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Man, I just spent the afternoon in full vibe coding mode and whipped up this little Python script that takes any video file and converts it down to the exact JT format my Cybertruck's tailgate LED screen loves. We're talking 64x256 pixels, optimized frame rate, the whole deal so...

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Try TLGen App | Brandon Starship 🇺🇸

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60,955 просмотров • 9 месяцев назад •via X (Twitter)

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How I have Claude automate anything I do on my computer just by showing it: I use the free Clips app and hit record to start recording. Then I just do the action - like navigating to Rippling and approving any unapproved time off - and I’ll often just talk out loud as I do it explaining any add’l details like I would when showing a human. The Clips app captures everything on your screen and everything you say, and transforms it into a format Claude can “see and hear”. You'll then get a link that you can easily share with Claude (or humans too). I’ll paste it to Claude and say something like, "automate this for me every day at 8:00 AM." The link has special metadata that agents like Claude can discover. It exposes APIs to see the full transcript with timestamps and grab screenshots of what was on your screen at any of those timestamps. Once it's created the routine, you can go to the Routines tab in Claude Code desktop app. This also works with the CLI, Claude Cowork, Codex etc. You’ll see your new routine there, and you can just hit Run Now to have it start running it. Video attached shows this step by step. The Clips apps is free and open source - I’ll link to it and the source code in the thread.
1:54

How I have Claude automate anything I do on my computer just by showing it: I use the free Clips app and hit record to start recording. Then I just do the action - like navigating to Rippling and approving any unapproved time off - and I’ll often just talk out loud as I do it explaining any add’l details like I would when showing a human. The Clips app captures everything on your screen and everything you say, and transforms it into a format Claude can “see and hear”. You'll then get a link that you can easily share with Claude (or humans too). I’ll paste it to Claude and say something like, "automate this for me every day at 8:00 AM." The link has special metadata that agents like Claude can discover. It exposes APIs to see the full transcript with timestamps and grab screenshots of what was on your screen at any of those timestamps. Once it's created the routine, you can go to the Routines tab in Claude Code desktop app. This also works with the CLI, Claude Cowork, Codex etc. You’ll see your new routine there, and you can just hit Run Now to have it start running it. Video attached shows this step by step. The Clips apps is free and open source - I’ll link to it and the source code in the thread.

Steve (Builder.io)

25,473 просмотров • 2 месяцев назад

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."
4:07

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."

Founder Mode

107,213 просмотров • 8 месяцев назад

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010
6:40

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 просмотров • 2 месяцев назад

POV: You’re on the highest Caribbean mountaintop and the drums just hit different. This is the first drop of Neon Pony LIVE in St. Maarten! I don’t just show up with a USB. It’s full send it mode with Live drums, percussion. and vocals. There is no safety net. If something breaks or I’m late on a cue, you see it. I give all of me on the dance floor, then break it all down and load it out. In this case, that meant strapping the whole rig to a ski lift and riding it up & down the mountain. It’s hard. It’s raw. And I wouldn’t trade it for anything. This is what I do. Ride with me!
1:30

POV: You’re on the highest Caribbean mountaintop and the drums just hit different. This is the first drop of Neon Pony LIVE in St. Maarten! I don’t just show up with a USB. It’s full send it mode with Live drums, percussion. and vocals. There is no safety net. If something breaks or I’m late on a cue, you see it. I give all of me on the dance floor, then break it all down and load it out. In this case, that meant strapping the whole rig to a ski lift and riding it up & down the mountain. It’s hard. It’s raw. And I wouldn’t trade it for anything. This is what I do. Ride with me!

Neon Pony

13,652 просмотров • 3 месяцев назад

"It's a superhero movie that is for adults and has adult ideas in it. You don't have to think about it any harder than that. It goes way deeper. If you want to, you can tear it apart like a giant onion and keep peeling it until you're at its core. "But I think that it's cool to experience it just like when I read the comic book for the first time and I didn't know. No one was telling me what it's about or the why of it. You come to it fresh. And sometimes I wish I had that experience because I would love to see the movie or read the book for the first time again because that feeling was for me awesome. "Especially when you go into something with this anticipation that it's just a Hollywood superhero movie which is what a lot of people will think because they don't know. They see some guys fighting and then when you see the film you actually have this experience of it being taken apart. "Those archetypes, those mythological shapes, whether they be Batman or Superman or any of superheroes and how they're just turned around. Whether it's through sexual fetish or fighting, actually killing guys they fight. "Stuff like that or whether it's the end of the movie and there's this moral dilemma that is the end of the movie is also challenging on all those levels."
1:38

"It's a superhero movie that is for adults and has adult ideas in it. You don't have to think about it any harder than that. It goes way deeper. If you want to, you can tear it apart like a giant onion and keep peeling it until you're at its core. "But I think that it's cool to experience it just like when I read the comic book for the first time and I didn't know. No one was telling me what it's about or the why of it. You come to it fresh. And sometimes I wish I had that experience because I would love to see the movie or read the book for the first time again because that feeling was for me awesome. "Especially when you go into something with this anticipation that it's just a Hollywood superhero movie which is what a lot of people will think because they don't know. They see some guys fighting and then when you see the film you actually have this experience of it being taken apart. "Those archetypes, those mythological shapes, whether they be Batman or Superman or any of superheroes and how they're just turned around. Whether it's through sexual fetish or fighting, actually killing guys they fight. "Stuff like that or whether it's the end of the movie and there's this moral dilemma that is the end of the movie is also challenging on all those levels."

Zack Snyder Film

22,225 просмотров • 8 месяцев назад

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”
1:44

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”

David Senra

12,759 просмотров • 3 месяцев назад

Tarris Reed Jr talks about his Spurs teddy bear: “We took a trip to Orlando, we went to Disney world. We stopped by a restaurant.. I ended up playing the claw machine, and somehow someway I won, I had the Spurs teddy bear. And this is during like the peak run of you know the Kawhi, Manu, Parker, you know just the legends, Timmy.. I kept it, ended up giving it to my little brother. And then right when I was starting to travel on the road for my NBA workouts, like I was going to be gone for a month, I was staying in my room and I just saw the bear. Like somehow just saw the bear on my headboard. I’m holding it and I’m looking at it like ‘How cool would it be if I ended up on the Spurs.’ And then my Mom brought it for the draft party. Then when I got picked I was like ‘Damn this is really crazy.’ That’s the grace of god right there man, that’s a blessing.” #GoSpursGo #PorVida
1:13

Tarris Reed Jr talks about his Spurs teddy bear: “We took a trip to Orlando, we went to Disney world. We stopped by a restaurant.. I ended up playing the claw machine, and somehow someway I won, I had the Spurs teddy bear. And this is during like the peak run of you know the Kawhi, Manu, Parker, you know just the legends, Timmy.. I kept it, ended up giving it to my little brother. And then right when I was starting to travel on the road for my NBA workouts, like I was going to be gone for a month, I was staying in my room and I just saw the bear. Like somehow just saw the bear on my headboard. I’m holding it and I’m looking at it like ‘How cool would it be if I ended up on the Spurs.’ And then my Mom brought it for the draft party. Then when I got picked I was like ‘Damn this is really crazy.’ That’s the grace of god right there man, that’s a blessing.” #GoSpursGo #PorVida

Wemby Alien Era

142,604 просмотров • 2 месяцев назад

[Eng] #Engfaแบรนด์รังนกแท้เส้นทางสู่ที่1 #EngfaWaraha #อิงฟ้ามหาชน‌ EF: And we successfully completed our first mission. Here it is... Long time no see! This is a crown. The winner of Miss Grand Thailand 2022, that's right. This is the crown for the 10th anniversary of Miss Grand. I was the 10th Miss Grand Thailand, so I became the owner of this crown. The crown is decorated with both diamonds and gemstones, and it's absolutely beautiful. I used to wear it to events all the time. While you're listening to me, you can continue making your payments, everybody. Back then, I wore it to events throughout the entire year because whoever held the Miss Grand title that year had to wear the crown to every event, whether it was to thank sponsors or attend various Miss Grand events. And this thing is heavy. It's really heavy. It was so heavy that every time I wore it, it would actually leave a dent on my head right here. It would leave a mark, like the crown had been pressing into my head. I did my duty perfectly throughout that entire year, wearing it for the full year. Then the following year, I got to wear the crown for the first runner up, which was Miss Grand International. So I hope everyone misses this little one. Today, we're going to put this crown back on for accomplishing our first mission, which is hitting 100,000 Baht. MC: Oh! This is like a flashback to that time! Ohhh, the whole look is coming back! EF: Oh my gosh, I miss it so much. I haven't worn it in such a long time. It's been so many years. And I got to wear it again when we did the photoshoot for the brand. So it was like, wow, I hadn't seen it in such a long time.
2:15

[Eng] #Engfaแบรนด์รังนกแท้เส้นทางสู่ที่1 #EngfaWaraha #อิงฟ้ามหาชน‌ EF: And we successfully completed our first mission. Here it is... Long time no see! This is a crown. The winner of Miss Grand Thailand 2022, that's right. This is the crown for the 10th anniversary of Miss Grand. I was the 10th Miss Grand Thailand, so I became the owner of this crown. The crown is decorated with both diamonds and gemstones, and it's absolutely beautiful. I used to wear it to events all the time. While you're listening to me, you can continue making your payments, everybody. Back then, I wore it to events throughout the entire year because whoever held the Miss Grand title that year had to wear the crown to every event, whether it was to thank sponsors or attend various Miss Grand events. And this thing is heavy. It's really heavy. It was so heavy that every time I wore it, it would actually leave a dent on my head right here. It would leave a mark, like the crown had been pressing into my head. I did my duty perfectly throughout that entire year, wearing it for the full year. Then the following year, I got to wear the crown for the first runner up, which was Miss Grand International. So I hope everyone misses this little one. Today, we're going to put this crown back on for accomplishing our first mission, which is hitting 100,000 Baht. MC: Oh! This is like a flashback to that time! Ohhh, the whole look is coming back! EF: Oh my gosh, I miss it so much. I haven't worn it in such a long time. It's been so many years. And I got to wear it again when we did the photoshoot for the brand. So it was like, wow, I hadn't seen it in such a long time.

~ Amy EL ~

12,918 просмотров • 23 дней назад

Mel Gibson on how the waterfall sequence in "Apocalypto" (2006) was shot & a weird incident that happened during the filming: "Gibson: Well, it's a real waterfall. We used a SpiderCam. We put the Genesis on it. I think that's the first time that's happened. We had to span the waterfall and river with cranes and put the cables up. It was quite an elaborate setup to enable the camera to go over the guys shoulder, down on the water, over the edge, turn around and then pull back in one shot. Of course you're not going to make a real guy jump off something like that. He'll ki!! himself. A cow fell over one day. A cow was trying to swim across... it was just overtaken by the depth of water and it fell over the waterfall! It hit the water and I thought, "It's toast." It was about 170 feet, this waterfall. It came up somewhere on the other side and it was all busted up... then the waves got it, it was upside down, bouncing off the rocks... and it got into this deep water. One of the local guys, this is the weird thing of all... the cow's in the water, but this Mexican guy just goes up to it and it's like he said something to it, it was the weirdest thing I've ever seen, and the cow just walked up and started eating grass! Farhad Safinia: The cow was just munching grass. It felt like it didn't remember a thing. Interviewer: Is there any footage of that? Gibson: I kept telling them to turn the camera on. A lot of people wouldn't turn the camera on when I told them too. It used to make me crazy. With the guy jumping off the waterfall... we found a 15 story building in Vera Cruz and we hooked Rudy up to it on a wire and said, "Jump off, kid!" His knees banged together for a little but he did it 10 times. Then I'm watching and I'm giving him a hard time... afterwards all the stunt guys came up to me, and he'd put them up to it, they said, "I don't suppose you'd like to have a jump?" And I said, because I had to instill fear in the rest of the crew and I couldn't look bad, I just said, "Hook me up." They hooked me up and I went off. I would have presumed that they would have turned the cameras on, but they didn't. I'm like, "What?"" ("Talking Apocalypto with Mel Gibson and Co-Writer Farhad Safinia", Evan Jacobs, Movieweb, 2006)
1:16

Mel Gibson on how the waterfall sequence in "Apocalypto" (2006) was shot & a weird incident that happened during the filming: "Gibson: Well, it's a real waterfall. We used a SpiderCam. We put the Genesis on it. I think that's the first time that's happened. We had to span the waterfall and river with cranes and put the cables up. It was quite an elaborate setup to enable the camera to go over the guys shoulder, down on the water, over the edge, turn around and then pull back in one shot. Of course you're not going to make a real guy jump off something like that. He'll ki!! himself. A cow fell over one day. A cow was trying to swim across... it was just overtaken by the depth of water and it fell over the waterfall! It hit the water and I thought, "It's toast." It was about 170 feet, this waterfall. It came up somewhere on the other side and it was all busted up... then the waves got it, it was upside down, bouncing off the rocks... and it got into this deep water. One of the local guys, this is the weird thing of all... the cow's in the water, but this Mexican guy just goes up to it and it's like he said something to it, it was the weirdest thing I've ever seen, and the cow just walked up and started eating grass! Farhad Safinia: The cow was just munching grass. It felt like it didn't remember a thing. Interviewer: Is there any footage of that? Gibson: I kept telling them to turn the camera on. A lot of people wouldn't turn the camera on when I told them too. It used to make me crazy. With the guy jumping off the waterfall... we found a 15 story building in Vera Cruz and we hooked Rudy up to it on a wire and said, "Jump off, kid!" His knees banged together for a little but he did it 10 times. Then I'm watching and I'm giving him a hard time... afterwards all the stunt guys came up to me, and he'd put them up to it, they said, "I don't suppose you'd like to have a jump?" And I said, because I had to instill fear in the rest of the crew and I couldn't look bad, I just said, "Hook me up." They hooked me up and I went off. I would have presumed that they would have turned the cameras on, but they didn't. I'm like, "What?"" ("Talking Apocalypto with Mel Gibson and Co-Writer Farhad Safinia", Evan Jacobs, Movieweb, 2006)

DepressedBergman

192,878 просмотров • 4 месяцев назад

Rick Rubin tells Andrew Huberman how he deals with creative or writer’s block. He treats his work like a diary entry (and doesn’t worry about internal or external judgment): ➡️ “What's the cause of the block? The block is usually something that's either personal ("I'm not good enough") or it can be a confidence issue ("I don't have anything to say") or it could be...thinking about someone else ("nobody's going to like what I make"). Do you know what I'm saying? So, it's either fear of self-judgment or external judgment. If you're making something with a freedom of "this is something I'm making for myself for now", that is all [you have to do]. It is a diary entry. Everything I make is a diary entry. The beauty of a diary entry is that I can write my diary entry and you can't tell me that my diary entry wasn't good enough. Or that [the diary entry] is not what I experienced. Of course it's what I experienced: I'm writing a personal diary for myself and no one else can judge if it is my experience of my life. Everything we make can be that: a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to sell a certain number of copies for any reason. It doesn't have any of those things at all. It is "I'm making this thing for me and I want to do it to the best of my ability and to where I feel good about it". [The work] is honest of where I'm at and if you're living in this world of just being honest to where you're at, there's nothing blocking you. There are no blocks. The blocks are all based on dealing with a different force or a different perception that is made up.” ⬅️
2:34

Rick Rubin tells Andrew Huberman how he deals with creative or writer’s block. He treats his work like a diary entry (and doesn’t worry about internal or external judgment): ➡️ “What's the cause of the block? The block is usually something that's either personal ("I'm not good enough") or it can be a confidence issue ("I don't have anything to say") or it could be...thinking about someone else ("nobody's going to like what I make"). Do you know what I'm saying? So, it's either fear of self-judgment or external judgment. If you're making something with a freedom of "this is something I'm making for myself for now", that is all [you have to do]. It is a diary entry. Everything I make is a diary entry. The beauty of a diary entry is that I can write my diary entry and you can't tell me that my diary entry wasn't good enough. Or that [the diary entry] is not what I experienced. Of course it's what I experienced: I'm writing a personal diary for myself and no one else can judge if it is my experience of my life. Everything we make can be that: a personal reflection of who we are in that moment of time. It doesn't have to be the greatest you could ever do. It doesn't have to have any expectation that it's going to change the world. It doesn't have to sell a certain number of copies for any reason. It doesn't have any of those things at all. It is "I'm making this thing for me and I want to do it to the best of my ability and to where I feel good about it". [The work] is honest of where I'm at and if you're living in this world of just being honest to where you're at, there's nothing blocking you. There are no blocks. The blocks are all based on dealing with a different force or a different perception that is made up.” ⬅️

Trung Phan

1,619,969 просмотров • 2 лет назад

Pegula on the WTA’s gender test Jessica: “Yeah, my opinion is I think the WTA just wanted to update their policy based on what they have seen from other sporting organizations. So far, at least from my point of view, I don't really have any pushback on it. I think I haven't heard, even being on council, no players have really mentioned or said anything about it. Now that it's been announced, I think we'll see. Obviously now that we are here in Toronto, a bigger tournament, and going into Cincy when the testing starts, we'll see if there's any more feedback. I think so far no one's really said anything, and I think it's more just the tour making a decision updating it, and it kind of is what it is.” “So do you think the testing is going to begin in Cincy?” Jessica: “I think so.” “Have you been told?” Jessica: “Is it Cincy? Yeah, I think it's Cincinnati is when it starts.” “So you've been communicated some details about how this is going to roll out?” Jessica: “Oh, yeah. Yeah, like we had a whole, we had to watch a video and do a whole thing to kind of, like a rollout of the education and why we're doing it. It wasn't just kind of laid on us, like, you have to do this. There was a lot of education and stuff in the background of all the stuff the players have had to do to learn about it.” (via Toronto Press)
1:23

Pegula on the WTA’s gender test Jessica: “Yeah, my opinion is I think the WTA just wanted to update their policy based on what they have seen from other sporting organizations. So far, at least from my point of view, I don't really have any pushback on it. I think I haven't heard, even being on council, no players have really mentioned or said anything about it. Now that it's been announced, I think we'll see. Obviously now that we are here in Toronto, a bigger tournament, and going into Cincy when the testing starts, we'll see if there's any more feedback. I think so far no one's really said anything, and I think it's more just the tour making a decision updating it, and it kind of is what it is.” “So do you think the testing is going to begin in Cincy?” Jessica: “I think so.” “Have you been told?” Jessica: “Is it Cincy? Yeah, I think it's Cincinnati is when it starts.” “So you've been communicated some details about how this is going to roll out?” Jessica: “Oh, yeah. Yeah, like we had a whole, we had to watch a video and do a whole thing to kind of, like a rollout of the education and why we're doing it. It wasn't just kind of laid on us, like, you have to do this. There was a lot of education and stuff in the background of all the stuff the players have had to do to learn about it.” (via Toronto Press)

The Tennis Letter

157,476 просмотров • 1 месяц назад

Coinbase CEO Explains “Reverse Prompting” and the Rise of the AI CEO Brian Armstrong: “One of the big pushes we made in the last year was we got our own internal hosted AI model that was connected to all of our data sources, right?” “So it's like every Slack message, every Google doc, Salesforce data, Confluence, you know.” “So now the data is all aggregated and I've started to ask it really… it's not just like prompting it, ‘Hey, can you write this kind of memo for me,’ or something.” “I'm asking these AI agents now, ‘As CEO, what should I be aware of in the company that I might not be aware of?’ And it'll tell me, ‘Did you know that there's actually disagreement on this team about the strategy?’ And I was like, actually, I didn't know that.” “This is like reverse prompting. So instead of telling the AI agent what you want it to do, you ask it what you should be thinking more about.” @jason: “It's a mentor. It's a coach.” Brian: “Yeah. Like, what could make me a better CEO? And it's like, ‘Well, I looked at how you spent your time in the last quarter and here's how you said that you wanted to spend it, but you actually spent 32% of your time on this instead of 20%.’” “I've asked it other questions like, ‘What's the thing that I changed my mind on the most over the last year?’ Things like that.” “It'll prompt you with information you should be thinking about instead of the other way around.” Thanks to our partner for making this happen!: Our episode is sponsored by the New York Stock Exchange - a modern marketplace and exchange for building the future. It all happens at the NYSE 🏛.
1:16

Coinbase CEO Explains “Reverse Prompting” and the Rise of the AI CEO Brian Armstrong: “One of the big pushes we made in the last year was we got our own internal hosted AI model that was connected to all of our data sources, right?” “So it's like every Slack message, every Google doc, Salesforce data, Confluence, you know.” “So now the data is all aggregated and I've started to ask it really… it's not just like prompting it, ‘Hey, can you write this kind of memo for me,’ or something.” “I'm asking these AI agents now, ‘As CEO, what should I be aware of in the company that I might not be aware of?’ And it'll tell me, ‘Did you know that there's actually disagreement on this team about the strategy?’ And I was like, actually, I didn't know that.” “This is like reverse prompting. So instead of telling the AI agent what you want it to do, you ask it what you should be thinking more about.” @jason: “It's a mentor. It's a coach.” Brian: “Yeah. Like, what could make me a better CEO? And it's like, ‘Well, I looked at how you spent your time in the last quarter and here's how you said that you wanted to spend it, but you actually spent 32% of your time on this instead of 20%.’” “I've asked it other questions like, ‘What's the thing that I changed my mind on the most over the last year?’ Things like that.” “It'll prompt you with information you should be thinking about instead of the other way around.” Thanks to our partner for making this happen!: Our episode is sponsored by the New York Stock Exchange - a modern marketplace and exchange for building the future. It all happens at the NYSE 🏛.

The All-In Podcast

80,524 просмотров • 7 месяцев назад

🗣️ Eric Collins to those saying he's "too much": "I totally get it. It is what it is. But I've done this the exact same way ever since I started doing it back in the '90s. It's just always been my thing. It's natural, it's organic, it's the way I feel in the moment." "It's just who I am. I could always try to be different and be like everyone else, but why be a bad version of someone else when you can try to be the best version of yourself? And that's just who I am. It's got me this far and I probably can't change, and if someone really wants me to change, I'm just going to have to leave. So it is what it is." Full segment on Wake Up Barstool:
0:45

🗣️ Eric Collins to those saying he's "too much": "I totally get it. It is what it is. But I've done this the exact same way ever since I started doing it back in the '90s. It's just always been my thing. It's natural, it's organic, it's the way I feel in the moment." "It's just who I am. I could always try to be different and be like everyone else, but why be a bad version of someone else when you can try to be the best version of yourself? And that's just who I am. It's got me this far and I probably can't change, and if someone really wants me to change, I'm just going to have to leave. So it is what it is." Full segment on Wake Up Barstool:

r/CharlotteHornets

89,233 просмотров • 4 месяцев назад

MrBeast reveals the moment his fame almost made him want to quit “I filmed all day internationally and like didn’t have much sleep flew back into America and you have to do customs and like the line is just like zigzag super long I’m like hoodie up staring at the ground” “One little kid looks up like that’s MrBeast and then all of a sudden it starts going up and down the lines and I’m stuck in the middle of the line it’s not like I can go anywhere and everyone’s just running up and down the lines and asking for photos and tugging on my hoodie” “I got to the end of one of the zigzags and I called one of like TSA people over I was like can I please just like get through and he’s like no we can’t do it as little kids are tugging on me” “I just went and hid in a janitor’s closet I just had my friend hold my spot in line he texted me when he got to the end but I’m just sitting in this janitor’s closet just hiding from a mob of people for like 45 minutes sleep deprived and I’m like is this really what I want”
1:10

MrBeast reveals the moment his fame almost made him want to quit “I filmed all day internationally and like didn’t have much sleep flew back into America and you have to do customs and like the line is just like zigzag super long I’m like hoodie up staring at the ground” “One little kid looks up like that’s MrBeast and then all of a sudden it starts going up and down the lines and I’m stuck in the middle of the line it’s not like I can go anywhere and everyone’s just running up and down the lines and asking for photos and tugging on my hoodie” “I got to the end of one of the zigzags and I called one of like TSA people over I was like can I please just like get through and he’s like no we can’t do it as little kids are tugging on me” “I just went and hid in a janitor’s closet I just had my friend hold my spot in line he texted me when he got to the end but I’m just sitting in this janitor’s closet just hiding from a mob of people for like 45 minutes sleep deprived and I’m like is this really what I want”

Third

1,920,266 просмотров • 4 месяцев назад

Now that I am home and have access to my files I decided to do a quick test with one of my Vtubing avatars. It works way better with my larger iPad Pro (less crashing/more memory and more screen space) compared to the mini so I did want to bring that up. Importing the file over as GLB was more stable than just OBJ plus it kept the color info from the previous texture. I texture all my avatars on substance painter but have been looking at an alternative when I am out and about that is not on the computer and this actually hits all the right "wants". Adding a quick video of the way the app works for me. I like that it has layers, I can alter my brushes and even add stabilization when I am drawing (which I use that extensively on procreate so that was a huge plus). The stamp tools will come in handy as well but did not show it on this video. The file itself is imported as "one mesh" but each part is treated as their own separate piece which I show in the video. I do the same thing on substance painter making it really easy for me to texture. The app then exports the texture out for each object which is the same way I do so on substance. Overall I am extremely impressed with the work Sparseal has done on this application and see how useful this will be for my current work flow of texturing. I for one love the ability to be "portable" which is a big reason I sculpt so much with Nomad Sculpt on the iPad. Having the freedom to do your work away from a desk and if you feel like doing it outside is probable why I yearn for iPad apps so much like so. Give this app a look, it is free to try on the App Store (It is $19 to be able to export, but a one time buy). It is called "Wafer" for the iPad. I already use CozyBlanket from the same creator to do re topology so I expected this level of fantastic with this current app.
2:44

Now that I am home and have access to my files I decided to do a quick test with one of my Vtubing avatars. It works way better with my larger iPad Pro (less crashing/more memory and more screen space) compared to the mini so I did want to bring that up. Importing the file over as GLB was more stable than just OBJ plus it kept the color info from the previous texture. I texture all my avatars on substance painter but have been looking at an alternative when I am out and about that is not on the computer and this actually hits all the right "wants". Adding a quick video of the way the app works for me. I like that it has layers, I can alter my brushes and even add stabilization when I am drawing (which I use that extensively on procreate so that was a huge plus). The stamp tools will come in handy as well but did not show it on this video. The file itself is imported as "one mesh" but each part is treated as their own separate piece which I show in the video. I do the same thing on substance painter making it really easy for me to texture. The app then exports the texture out for each object which is the same way I do so on substance. Overall I am extremely impressed with the work Sparseal has done on this application and see how useful this will be for my current work flow of texturing. I for one love the ability to be "portable" which is a big reason I sculpt so much with Nomad Sculpt on the iPad. Having the freedom to do your work away from a desk and if you feel like doing it outside is probable why I yearn for iPad apps so much like so. Give this app a look, it is free to try on the App Store (It is $19 to be able to export, but a one time buy). It is called "Wafer" for the iPad. I already use CozyBlanket from the same creator to do re topology so I expected this level of fantastic with this current app.

Val / LatinVixen ➡️ Megaplex

17,469 просмотров • 6 месяцев назад

Bill Chisholm: “It’s not about the money at all. This was, again, trying to put together the right set of players and assets to win now, to win next year, the following year, and the year after that. That's what this was about. None of these were about money. We have some more room now. If we see something we wanted, Brad's got the green light to do that. So I just really, I mean, I know there's people who feel like, 'Oh, there must be a smoking gun somewhere on the money,' but that's just not what this is about. And I can say it, and I'll keep saying it, but I'll also prove it to you when the time comes. When we have the opportunity, we're going to do that. And we've given ourselves the flexibility to do it now. So, it's fine to keep asking the question, because I know we have to prove it, and we will.”
1:32

Bill Chisholm: “It’s not about the money at all. This was, again, trying to put together the right set of players and assets to win now, to win next year, the following year, and the year after that. That's what this was about. None of these were about money. We have some more room now. If we see something we wanted, Brad's got the green light to do that. So I just really, I mean, I know there's people who feel like, 'Oh, there must be a smoking gun somewhere on the money,' but that's just not what this is about. And I can say it, and I'll keep saying it, but I'll also prove it to you when the time comes. When we have the opportunity, we're going to do that. And we've given ourselves the flexibility to do it now. So, it's fine to keep asking the question, because I know we have to prove it, and we will.”

Justin Turpin

10,831 просмотров • 2 месяцев назад

Rory McIlroy says the way he beat his first-tee nerves was to picture the ball in the trees and walk the worst case all the way to its end. "I say this all the time. It's counterintuitive to a lot of people to do this, but I do. If you're trying to overcome anxiety or nerves or on performance, I do try to think about, well, what's the worst that could happen?" "I'm not gonna die on the golf course, thankfully." "I used to have, like, first tee nerves, like, big time. I would struggle on the first tee. And so I would say to myself, well, what's the worst that could happen?" "So if you hit it in the trees, okay, then what do you do? You go up there and you figure it out, you know, you're skillful enough to hit a punch shot out of the trees and, you know, get it up to the green and get it up and down and make a par and move on." "For whatever reason, imagining, like, the worst-case scenario, give me a level of comfort, because I felt like any worst-case scenario that I could bring up in my head, I'll be able to deal with." "Especially on the first tee for me... if you get nervous on the golf course, you get tight... it gives me a sense of freedom. And like, if I can swing free, that's when I play my best golf." "So whatever thought process I need to get into to get there, whether that's imagining the worst-case scenario." "I think I'm not standing behind a tee shot and visualizing myself hit a bad shot. Like, I'm visualizing myself hitting it where I want to. But I think just even before I get to that point, thinking, well, what's the worst that can happen?" "And then if the worst that can happen isn't that bad, it's like, well, that's okay. You'll be able to manage it." What I find wild is that he never once tries to calm himself down. He walks into the scary version instead, all the way through the punch shot and the par, and the nerves lose their grip because nothing is unknown anymore. The thing you are dreading shrinks the same way once its worst version has an ending you have already seen. - Rory McIlroy (Rory McIlroy) on The WHOOP Podcast (WHOOP)
1:33

Rory McIlroy says the way he beat his first-tee nerves was to picture the ball in the trees and walk the worst case all the way to its end. "I say this all the time. It's counterintuitive to a lot of people to do this, but I do. If you're trying to overcome anxiety or nerves or on performance, I do try to think about, well, what's the worst that could happen?" "I'm not gonna die on the golf course, thankfully." "I used to have, like, first tee nerves, like, big time. I would struggle on the first tee. And so I would say to myself, well, what's the worst that could happen?" "So if you hit it in the trees, okay, then what do you do? You go up there and you figure it out, you know, you're skillful enough to hit a punch shot out of the trees and, you know, get it up to the green and get it up and down and make a par and move on." "For whatever reason, imagining, like, the worst-case scenario, give me a level of comfort, because I felt like any worst-case scenario that I could bring up in my head, I'll be able to deal with." "Especially on the first tee for me... if you get nervous on the golf course, you get tight... it gives me a sense of freedom. And like, if I can swing free, that's when I play my best golf." "So whatever thought process I need to get into to get there, whether that's imagining the worst-case scenario." "I think I'm not standing behind a tee shot and visualizing myself hit a bad shot. Like, I'm visualizing myself hitting it where I want to. But I think just even before I get to that point, thinking, well, what's the worst that can happen?" "And then if the worst that can happen isn't that bad, it's like, well, that's okay. You'll be able to manage it." What I find wild is that he never once tries to calm himself down. He walks into the scary version instead, all the way through the punch shot and the par, and the nerves lose their grip because nothing is unknown anymore. The thing you are dreading shrinks the same way once its worst version has an ending you have already seen. - Rory McIlroy (Rory McIlroy) on The WHOOP Podcast (WHOOP)

Jay McHale

569,591 просмотров • 1 месяц назад