 Aufrufe • vor 1 Monat

"It looked like a large piece of saran wrap. It didn't really scare me at that time until it moved and formed the arm that reached over to the other tree." ~Jan Mac The Predator Case of Lima, Ohio "If you saw in the woods some strange thing like that, like The Predator, you'd probably be leery about going back there again, too." ~Bruce Mac (In the replies, I'd love to discuss... If this thing is the same thing that Jay Stratton and Travis S Taylor (and others?) say they saw, what the hell is it and what the hell is it doing? Is it just a peak into a shadow biome that our senses usually can't perceive but every now and then, shows itself? Just a Predator-like being doing its thing? "Hi everybody, I'm just collecting acorns!" ~Pedator Fella As you watch or read, you'll ask yourself: Is what Jan Mac saw, connected to that light that showed up over the high school, and did it originate from elsewhere? Or, is it native to this planet and just trying to misdirect (by having that light pop up at the same time) and make us think it's from somewhere else? ICYMI, here's my post about the alleged Stratton/Taylor Predator experience... ) ~ David Paulides Voiceover: "The last case I want to investigate is even a little deeper down the rabbit hole. It's not about a missing hunter, but instead about a strange experience one hunter faced in Lima, Ohio. It's important to note that this isn't a connection to The Missing, it's simply an odd event that's worth looking into. And it's associated with one of the smartest people I've ever met." The Late Bruce Maccabee - Ph.D., Optical Physicist: "There's a difference, I guess, between being freaked out by things that you imagine and being freaked out by things that you actually see." ~ Jan Maccabee - Bruce's Wife: "This, I have to say, was the most (sighs) terrifying experience. But yeah, I don't know why I didn't react to it, and that bothers me. "The hunting in Ohio is awesome. We have some great, big trophy deer in Ohio, and we happen to have some of the biggest right here on our own property. "It was the most beautiful night to deer hunt. It was the second day of season, I wanted to get my, you know, rear end in the woods to hunt. I was really excited about it. "There was a band over at the high school. By the time I got to my deer stand, I could hear 'em. I was all settled in, I didn't see nothing coming down the paths. Trails, the birds, crickets, everything were normal woods sounds. When you're hunting, you have two of your most keenest senses, is your hearing and your eyesight. "All of a sudden the woods went to this dead quiet. If I had dropped a pin out of that deer stand... It cut off. No birds, no crickets, no nothing." ~~~ Others have told similar stories featuring that detail of complete silence engulfing them. Brandon Fugal: "And as I was walking around to the back of the old homesteads, it was like I entered an anechoic chamber, a soundproof room. And there was an auditory sensation. It was almost like my ears were boxed. And all of the ambient noise, to a degree, was completely muted. "And one thing that we’ve seen that is consistent is the electromagnetic. The cell phone anomalies…Erik Bard has conducted quite a bit of research into what type of acute medical episodes can accompany extreme electromagnetic, interference or events, even the auditory phenomena that I experienced. I related to you my experience of walking around the back of the old homestead and having this auditory sensation where all the ambient noise was essentially muted. And it truly felt like I stepped into a soundproof chamber of sorts. And it’s interesting. Electromagnetic phenomena at times, and that kind of interference can actually create those kind of reactions biologically." Source: ~ And this excerpt from "Skinwalkers at the Pentagon." (Like with Fugal's experience, this took place at Skinwalker Ranch) "Suddenly a cone of silence descended on Kelleher and Witt; the crickets seemed to go silent and even the faint rustling of the breeze in the trees ceased. Turning around, they saw a creature ambling towards them from the south. It was the size of a 150-pound pig and should have been making considerable noise as it walked. Yet, the cone of silence dominated the moonlit scene as the creature glided past within 30 feet of Kelleher and about 50 feet from Witt. To Kelleher, it appeared the animal had a series of dinosaur-like spines on its back and also sported a very large, flattened beaver-like tail. It noiselessly coasted past the pair and disappeared around the southwestern corner of the building, still not making a sound. Even Kelleher, who had spent hundreds of days and nights on Skinwalker Ranch and had already been exposed to his fair share of bizarre anomalies on the property, felt a distinct chill as he watched the surreal animal shuffle silently away." Longer excerpt: ~~~Back to Jan Mac and The Predator~~~ Jan: "The sun's still up. We were not calling for bad weather that night. It was a great night to hunt. Also, I felt like I had like a mote in my eye. I even took my finger and wiped my eye, like, when you get that fogginess over your eye, like it's just... I look and I'm thinking, 'What is this thing in the trees?' "It looked like a large piece of saran wrap. It's the only way I can describe it. But this thing was very wide. So I'm up fourteen foot, and it hung quite a ways down. And I'm thinking, 'What is this thing?' It didn't really scare me at that time until it moved and formed the arm that reached over to the other tree. It reached over about twelve to fourteen foot, and then it all, like a blob, like, sucked into it. And it went to the whole other tree. "I had this very euphoric feeling like, something ain't right here. Normally at that time, I'd have probably got down and stopped hunting, but for some reason I didn't." Paulides: "So, as you're sitting in your blind and you're looking across, where did the blob come from?" Jan: "I have no idea, it just appeared in the one tree. As it was moving through the woods, it went from like, tree to tree, and then it just...it disappeared. It didn't continue on. So, where it went, I don't know. It's like it just, poof, right before my eyes, vanished. "And I don't remember taking the picture, but being married to who I'm married to, Dr. Bruce Maccabee, he always said, 'If you see anything weird, get a picture.' "I don't recall, actually, when, either, that the sounds had returned. Because it's like, I don't remember. That's not me to this day. Normally, I would probably crawl down, come running in the house and say, 'You ain't gonna believe what's back there in them woods.'" Paulides: "How much longer you think you stayed in the stand?" Jan: "Umm, about half hour till sundown, when it's time to come out." ~ Bruce: "The sequence of this is: Jan goes out to hunt, we have guests show up, we're having dinner. She comes back from the hunt and says nothing about what happened. It was strange. The guests are about ready to leave. Later on, Matthew sends me an email: There was a sighting by a number of students and the faculty at the high school band practice just before dark." ~ Jan: "I'm like, 'Holy crap! Maybe it has something to do with what I saw in the woods?' And Bruce goes, 'What?' And I said, 'I forgot to tell you about what happened in those woods to me tonight!' And I'm reading this from Matthew, and then I started really getting, I get goosebumps. He said, 'This light appeared above the big stadium lights of the football field.' Had Matthew not sent that email, I'm not sure if I would have remembered even that night to say anything." ~ Paulides: "How many kids were on the field?" Matthew Pheneger - Shawnee High School, Class of 2013: "At least thirty. Thirty to forty, I would say." Paulides: "And was that the high school band?" Matthew: "Yes." Paulides: "And so, this was just before you guys went back to school?" Matthew: "Yes, band camp, late August." Paulides: "Late August. So, what time of night do you think that was?" Matthew: "Uhh, between six and seven. We were rehearsing, normally, out here about six, seven o'clock, doing our normal routine, when all of a sudden there was this bright light in the sky that just came out of nowhere. And we all just kind of stopped and looked at it as one." Paulides: "Where was the light?" Matthew: "So, the light was anywhere...it was above the tree line, for sure, just kind of hovering in the skyline. Close enough that it could catch your attention. Like it shouldn't have been there, I guess. If it was some man-made thing, it was too low to be there." Paulides: "Okay. What was the weather like that night?" Matthew: "Clear and hot. Typical, August Ohio weather." Paulides: "Okay. What color was it?" Matthew: "Candle orange. As far as I could tell, the thing had no definable edges to it. There were no like, dimensions. It was just kind of waxing and waning till it just zapped out. You know, our band director, who never stops for anything, he stopped and turned around and looked at us, and he goes, you know, 'What the hell was that?' Before I had time to even like, think about what I was seeing, it was gone. And then it was just kind of like an imprint in your mind, like I've seen something strange.” ~ Paulides: “So in your gut, are the two issues related?” Jan: “I often wonder now. All I can say is it happened within the same time frame, basically, as my experience here. Probably a half a mile over there, as the crow would fly.” ~ Bruce: “This is a Blackberry. On the back, you have the lens. It's not like the modern ones that have a camera on the front as well as a camera on the back. So I'd be taking your picture right now, but I would not be taking my picture. Something happened to that camera, I don't know what, but there's hard evidence of some weird thing that happened. She took a couple of pictures of herself before the event, which provide a fixed point of investigation, you might say. And she took another picture afterwards, So you have the camera phone doing its normal thing before and after, but right in the middle with this one photo, that something bizarre happened. “The picture she took, the resolution somehow changed for that one picture. You could manually change the cell phone to 1600 by 1200, 1024, by 760, or something like that, and 640 by 480. But it got changed to 500 by 400 or something. Numbers that don't exist. I don't know how to make it do that resolution. You'd have to get in there and rewire it somehow, or change the software. But even changing the software doesn't change the number of pixels along the edge of the sensor. I don't know how to explain this filamentary stuff. I can't imagine what this, what looks like it is well focused. I don't know what that is.” ~ Paulides: “I’ve had people write to me and say, ‘Well, what that is is Jan took a picture of her own hair.’” Jan: “My hair was back through the back of the ball cap, where it adjusts. it was tied back.” Paulides: “So there was no part of you that could have been in that frame?” Jan: “No way, no way.” ~ Bruce: “It would be possible for her to take a picture of her hair. She put her hand back there. But that wouldn't change the resolution of the camera or the byte size of the picture.” ~ Paulides: “So Jan, let me ask you, since that has happened, has it changed your life?” Jan: “Yeah, I've never been back in that woods to hunt that. I actually ended up buying a redneck deer blind. I mean, I want something surrounding me.” ~ Bruce: “You can imagine if you saw in the woods some strange thing like that, like The Predator, you'd probably be leery about going back there again, too.”
9:48

"It looked like a large piece of saran wrap. It didn't really scare me at that time until it moved and formed the arm that reached over to the other tree." ~Jan Mac The Predator Case of Lima, Ohio "If you saw in the woods some strange thing like that, like The Predator, you'd probably be leery about going back there again, too." ~Bruce Mac (In the replies, I'd love to discuss... If this thing is the same thing that Jay Stratton and Travis S Taylor (and others?) say they saw, what the hell is it and what the hell is it doing? Is it just a peak into a shadow biome that our senses usually can't perceive but every now and then, shows itself? Just a Predator-like being doing its thing? "Hi everybody, I'm just collecting acorns!" ~Pedator Fella As you watch or read, you'll ask yourself: Is what Jan Mac saw, connected to that light that showed up over the high school, and did it originate from elsewhere? Or, is it native to this planet and just trying to misdirect (by having that light pop up at the same time) and make us think it's from somewhere else? ICYMI, here's my post about the alleged Stratton/Taylor Predator experience... ) ~ David Paulides Voiceover: "The last case I want to investigate is even a little deeper down the rabbit hole. It's not about a missing hunter, but instead about a strange experience one hunter faced in Lima, Ohio. It's important to note that this isn't a connection to The Missing, it's simply an odd event that's worth looking into. And it's associated with one of the smartest people I've ever met." The Late Bruce Maccabee - Ph.D., Optical Physicist: "There's a difference, I guess, between being freaked out by things that you imagine and being freaked out by things that you actually see." ~ Jan Maccabee - Bruce's Wife: "This, I have to say, was the most (sighs) terrifying experience. But yeah, I don't know why I didn't react to it, and that bothers me. "The hunting in Ohio is awesome. We have some great, big trophy deer in Ohio, and we happen to have some of the biggest right here on our own property. "It was the most beautiful night to deer hunt. It was the second day of season, I wanted to get my, you know, rear end in the woods to hunt. I was really excited about it. "There was a band over at the high school. By the time I got to my deer stand, I could hear 'em. I was all settled in, I didn't see nothing coming down the paths. Trails, the birds, crickets, everything were normal woods sounds. When you're hunting, you have two of your most keenest senses, is your hearing and your eyesight. "All of a sudden the woods went to this dead quiet. If I had dropped a pin out of that deer stand... It cut off. No birds, no crickets, no nothing." ~~~ Others have told similar stories featuring that detail of complete silence engulfing them. Brandon Fugal: "And as I was walking around to the back of the old homesteads, it was like I entered an anechoic chamber, a soundproof room. And there was an auditory sensation. It was almost like my ears were boxed. And all of the ambient noise, to a degree, was completely muted. "And one thing that we’ve seen that is consistent is the electromagnetic. The cell phone anomalies…Erik Bard has conducted quite a bit of research into what type of acute medical episodes can accompany extreme electromagnetic, interference or events, even the auditory phenomena that I experienced. I related to you my experience of walking around the back of the old homestead and having this auditory sensation where all the ambient noise was essentially muted. And it truly felt like I stepped into a soundproof chamber of sorts. And it’s interesting. Electromagnetic phenomena at times, and that kind of interference can actually create those kind of reactions biologically." Source: ~ And this excerpt from "Skinwalkers at the Pentagon." (Like with Fugal's experience, this took place at Skinwalker Ranch) "Suddenly a cone of silence descended on Kelleher and Witt; the crickets seemed to go silent and even the faint rustling of the breeze in the trees ceased. Turning around, they saw a creature ambling towards them from the south. It was the size of a 150-pound pig and should have been making considerable noise as it walked. Yet, the cone of silence dominated the moonlit scene as the creature glided past within 30 feet of Kelleher and about 50 feet from Witt. To Kelleher, it appeared the animal had a series of dinosaur-like spines on its back and also sported a very large, flattened beaver-like tail. It noiselessly coasted past the pair and disappeared around the southwestern corner of the building, still not making a sound. Even Kelleher, who had spent hundreds of days and nights on Skinwalker Ranch and had already been exposed to his fair share of bizarre anomalies on the property, felt a distinct chill as he watched the surreal animal shuffle silently away." Longer excerpt: ~~~Back to Jan Mac and The Predator~~~ Jan: "The sun's still up. We were not calling for bad weather that night. It was a great night to hunt. Also, I felt like I had like a mote in my eye. I even took my finger and wiped my eye, like, when you get that fogginess over your eye, like it's just... I look and I'm thinking, 'What is this thing in the trees?' "It looked like a large piece of saran wrap. It's the only way I can describe it. But this thing was very wide. So I'm up fourteen foot, and it hung quite a ways down. And I'm thinking, 'What is this thing?' It didn't really scare me at that time until it moved and formed the arm that reached over to the other tree. It reached over about twelve to fourteen foot, and then it all, like a blob, like, sucked into it. And it went to the whole other tree. "I had this very euphoric feeling like, something ain't right here. Normally at that time, I'd have probably got down and stopped hunting, but for some reason I didn't." Paulides: "So, as you're sitting in your blind and you're looking across, where did the blob come from?" Jan: "I have no idea, it just appeared in the one tree. As it was moving through the woods, it went from like, tree to tree, and then it just...it disappeared. It didn't continue on. So, where it went, I don't know. It's like it just, poof, right before my eyes, vanished. "And I don't remember taking the picture, but being married to who I'm married to, Dr. Bruce Maccabee, he always said, 'If you see anything weird, get a picture.' "I don't recall, actually, when, either, that the sounds had returned. Because it's like, I don't remember. That's not me to this day. Normally, I would probably crawl down, come running in the house and say, 'You ain't gonna believe what's back there in them woods.'" Paulides: "How much longer you think you stayed in the stand?" Jan: "Umm, about half hour till sundown, when it's time to come out." ~ Bruce: "The sequence of this is: Jan goes out to hunt, we have guests show up, we're having dinner. She comes back from the hunt and says nothing about what happened. It was strange. The guests are about ready to leave. Later on, Matthew sends me an email: There was a sighting by a number of students and the faculty at the high school band practice just before dark." ~ Jan: "I'm like, 'Holy crap! Maybe it has something to do with what I saw in the woods?' And Bruce goes, 'What?' And I said, 'I forgot to tell you about what happened in those woods to me tonight!' And I'm reading this from Matthew, and then I started really getting, I get goosebumps. He said, 'This light appeared above the big stadium lights of the football field.' Had Matthew not sent that email, I'm not sure if I would have remembered even that night to say anything." ~ Paulides: "How many kids were on the field?" Matthew Pheneger - Shawnee High School, Class of 2013: "At least thirty. Thirty to forty, I would say." Paulides: "And was that the high school band?" Matthew: "Yes." Paulides: "And so, this was just before you guys went back to school?" Matthew: "Yes, band camp, late August." Paulides: "Late August. So, what time of night do you think that was?" Matthew: "Uhh, between six and seven. We were rehearsing, normally, out here about six, seven o'clock, doing our normal routine, when all of a sudden there was this bright light in the sky that just came out of nowhere. And we all just kind of stopped and looked at it as one." Paulides: "Where was the light?" Matthew: "So, the light was anywhere...it was above the tree line, for sure, just kind of hovering in the skyline. Close enough that it could catch your attention. Like it shouldn't have been there, I guess. If it was some man-made thing, it was too low to be there." Paulides: "Okay. What was the weather like that night?" Matthew: "Clear and hot. Typical, August Ohio weather." Paulides: "Okay. What color was it?" Matthew: "Candle orange. As far as I could tell, the thing had no definable edges to it. There were no like, dimensions. It was just kind of waxing and waning till it just zapped out. You know, our band director, who never stops for anything, he stopped and turned around and looked at us, and he goes, you know, 'What the hell was that?' Before I had time to even like, think about what I was seeing, it was gone. And then it was just kind of like an imprint in your mind, like I've seen something strange.” ~ Paulides: “So in your gut, are the two issues related?” Jan: “I often wonder now. All I can say is it happened within the same time frame, basically, as my experience here. Probably a half a mile over there, as the crow would fly.” ~ Bruce: “This is a Blackberry. On the back, you have the lens. It's not like the modern ones that have a camera on the front as well as a camera on the back. So I'd be taking your picture right now, but I would not be taking my picture. Something happened to that camera, I don't know what, but there's hard evidence of some weird thing that happened. She took a couple of pictures of herself before the event, which provide a fixed point of investigation, you might say. And she took another picture afterwards, So you have the camera phone doing its normal thing before and after, but right in the middle with this one photo, that something bizarre happened. “The picture she took, the resolution somehow changed for that one picture. You could manually change the cell phone to 1600 by 1200, 1024, by 760, or something like that, and 640 by 480. But it got changed to 500 by 400 or something. Numbers that don't exist. I don't know how to make it do that resolution. You'd have to get in there and rewire it somehow, or change the software. But even changing the software doesn't change the number of pixels along the edge of the sensor. I don't know how to explain this filamentary stuff. I can't imagine what this, what looks like it is well focused. I don't know what that is.” ~ Paulides: “I’ve had people write to me and say, ‘Well, what that is is Jan took a picture of her own hair.’” Jan: “My hair was back through the back of the ball cap, where it adjusts. it was tied back.” Paulides: “So there was no part of you that could have been in that frame?” Jan: “No way, no way.” ~ Bruce: “It would be possible for her to take a picture of her hair. She put her hand back there. But that wouldn't change the resolution of the camera or the byte size of the picture.” ~ Paulides: “So Jan, let me ask you, since that has happened, has it changed your life?” Jan: “Yeah, I've never been back in that woods to hunt that. I actually ended up buying a redneck deer blind. I mean, I want something surrounding me.” ~ Bruce: “You can imagine if you saw in the woods some strange thing like that, like The Predator, you'd probably be leery about going back there again, too.”

Joe Murgia

24,717 Aufrufe • vor 1 Jahr

Iran war, day 153 | Is the Epstein mafia preparing to escalate against Iran? Per Axios and CBS: US and Israel are preparing to strike Iranian energy infrastructure as early as this weekend. -The plan was presented at Trump's cabinet meeting at Camp David on Friday. -Targets would likely include power plants and refineries. -There was discussion of timing the strikes to conclude before markets open Monday, though no end point has been locked in. -Israel has been notified and is coordinating with Washington, but Trump has not yet given final approval. -An Israeli official told CBS it is not aware of any decision to restart full military operations. Otherwise Trump has a decision to make for his attack strategy: 1. There is the chairman of the joint chief Dan Cain’s plan, to limit strikes and conserve interceptors and missiles. 2 Copecom Brad Cooper wants aggressive strikes for the next 20 days to try and diminish iran’s missile capacity. This would leave the US in a vulnerable position and unable to defend its assets. The US has already withdrawn the 6 remaining Patriot air defense systems from Iraqi Kurdistan since they can no longer afford to defend them. Trump also refused a request by war criminal Zelensky to provide 300 interceptors. What do trump’s allies and critics say? Per Fox News citing the rubio: I don't think the Iranian regime has faced a president like Trump, who actually takes action. So Iran didn’t deal with r Regan who sponsored Saddam in the 1980s? CNN: Many of Trump's allies are now concerned that a war with Iran threatens to completely undermine his presidency, and thus the Republicans' chances in the upcoming elections. CNN: Trump's frustration has grown over Tehran's refusal to respond to his demands, leading to sharp behind-the-scenes meetings and heated phone calls with his allies. So more meltdowns! Is Ansar’Allah the least bit deterred by saudi’s axis of suckers, 14 predominantly Sunni supremacist nations, seeking to reopen the Bab El Mandeb straight? It’s interesting how there’s no Sunni supremacist coalition to restore Palestine. Ansar’Allah’s stated that eight Saudi oil tankers were forced to reroute around Africa via the Cape of Good Hope. This comes at considerable costs to logistics. “As part of efforts to enforce the ‘blockade-for-blockade’ formula and follow steps taken by our armed forces to tighten the naval blockade of the Saudi enemy’s oil vessels, eight tankers were forced to change their course,” the group said in a statement. Ansar Allah added that they would continue enforcing the naval blockade against Saudi Arabia and attack its vessels wherever possible. How is Trump doing with his blockade and offer to record tanked through the SOH? The IRGC announced it targeted a convoy of tankers being escorted by the U.S. Navy through the SOH! -Two of the violating tankers were struck, and four others turned around immediately. -The convoy attempted to use the illegal route near Omani waters this morning. -Oman continues to backstab Iran The IRGC says Iran continues to exercise full authority over the SOH, and that no vessel may pass without permission from the Persian Gulf Strait Authority. -Qatar already found out when they conceded and got one ship through by following the rules
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Iran war, day 153 | Is the Epstein mafia preparing to escalate against Iran? Per Axios and CBS: US and Israel are preparing to strike Iranian energy infrastructure as early as this weekend. -The plan was presented at Trump's cabinet meeting at Camp David on Friday. -Targets would likely include power plants and refineries. -There was discussion of timing the strikes to conclude before markets open Monday, though no end point has been locked in. -Israel has been notified and is coordinating with Washington, but Trump has not yet given final approval. -An Israeli official told CBS it is not aware of any decision to restart full military operations. Otherwise Trump has a decision to make for his attack strategy: 1. There is the chairman of the joint chief Dan Cain’s plan, to limit strikes and conserve interceptors and missiles. 2 Copecom Brad Cooper wants aggressive strikes for the next 20 days to try and diminish iran’s missile capacity. This would leave the US in a vulnerable position and unable to defend its assets. The US has already withdrawn the 6 remaining Patriot air defense systems from Iraqi Kurdistan since they can no longer afford to defend them. Trump also refused a request by war criminal Zelensky to provide 300 interceptors. What do trump’s allies and critics say? Per Fox News citing the rubio: I don't think the Iranian regime has faced a president like Trump, who actually takes action. So Iran didn’t deal with r Regan who sponsored Saddam in the 1980s? CNN: Many of Trump's allies are now concerned that a war with Iran threatens to completely undermine his presidency, and thus the Republicans' chances in the upcoming elections. CNN: Trump's frustration has grown over Tehran's refusal to respond to his demands, leading to sharp behind-the-scenes meetings and heated phone calls with his allies. So more meltdowns! Is Ansar’Allah the least bit deterred by saudi’s axis of suckers, 14 predominantly Sunni supremacist nations, seeking to reopen the Bab El Mandeb straight? It’s interesting how there’s no Sunni supremacist coalition to restore Palestine. Ansar’Allah’s stated that eight Saudi oil tankers were forced to reroute around Africa via the Cape of Good Hope. This comes at considerable costs to logistics. “As part of efforts to enforce the ‘blockade-for-blockade’ formula and follow steps taken by our armed forces to tighten the naval blockade of the Saudi enemy’s oil vessels, eight tankers were forced to change their course,” the group said in a statement. Ansar Allah added that they would continue enforcing the naval blockade against Saudi Arabia and attack its vessels wherever possible. How is Trump doing with his blockade and offer to record tanked through the SOH? The IRGC announced it targeted a convoy of tankers being escorted by the U.S. Navy through the SOH! -Two of the violating tankers were struck, and four others turned around immediately. -The convoy attempted to use the illegal route near Omani waters this morning. -Oman continues to backstab Iran The IRGC says Iran continues to exercise full authority over the SOH, and that no vessel may pass without permission from the Persian Gulf Strait Authority. -Qatar already found out when they conceded and got one ship through by following the rules

Truth_teller 🇷🇺

18,922 Aufrufe • vor 17 Tagen