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Let me explain what I'm doing here for those who are interested. I've been building a retro-style D3D12 game engine from scratch, and recently implemented a "Spatial Compression" effect. Essentially its a technique that makes distant geometry appear larger than standard perspective projection would, giving scenes a telephoto compression...

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Analog Dream Dev

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47,246 просмотров • 3 месяцев назад •via X (Twitter)

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Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev
0:51

Everything far away in a game engine can feel small, flat, and washed out. That is correct perspective, but it can make for some poor scenery sometimes. Two features I've added to my engine try to fight against that: Spatial Recession magnifies the distance. After a vertex is projected I push its screen position outward from center. Near geometry is untouched. It only moves x and y, never depth, so nothing sorts differently and nothing z-fights. The result is a long lens bolted onto the far half of a wide one: the tower and the ridgeline loom instead of receding, while I keep the wide field of view I actually play in (FOV is identical in both of these examples). Dimensional Falloff is four distance ramps on the surface itself. Lighting contrast flattens so distant hills stop having a hard lit side and a hard dark side, which is what haze does in real life. Color then desaturates toward its own brightness to fake more distance. Then that desaturated color is pushed, and that is the one doing most of the visible work here. Last is texture detail, with a custom MIP value based on distances. All of it keys off real radial distance from the camera rather than depth This is so it stays put when you turn your head. Performance cost is next to nothing. The recession is two lines in the vertex shader. The falloff is a few lerps at the end of the pixel shader, which was already computing that distance for the mip bias anyway. Quite happy with the results, what do you think? #gamedev

Analog Dream Dev

84,807 просмотров • 16 дней назад

For me, this was the moment when Halo went from being a War Story with futuristic elements to a Sci-fi Superhero Story. It’s an impossible shot. The camera flies around and through objects, time speeds up and slows down at random, the camera anticipates events that are scripted instead of reacting to capture them, there is no sense of space or proximity or cause and effect... It's like they gave the camera to Superman. That's all fine in a Superhero Story, but it breaks the stakes of a War Story. If the audience perspective is not grounded, then the stakes of the story are not grounded. It's exciting and flashy, but has as much impact as a kid playing with dolls.
1:46

For me, this was the moment when Halo went from being a War Story with futuristic elements to a Sci-fi Superhero Story. It’s an impossible shot. The camera flies around and through objects, time speeds up and slows down at random, the camera anticipates events that are scripted instead of reacting to capture them, there is no sense of space or proximity or cause and effect... It's like they gave the camera to Superman. That's all fine in a Superhero Story, but it breaks the stakes of a War Story. If the audience perspective is not grounded, then the stakes of the story are not grounded. It's exciting and flashy, but has as much impact as a kid playing with dolls.

Aozolai

317,962 просмотров • 10 месяцев назад

Christopher Nolan convinced IMAX engineers to completely redesign their cameras just so he could film The Odyssey. "I called my friends at IMAX and I said, 'If ever we're going to make a film entirely in IMAX, this is The Odyssey. So, can you find a way to alleviate the limiting factor?'" "The limiting factor being the cameras are extremely loud." "We've never been able to capture dramatic scenes with an IMAX camera." "What they did is they came up with a way of blimping the camera." "Essentially a high-tech box that you put the camera into and it silences it." "It let us, for the first time ever, get the quiet scenes... and therefore be able to do the whole film."
1:01

Christopher Nolan convinced IMAX engineers to completely redesign their cameras just so he could film The Odyssey. "I called my friends at IMAX and I said, 'If ever we're going to make a film entirely in IMAX, this is The Odyssey. So, can you find a way to alleviate the limiting factor?'" "The limiting factor being the cameras are extremely loud." "We've never been able to capture dramatic scenes with an IMAX camera." "What they did is they came up with a way of blimping the camera." "Essentially a high-tech box that you put the camera into and it silences it." "It let us, for the first time ever, get the quiet scenes... and therefore be able to do the whole film."

Nichole

806,463 просмотров • 2 месяцев назад

🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the *global* _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. **Convert the refraction direction vector to tangent space before adding it to the screen UV.** Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.
0:39

🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the *global* _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. **Convert the refraction direction vector to tangent space before adding it to the screen UV.** Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.

Mirza Beig

125,253 просмотров • 1 год назад

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.
0:30

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.

Kashberg

17,892 просмотров • 18 дней назад

A camera has been discovered that been live streaming 24 hours a day pointed directly at a children’s park It’s called Central Park of Maple Grove in Minnesota The camera is pointed directly at the splash pad where kids will be in their swimming suits “Am I overreacting or like thinking this is a bigger deal than it is? So there's a park, like a playground that I take my son to frequently, and it has a splash pad — I was on to like their website seeing what time it started or what time the splash pad opens up. And then I see on the website that there's a live camera option, so I clicked it — this camera is like directly at the splash pad, so I can see all these kids playing — Like, why is there a live camera 24/7 watching the children?” No you are not overreacting, the fact that it’s pointed directly at the splash pad zone is a big red flag I included actual images from the park in the video
1:39

A camera has been discovered that been live streaming 24 hours a day pointed directly at a children’s park It’s called Central Park of Maple Grove in Minnesota The camera is pointed directly at the splash pad where kids will be in their swimming suits “Am I overreacting or like thinking this is a bigger deal than it is? So there's a park, like a playground that I take my son to frequently, and it has a splash pad — I was on to like their website seeing what time it started or what time the splash pad opens up. And then I see on the website that there's a live camera option, so I clicked it — this camera is like directly at the splash pad, so I can see all these kids playing — Like, why is there a live camera 24/7 watching the children?” No you are not overreacting, the fact that it’s pointed directly at the splash pad zone is a big red flag I included actual images from the park in the video

Wall Street Apes

62,040 просмотров • 3 месяцев назад

Youtuber Brittany Venti covers The Quartering, getting banned from the Ren Fair due to his weird, creepy behavior on a resurfaced livestream of him walking around the Ren Fair site, stating the following while filming: 1. pointing his camera at and calling women in close distance of Jeremy "MILFs" who are also holding their hand's with their children 2. pointing his camera at and calling a fat woman thick and saying "Rawr." 3. Pointing his camera at and walking behind a woman with her two kids while saying "that is what I am talking about," "she keeps it tight," and "you know she is DTF because she has kids." 4. points his camera at a nearly 10-year-old and moves his camera up and down as if hes checking her out. Brittany says that typically, the Renaissance Fair will not allow you to film and they will kick you out for it. She also says that it's pretty embarrassing to get banned from a place like the Ren Fair for being a sex pest. To which I agree.
1:33

Sensitive content

Youtuber Brittany Venti covers The Quartering, getting banned from the Ren Fair due to his weird, creepy behavior on a resurfaced livestream of him walking around the Ren Fair site, stating the following while filming: 1. pointing his camera at and calling women in close distance of Jeremy "MILFs" who are also holding their hand's with their children 2. pointing his camera at and calling a fat woman thick and saying "Rawr." 3. Pointing his camera at and walking behind a woman with her two kids while saying "that is what I am talking about," "she keeps it tight," and "you know she is DTF because she has kids." 4. points his camera at a nearly 10-year-old and moves his camera up and down as if hes checking her out. Brittany says that typically, the Renaissance Fair will not allow you to film and they will kick you out for it. She also says that it's pretty embarrassing to get banned from a place like the Ren Fair for being a sex pest. To which I agree.

Leigha Sapienti

60,394 просмотров • 4 месяцев назад

** Sega Genesis 3D engine update 8.5 ** A smaller update - Scrolling left or right of the sprite based background is implemented along with X camera shifting of the 3d plane. The Exodus emulator has been used with sprite boxing enabled so you can see the background sprites making up the object ( their outlines ) and how they move to tilt the image . The background is made up of 112 sprites (51 are multiplexed in that number as the Genesis is limited to 80 without mulitplexing eg basically re-using sprite hardware as the screen is being drawn ) . In a 6 x 17 sprite grid of 16x32 pixel high sprites. If the tilt affect was not neccessary or only 1/2 the angle of tilt effect was needed, I could get away with 1/2 the number of sprites and just used 32x32 sprites instead. I think the tilt effect adds a bit to movement however. This is very similar to how a Neo Geo would build its backgrounds up - in 16 pixel strips however its sprites are tall as the screen or more but the concept of making backgrounds up in 16 pixel wide strips is similar. The NG uses sprites to build any background layers required. Here on the Genesis the reason is rendering is much faster using both the 3d planes and using a total sprite background for this engine. Initially i had a lot of things breaking when I tried to move the camera in the X dimension much , as i'd optimised the vertex transform path heavily and once beyond a certain camera offset the X value was wrapping around causing a lot of breakage in the rendering. Thankfully solved that issue without marginal impact to cpu . It still needs work , perspectives are a bit wrong etc but it won't be hard to fix. Also found some rendering speeds ups, about 8% by optimising fully onscreen quads and optimising the clearing of the frame buffers more efficiently. Toni Gálvez - Megastyle - BG. has been hard at work on HUD elements and more 3d models so will have something to show for that soon. #SGDK #SegaMegadrive #SegaGenesis
0:28

** Sega Genesis 3D engine update 8.5 ** A smaller update - Scrolling left or right of the sprite based background is implemented along with X camera shifting of the 3d plane. The Exodus emulator has been used with sprite boxing enabled so you can see the background sprites making up the object ( their outlines ) and how they move to tilt the image . The background is made up of 112 sprites (51 are multiplexed in that number as the Genesis is limited to 80 without mulitplexing eg basically re-using sprite hardware as the screen is being drawn ) . In a 6 x 17 sprite grid of 16x32 pixel high sprites. If the tilt affect was not neccessary or only 1/2 the angle of tilt effect was needed, I could get away with 1/2 the number of sprites and just used 32x32 sprites instead. I think the tilt effect adds a bit to movement however. This is very similar to how a Neo Geo would build its backgrounds up - in 16 pixel strips however its sprites are tall as the screen or more but the concept of making backgrounds up in 16 pixel wide strips is similar. The NG uses sprites to build any background layers required. Here on the Genesis the reason is rendering is much faster using both the 3d planes and using a total sprite background for this engine. Initially i had a lot of things breaking when I tried to move the camera in the X dimension much , as i'd optimised the vertex transform path heavily and once beyond a certain camera offset the X value was wrapping around causing a lot of breakage in the rendering. Thankfully solved that issue without marginal impact to cpu . It still needs work , perspectives are a bit wrong etc but it won't be hard to fix. Also found some rendering speeds ups, about 8% by optimising fully onscreen quads and optimising the clearing of the frame buffers more efficiently. Toni Gálvez - Megastyle - BG. has been hard at work on HUD elements and more 3d models so will have something to show for that soon. #SGDK #SegaMegadrive #SegaGenesis

Shannon Birt

21,468 просмотров • 1 месяц назад

I was playing around with my scaling code and thought it would be cool to play the current Lufthoheit service screen on a CRT on the tripple bypassed MD2 i got recently. I've made the code a bit more efficient and added a whole scale factor so now it scales 320 pixels wide x 4 times ( source art width ) . So the ship here is scaled 4x larger than the one we scale at the entrance to the cave level . I'm working on 5x next . Scaler and Rotater are written in 68k assembly for speed . Finally I got the non-safe interupts (eg register allocation / seperation ) to work which yielded a big speed gain . Basically you reserve some of the 68ks registers only for use in the Horizontal Interupts (hints) and other code outside the Hints must not use them during the Hints that are occuring every line. The Hints are doing the vertical scaling work . Its a bit tricky to syncronise and protect but finally it worked. The MDs VDP is scaling vertically (its still not free) , the 68k cpu is scaling the ship horizontally . The 68k does the asteroid rotation . #SegaGenesis #SegaMegadrive CYBERDEOUS - Crouzet Laurent Carsten666
0:42

I was playing around with my scaling code and thought it would be cool to play the current Lufthoheit service screen on a CRT on the tripple bypassed MD2 i got recently. I've made the code a bit more efficient and added a whole scale factor so now it scales 320 pixels wide x 4 times ( source art width ) . So the ship here is scaled 4x larger than the one we scale at the entrance to the cave level . I'm working on 5x next . Scaler and Rotater are written in 68k assembly for speed . Finally I got the non-safe interupts (eg register allocation / seperation ) to work which yielded a big speed gain . Basically you reserve some of the 68ks registers only for use in the Horizontal Interupts (hints) and other code outside the Hints must not use them during the Hints that are occuring every line. The Hints are doing the vertical scaling work . Its a bit tricky to syncronise and protect but finally it worked. The MDs VDP is scaling vertically (its still not free) , the 68k cpu is scaling the ship horizontally . The 68k does the asteroid rotation . #SegaGenesis #SegaMegadrive CYBERDEOUS - Crouzet Laurent Carsten666

Shannon Birt

11,643 просмотров • 1 год назад

The robot’s “eyes” just received a big upgrade. LingBot-Depth 2.0, a depth-completion model with half the depth error just dropped. 12/16 benchmarks topped. Glass, mirrors, and transparent objects are so easy for us humans, but so hard for robots, because they do not behave like ordinary surfaces in a camera pipeline. A robot that misunderstands a balcony window or a table edge, will have a completely false planning inside a false world. Huge implecation. LingBot-Depth 2.0 takes an RGB image plus a broken depth map from a sensor and then outputs a cleaner depth map and a usable 3D point cloud. Numbers on LingBot-Depth 2.0 - Excels on glass, mirrors & transparent objects — where traditional depth cameras fail - Training data: 3M → 150M (50x scale-up) - 12 out of 16 first-place rankings on depth completion benchmarks - RMSE cut in half: 0.132 → 0.062 on the hardest indoor scenes LingBot-Vision trained on boundaries, because object edges carry the geometry robots need. No human boundary labels are used, which makes this approach easier to scale. The open-sourced LingBot-Vision is the general vision backbone, and LingBot-Depth 2.0 is the depth model built on it.
2:22

The robot’s “eyes” just received a big upgrade. LingBot-Depth 2.0, a depth-completion model with half the depth error just dropped. 12/16 benchmarks topped. Glass, mirrors, and transparent objects are so easy for us humans, but so hard for robots, because they do not behave like ordinary surfaces in a camera pipeline. A robot that misunderstands a balcony window or a table edge, will have a completely false planning inside a false world. Huge implecation. LingBot-Depth 2.0 takes an RGB image plus a broken depth map from a sensor and then outputs a cleaner depth map and a usable 3D point cloud. Numbers on LingBot-Depth 2.0 - Excels on glass, mirrors & transparent objects — where traditional depth cameras fail - Training data: 3M → 150M (50x scale-up) - 12 out of 16 first-place rankings on depth completion benchmarks - RMSE cut in half: 0.132 → 0.062 on the hardest indoor scenes LingBot-Vision trained on boundaries, because object edges carry the geometry robots need. No human boundary labels are used, which makes this approach easier to scale. The open-sourced LingBot-Vision is the general vision backbone, and LingBot-Depth 2.0 is the depth model built on it.

Rohan Paul

25,312 просмотров • 2 месяцев назад

Interesting turn of events with Nancy Guthrie case (mother of NBC host kidnapping) The woman the FBI got the Nest camera footage from didn’t have a Premium subscription Yet without a subscription, even being disabled, it was able to record and store footage “We are tracked, they are listening, they are watching, we are being recorded” What’s happening is even if you don’t have a subscription Google is recording and storing the footage from your doorbell camera, but you can only access it without a subscription You think it’s not being recorded and stored, but it is…. Even with the camera disabled, it was recording footage and able to be recovered… “Nancy Guthrie had a Nest camera, which is owned by Google, and law enforcement initially believed the doorbell footage was lost and said Nancy Guthrie did not have a premium subscription to access video from her doorbell camera — Now, according to Google, if a Nest camera is disabled, it can still record up to three hours of event video history without a subscription. So many are wondering, why did it take so long for this video to be released? Well, it takes time for authorities to basically recover this video from Google servers, since Nancy Guthrie did not have a premium subscription that offers special features for video history. And essentially, video is continuously recorded and saved with a subscription, but without a subscription, video is saved until it's overwritten. In this case, they thought because there was no subscription, it would have been erased and recorded over because it would be sort of a continuous situation. And then that's the real issue here. Look, we live in a surveillance economy and as much as we'd like to think that we can delete things and things will go away, and there are some apps that in fact make things go away, the truth of the matter is that we are tracked, They are listening, they are watching, we are being recorded.”
2:49

Interesting turn of events with Nancy Guthrie case (mother of NBC host kidnapping) The woman the FBI got the Nest camera footage from didn’t have a Premium subscription Yet without a subscription, even being disabled, it was able to record and store footage “We are tracked, they are listening, they are watching, we are being recorded” What’s happening is even if you don’t have a subscription Google is recording and storing the footage from your doorbell camera, but you can only access it without a subscription You think it’s not being recorded and stored, but it is…. Even with the camera disabled, it was recording footage and able to be recovered… “Nancy Guthrie had a Nest camera, which is owned by Google, and law enforcement initially believed the doorbell footage was lost and said Nancy Guthrie did not have a premium subscription to access video from her doorbell camera — Now, according to Google, if a Nest camera is disabled, it can still record up to three hours of event video history without a subscription. So many are wondering, why did it take so long for this video to be released? Well, it takes time for authorities to basically recover this video from Google servers, since Nancy Guthrie did not have a premium subscription that offers special features for video history. And essentially, video is continuously recorded and saved with a subscription, but without a subscription, video is saved until it's overwritten. In this case, they thought because there was no subscription, it would have been erased and recorded over because it would be sort of a continuous situation. And then that's the real issue here. Look, we live in a surveillance economy and as much as we'd like to think that we can delete things and things will go away, and there are some apps that in fact make things go away, the truth of the matter is that we are tracked, They are listening, they are watching, we are being recorded.”

Wall Street Apes

255,091 просмотров • 7 месяцев назад

These are the retards that everyone says debunked the MH370 videos. Here they are making a bunch of false claims about the US Navy Gimbal video. This was made years after the videos were admitted to being real. Fat guy claims the rotation of the object is because of the camera turning, but the angles of rotation don't match so this can be ruled out just with a glance. This is not an original thought, he took this claim from Mick West. The shape is not defined by the camera either, that's not how any of this works.😂 Niko claims it's 'lens flare' which it's also not. Hilariously, he claims the light is perfectly reflecting off the object to the camera, but this is false because we know the objects are moving, no way the alignment would stay perfect. These are your 'VFX experts' who can't get a single fact right about any video they review. The stuff I'm pointing out is basic physics that requires no expertise. The Corridor Crew are complete idiots, but I'm supposed to defer to their terrible analysis because they pretend to be experts on youtube?
1:26

These are the retards that everyone says debunked the MH370 videos. Here they are making a bunch of false claims about the US Navy Gimbal video. This was made years after the videos were admitted to being real. Fat guy claims the rotation of the object is because of the camera turning, but the angles of rotation don't match so this can be ruled out just with a glance. This is not an original thought, he took this claim from Mick West. The shape is not defined by the camera either, that's not how any of this works.😂 Niko claims it's 'lens flare' which it's also not. Hilariously, he claims the light is perfectly reflecting off the object to the camera, but this is false because we know the objects are moving, no way the alignment would stay perfect. These are your 'VFX experts' who can't get a single fact right about any video they review. The stuff I'm pointing out is basic physics that requires no expertise. The Corridor Crew are complete idiots, but I'm supposed to defer to their terrible analysis because they pretend to be experts on youtube?

Ashton Forbes

62,786 просмотров • 1 год назад

🐶: lee dokyeom and yoon jeonghan, these… these guys suddenly started looking at me while san was doing the “bad” challenge 🐶: “why are you looking at me?” so the three of us gathered together, and we had those light sticks that you go tatatatak with, shaped like a palm. the three of us were doing tatatatak with them like this 🐶: but the problem was, in the coupang play video, san’s performance was filmed right up front and shown properly. but on the big screen that we were watching, instead of being shown through the live-broadcast camera, they were capturing it in a full shot 🐶: so from my perspective, we were like, “ah~ what is that? they should be showing the main camera to the audience.” “ah~ the camera work is such a shame~ what is this~” and that three seconds of me doing that ended up being broadcast
0:55

🐶: lee dokyeom and yoon jeonghan, these… these guys suddenly started looking at me while san was doing the “bad” challenge 🐶: “why are you looking at me?” so the three of us gathered together, and we had those light sticks that you go tatatatak with, shaped like a palm. the three of us were doing tatatatak with them like this 🐶: but the problem was, in the coupang play video, san’s performance was filmed right up front and shown properly. but on the big screen that we were watching, instead of being shown through the live-broadcast camera, they were capturing it in a full shot 🐶: so from my perspective, we were like, “ah~ what is that? they should be showing the main camera to the audience.” “ah~ the camera work is such a shame~ what is this~” and that three seconds of me doing that ended up being broadcast

mikay 🐈‍⬛

159,155 просмотров • 1 месяц назад

Mistral AI Releases Robostral Navigate: An 8B Model Enabling Robots to Navigate Complex Environments Hitting 76.6% on R2R-CE With One RGB Camera. No LiDAR. No depth sensor. No multi-camera rig. Here's how it works. 👇 1. Pointing, not metric commands The model predicts the pixel coordinates of the next target in the camera view, plus the arrival orientation. Working in pixel space keeps it robust to camera intrinsics and world scale. When the target leaves the frame, it falls back to local displacements ("2m forward, 1.5m left, turn 25°"). 2. Grounding-first No open-source VLM base. It starts from Mistral's grounding model (pointing, counting, localization). Navigation emerges once the model knows where things are. → ~400,000 trajectories across 6,000 simulated scenes 3. Prefix-caching for training A tree-based attention mask packs a full episode into one sequence — all time steps in a single forward pass. → 22× fewer training tokens; months of training done in days 4. Online RL on top After supervised training, CISPO adds trial-and-error learning to fight distribution shift from behavior cloning. → +3.2% success rate from RL alone 5. The numbers (R2R-CE, Matterport3D) → 76.6% success on validation unseen → +9.7 pts over best single-camera approach → +4.5 pts over best depth/multi-camera system The key takeaway: state-of-the-art continuous VLN without a sensor stack — grounding-init, pixel-space actions, prefix-cached SFT, and online RL, on one RGB camera. Full analysis: Technical details: Mistral AI Mistral AI for Developers
0:22

Mistral AI Releases Robostral Navigate: An 8B Model Enabling Robots to Navigate Complex Environments Hitting 76.6% on R2R-CE With One RGB Camera. No LiDAR. No depth sensor. No multi-camera rig. Here's how it works. 👇 1. Pointing, not metric commands The model predicts the pixel coordinates of the next target in the camera view, plus the arrival orientation. Working in pixel space keeps it robust to camera intrinsics and world scale. When the target leaves the frame, it falls back to local displacements ("2m forward, 1.5m left, turn 25°"). 2. Grounding-first No open-source VLM base. It starts from Mistral's grounding model (pointing, counting, localization). Navigation emerges once the model knows where things are. → ~400,000 trajectories across 6,000 simulated scenes 3. Prefix-caching for training A tree-based attention mask packs a full episode into one sequence — all time steps in a single forward pass. → 22× fewer training tokens; months of training done in days 4. Online RL on top After supervised training, CISPO adds trial-and-error learning to fight distribution shift from behavior cloning. → +3.2% success rate from RL alone 5. The numbers (R2R-CE, Matterport3D) → 76.6% success on validation unseen → +9.7 pts over best single-camera approach → +4.5 pts over best depth/multi-camera system The key takeaway: state-of-the-art continuous VLN without a sensor stack — grounding-init, pixel-space actions, prefix-cached SFT, and online RL, on one RGB camera. Full analysis: Technical details: Mistral AI Mistral AI for Developers

Marktechpost AI

39,955 просмотров • 2 месяцев назад

This new video, taken by NASA's Parker Solar Probe during its 21st close approach to the Sun, shows a stunning view of the Solar System from inside Mercury’s orbit. It captures solar phenomena like coronal streamers, a small coronal mass ejection, and high-energy particles streaking past the camera. Visible planets include Mercury, Venus, Saturn, Earth, Mars, and Jupiter. A comet, Tsuchinshan-ATLAS, briefly appears with its tail. These observations help us understand how the Sun affects space weather, satellites, astronauts, and Earth’s power grids. Parker Solar Probe is flying closer to the Sun than any spacecraft before it, eventually reaching within 6 million kilometers of the surface. Coronal streamers are bright, plasma-filled structures from the Sun’s outer atmosphere that stretch into space. High-energy particle streaks are due to solar energetic particles hitting the camera, essentially, you're watching radiation in real time. Tsuchinshan-ATLAS is a recently discovered comet, and its tail’s appearance in the video is a rare, spectacular moment. This data is crucial for understanding space weather, which can disrupt communication, GPS, and power systems on Earth.
1:19

This new video, taken by NASA's Parker Solar Probe during its 21st close approach to the Sun, shows a stunning view of the Solar System from inside Mercury’s orbit. It captures solar phenomena like coronal streamers, a small coronal mass ejection, and high-energy particles streaking past the camera. Visible planets include Mercury, Venus, Saturn, Earth, Mars, and Jupiter. A comet, Tsuchinshan-ATLAS, briefly appears with its tail. These observations help us understand how the Sun affects space weather, satellites, astronauts, and Earth’s power grids. Parker Solar Probe is flying closer to the Sun than any spacecraft before it, eventually reaching within 6 million kilometers of the surface. Coronal streamers are bright, plasma-filled structures from the Sun’s outer atmosphere that stretch into space. High-energy particle streaks are due to solar energetic particles hitting the camera, essentially, you're watching radiation in real time. Tsuchinshan-ATLAS is a recently discovered comet, and its tail’s appearance in the video is a rare, spectacular moment. This data is crucial for understanding space weather, which can disrupt communication, GPS, and power systems on Earth.

Erika 

38,506 просмотров • 1 год назад

AI video can look good and still feel fake. One of the biggest reasons? Camera movement. A camera does not just move from A to B. It has weight, it has momentum. A person is holding it, a gimbal operator is walking, a dolly slows down before it stops, a handheld camera reacts to the person carrying it and much more. Those tiny details are what makes AI video feel more like something that was actually filmed. So I put together my Cinematic Camera Movement Library with 40+ camera movement and realism blocks you can use in your AI video prompts. If you create AI videos, save this video. You will forget the names eventually. Want the full prompt library? Comment “PROMPT” and I will send it to you.
0:59

AI video can look good and still feel fake. One of the biggest reasons? Camera movement. A camera does not just move from A to B. It has weight, it has momentum. A person is holding it, a gimbal operator is walking, a dolly slows down before it stops, a handheld camera reacts to the person carrying it and much more. Those tiny details are what makes AI video feel more like something that was actually filmed. So I put together my Cinematic Camera Movement Library with 40+ camera movement and realism blocks you can use in your AI video prompts. If you create AI videos, save this video. You will forget the names eventually. Want the full prompt library? Comment “PROMPT” and I will send it to you.

Digital Dame

78,196 просмотров • 1 месяц назад

The aircraft was not airworthy, not in the normal sense. A ferry flight is not a normal flight. The aircraft has a known defect that prevents it from carrying passengers. The defect cannot be repaired where the aircraft is, so it must be flown to a maintenance facility. It does not fly on a normal Certificate of Airworthiness. It flies under a Special Flight Permit: a one-time authorization that defines where the aircraft can fly, the crew required, and the operating limitations for that specific flight. I have been part of the process of preparing one of those permits. The defect is assessed. The risks are evaluated. The operating conditions are defined. The crew is fully briefed on the defect and its limitations. The route is planned around those limitations, and suitable alternate airports are selected. Then the aircraft departs, and you watch it leave, knowing exactly what condition it is in. That feeling stays with you. The permit exists because, in some cases, the safest option is to fly the aircraft under controlled conditions to a facility with the right people, tools, parts, and approvals, rather than attempt a repair where those resources are unavailable.
2:26

The aircraft was not airworthy, not in the normal sense. A ferry flight is not a normal flight. The aircraft has a known defect that prevents it from carrying passengers. The defect cannot be repaired where the aircraft is, so it must be flown to a maintenance facility. It does not fly on a normal Certificate of Airworthiness. It flies under a Special Flight Permit: a one-time authorization that defines where the aircraft can fly, the crew required, and the operating limitations for that specific flight. I have been part of the process of preparing one of those permits. The defect is assessed. The risks are evaluated. The operating conditions are defined. The crew is fully briefed on the defect and its limitations. The route is planned around those limitations, and suitable alternate airports are selected. Then the aircraft departs, and you watch it leave, knowing exactly what condition it is in. That feeling stays with you. The permit exists because, in some cases, the safest option is to fly the aircraft under controlled conditions to a facility with the right people, tools, parts, and approvals, rather than attempt a repair where those resources are unavailable.

OG of the Souŧh

132,070 просмотров • 1 месяц назад

Edward Yang on his Filmmaking Style: "Interviewer: Do you have a specific visual or editing style that you feel communicates your viewpoint on a story? Yang: Not really. My philosophy is that everything is decided by the subject matter. If the subject matter needs to be tense, restless, upsetting, I would use shorter cuts and tighter camera angles. That's why the initial penetrating point is the important thing. If you detach camera angles and camera positions from the substance, things don't make sense at all. Every event has one best position observe from. Sometimes you have so many things time in a scene that your attention happening is diverted to at one in many ways, so you want to be in a neutral position, and it's better to sometimes look from a distance. You also have to be aware of the risk of using close-ups. You might lose important information viewer's attention if you restrict the to a very focused spot. We better have enough reason not to need to see the body language, the way the character interacts with the space he's in." (Edward Yang's interview with Robert Sklar, Cineaste, 2000) Clip from: Terrorizers (1986) Director: Edward Yang
4:51

Edward Yang on his Filmmaking Style: "Interviewer: Do you have a specific visual or editing style that you feel communicates your viewpoint on a story? Yang: Not really. My philosophy is that everything is decided by the subject matter. If the subject matter needs to be tense, restless, upsetting, I would use shorter cuts and tighter camera angles. That's why the initial penetrating point is the important thing. If you detach camera angles and camera positions from the substance, things don't make sense at all. Every event has one best position observe from. Sometimes you have so many things time in a scene that your attention happening is diverted to at one in many ways, so you want to be in a neutral position, and it's better to sometimes look from a distance. You also have to be aware of the risk of using close-ups. You might lose important information viewer's attention if you restrict the to a very focused spot. We better have enough reason not to need to see the body language, the way the character interacts with the space he's in." (Edward Yang's interview with Robert Sklar, Cineaste, 2000) Clip from: Terrorizers (1986) Director: Edward Yang

DepressedBergman

44,292 просмотров • 1 год назад

This is one of the more uncomfortable moments from my recent Sylvan Lake video. I was walking past a group of guys openly drinking on the beach. They were visibly drunk, and I hesitated to talk to them because it did not feel like a productive situation. I tried to keep walking, but one guy followed me a bit and wanted to speak his mind. At that point, the camera became a bit of a buffer. I let him talk, stayed calm, and tried to keep the situation from turning worse. This clip is not just about one drunk guy at the beach. It shows how risky it can be to talk openly about Alberta independence in public. Some people on the other side feel bold, untouchable, and completely convinced that they are automatically right. He does touch on a few notable topics, which is why I kept it in the main video for posterity. But my advice is simple: If you do not want to be on the internet, do not walk up to someone with a camera and start talking. Watch the full video here:
7:30

This is one of the more uncomfortable moments from my recent Sylvan Lake video. I was walking past a group of guys openly drinking on the beach. They were visibly drunk, and I hesitated to talk to them because it did not feel like a productive situation. I tried to keep walking, but one guy followed me a bit and wanted to speak his mind. At that point, the camera became a bit of a buffer. I let him talk, stayed calm, and tried to keep the situation from turning worse. This clip is not just about one drunk guy at the beach. It shows how risky it can be to talk openly about Alberta independence in public. Some people on the other side feel bold, untouchable, and completely convinced that they are automatically right. He does touch on a few notable topics, which is why I kept it in the main video for posterity. But my advice is simple: If you do not want to be on the internet, do not walk up to someone with a camera and start talking. Watch the full video here:

Jon Alberta Patriot

139,411 просмотров • 3 месяцев назад