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MLM June Compilation: [DelDank] Original scene made by Moonlight Mask: 🔞moonlightmask🔞 My Pixiv page for cards and other downloadable content: #koikatsu #animated #3D #コイカツ #OC #NTR

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Blended-NeRF: Zero-Shot Object Generation and Blending in Existing Neural Radiance Fields paper page: Editing a local region or a specific object in a 3D scene represented by a NeRF is challenging, mainly due to the implicit nature of the scene representation. Consistently blending a new realistic object into the scene adds an additional level of difficulty. We present Blended-NeRF, a robust and flexible framework for editing a specific region of interest in an existing NeRF scene, based on text prompts or image patches, along with a 3D ROI box. Our method leverages a pretrained language-image model to steer the synthesis towards a user-provided text prompt or image patch, along with a 3D MLP model initialized on an existing NeRF scene to generate the object and blend it into a specified region in the original scene. We allow local editing by localizing a 3D ROI box in the input scene, and seamlessly blend the content synthesized inside the ROI with the existing scene using a novel volumetric blending technique. To obtain natural looking and view-consistent results, we leverage existing and new geometric priors and 3D augmentations for improving the visual fidelity of the final result. We test our framework both qualitatively and quantitatively on a variety of real 3D scenes and text prompts, demonstrating realistic multi-view consistent results with much flexibility and diversity compared to the baselines. Finally, we show the applicability of our framework for several 3D editing applications, including adding new objects to a scene, removing/replacing/altering existing objects, and texture conversion.

AK

62,768 views • 3 years ago

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,531 views • 1 year ago

After-Hours Spider Hero 🕷️🌙 By day, he saves the city. By night, it's instant noodles, video games, and a well-earned break. Made with GPT Image 2 + Seedance 2.0 Mini on Pollo AI #PolloAI #PolloSpiderVerse Prompt: Part 1 – Hero on Duty (0–15s) Style: Stylized 3D animation, comic-inspired aesthetic, original non-branded spider-themed hero, expressive animation, vibrant sunset lighting, cinematic camera, exaggerated facial expressions, smooth action, 16:9, 4K. Prompt: Create the first 15 seconds of an animated short about an ordinary spider-themed superhero. Scene 1 (0–7s): A masked spider hero swings between towering skyscrapers at sunset, dodging explosions and stopping a giant robot. Fast-paced action, comic-book speed lines, dynamic camera movements, cheering crowds, epic heroic atmosphere. Scene 2 (7–15s): After defeating the robot, the hero lands on a quiet rooftop. He removes his mask, lets out a long sigh, stretches his aching back, rubs his sore shoulders, and looks completely exhausted. He walks toward the rooftop exit, heading home as the sun sets behind the city skyline. End Frame: The hero opens the apartment building door and steps inside, setting up the next scene. Part 2 – After Hours (15–30s) Style: Keep the same hero, same outfit, same animation style, same cinematic quality, and same apartment for perfect continuity. Prompt: Continue directly from Part 1. Scene 3 (15–20s): The hero enters his small apartment, drops onto a worn-out couch while still wearing half of his suit, prepares a cup of instant noodles, pours in hot water, and impatiently waits for it to cook. Scene 4 (20–25s): As he starts eating, his phone suddenly flashes: "EMERGENCY! CITY UNDER ATTACK!" He glances at the notification, then at his noodles, quietly flips the phone face down, and continues eating without saying a word. Scene 5 (25–30s): He picks up a game controller and starts playing video games. Outside the apartment window, distant explosions light up the night sky. He briefly looks outside, shrugs with a smile, and keeps gaming. The camera slowly pulls back as the screen freezes with bold comic-style text: "OFF DUTY." 🎮🕷️

Zyra AI

51,656 views • 17 days ago

Here’s a Summary if you’re still wondering what $LUMI is all about… A Thread 🧵🍿😁 🗓️ When did the Lumiterra Yapper Leaderboard launch? 🗓️ The Lumiterra Testnet went live on June 26, 15:30 UTC+8….and is fully on and functioning😁 The campaign is now active and will run until TGE. 📝 Do I need to sign up or register to join the leaderboard? No,Just start talking about Lumiterra on X and let Kaito do the rest by automatically tracking your posts, and your rank will update on the leaderboard ASAP. Smooth right?😉 💬 What qualifies as a “Yap”? Yaps are high-quality contributions recognized by Kaito’s algorithm, which evaluates content based on depth, originality, and engagement value. Earn yaps by talking about gameplay moments: PvP highlights, dungeon runs, livestream clips ❕creative images featuring $LUMI ❕Post guides for beginners or newly onboarded $LUMI testers ❕post hot takes about Lumi Terradas ❕Yap about Epic fails, game bugs faced in the game for easy rectification by the team ❕Post thoughtful analysis of Lumiterra’s game, token design, or reward systems. 🎁 What’s the total reward allocation for yappers? ❕A whooping 1% of total $LUMI supply has been set aside for Kaito Yappers 👀🔥🤩 - 0.6% for Lumiterra-specific contributors - 0.4% for contributors across the broader Kaito ecosystem. 📍 How do I join the Lumiterra Yapper Leaderboard? Visit:[ page, Connect your X account and and give access to Kaito AI 🌊 , start creating and sharing quality $LUMI content and replies and watch your rank rise as the leaderboard updates. 🗓️ When can I claim rewards? Reward distribution details and claiming process are TBA so stay tuned for updates from only Lumi TerradasGame official page. 📈 How can I maximize my Yapper rewards? -Engage all my $LUMI posts😁 -Post quality info and talks about $LUMI - Engage with the $LUMI community and the top Yappers and top testers like Voracytis Lark (builder mode) Dashred Inspector⚡ Vincent Duraku 0xdahua|大华 🎮. |🧠SENT 丨 MemeMax ⚡️ and so many more🫡👀 - Share content that helps others understand the game and its ecosystem. - Show your personality —be real with yourself and the $LUMI community. 📖 Where can I learn more about Lumiterra? You can visit their X official page Lumi Terradas and join their discord community ( for a deeper understanding and guide of the ecosystem go to Wiki/guide: [LumiTerra Game Guide]( ❓When can I play Lumiterra? You can play on browser and also download through the link below WANT TO HEAR THE FUN PART? 🔓 No whitelist required 🆕 New users can create an account without needing a ref code or and access code😮‍💨 ⏳ Campaign runs until TGE 📉 Progress will not carry over to mainnet 🎮 Get ready to explore, fight, farm, and craft in the world of $LUMI.! Shout to Pshyc_ he made this possible🫡🧡 Check out this short gameplay from Inspector⚡

UNRULY|LUMI 🀄️

17,949 views • 1 year ago

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

Ibrahim Boona

58,625 views • 4 months ago

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

Hugues Bruyère

69,960 views • 1 month ago

Zimbabwean-born author Sukoluhle "Sue" Nyathi is living a dream after a South African super-novella, The Polygamist, produced by Gugu Zuma-Ncube is dominating the screens locally and elsewhere. The Polygamist is based on the explosive 2012 debut novel by Nyathi who studied finance and investment at National University of Science & Technology in Bulawayo, Zimbabwe's second-largest city. It was produced by Zuma-Ncube, a South African producer, actress and daughter of former president Jacob Zuma and his ex-wife Nkosazana Dlamini-Zuma, a retired long-serving minister. Zuma-Ncube is daughter-in-law to Zimbabwean politician Welshman Ncube, a professor of law. She is married to Wesley Bongani Ncube. The Polygamist was directed by prominent Nigerian-born South African actor and writer best known for his role as Khaya Motene in the SABC 1 soapie Generations. Originally self-published in 2012 after being rejected by multiple publishers, the book became a massive cultural phenomenon following its June 2026 global adaptation into a 22-episode Netflix supernovela. The explosive story explores the deep complexities, secrets, and emotional wreckage of undercover polygamy in modern society. African societies have a long history of polygamy which still exists, although it is now mainly underground. Polygamy, specifically polygyny, where one man has multiple wives, is practiced by roughly 2% of the global population. It is highly localised, with the highest concentration occurring in the "polygamy belt" of West and Central Africa, alongside select parts of the Middle East and South Asia. It is also prevalent in Southern Africa, where Eswatini King Mswati III is the most prominent and leading polygamist with 16 wives, although some of them have died, quit or were divorced. According to biblical and historical accounts, King Solomon of ancient Israel had 700 wives and 300 concubines. The second Shah of Qajar Iran (1797–1834) is documented to have had more than 1 000 spouses. A controversial Islamic cleric from Bida, Nigeria, gained international attention in 2008 for having 86 wives. By the time of his passing in 2017, he reportedly had around 130 wives and 203 children. Within days of its release, the hit drama, The Polygamist, soared to the No.3 spot on Netflix worldwide, holding the No. 1 position in South Africa, Nigeria, Kenya, and several other countries across Africa, Europe, and the Caribbean. Premiered on June 12, 2026, the series explores themes of wealth, deception, and family dynamics, sparking viral debates across the continent and internationally. The dramatic film follows a wealthy businessman named Jonas Gomora (played by S'dumo Mtshali) and his public image as a family man when he was living as a closet polygamist. When he dies, Gomora's carefully hidden life of polygamy unravels, revealing a web of secret marriages, mistresses, and infidelity. The drama — which features other prominent stars like Gugu Gumede— centres on his social media influencer wife uncovering the deception. It is trending because the show has viewers and critics passionately debating the blurred lines between traditional polygamy and mere infidelity. It has sparked huge debate on polygamy, infidelity, patriarchy, domestic violence and absent fathers. Traditional polygamy requires consent and transparency, whereas the show's protagonist normalises deception and infidelity as part of his complicated life. The film has also caused a spike in reading the original source material - the book - across South Africa and Zimbabwe, among other countries. The Polygamist has South Africans from all walks of life talking and debating in animated and emotional ways. In this Newzroom Afrika interview, Arabile Gumede speaks to Nyathi, and Zuma-Ncube, the women who made it happen.

TheNewsHawks

85,911 views • 1 month ago

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!

Hugh Hou

17,540 views • 1 year ago

Summary of Kurogames Recruit Interview Translated by Xu I. Introduction to Types of Planning 1. Combat Planner: Responsible for character skills and combat system design. 2. Narrative Planner: Responsible for writing the storyline, worldbuilding, character backstories, etc. 3. System Planner: Responsible for UI, event portals. 4. Quest Planner: Responsible for the logical design and flow of main and side quests. 5. Level Planner: Mainly responsible for building the narrative platform (product design), creating engaging interactions, etc. II. Core Responsibilities of Level Planning Building the Narrative Platform (Product Structure Design) 1. Use whiteboards and self-made processes to communicate to teammates what kind of scene content the level planner wants, e.g., reverse design of the mission scene for Jiyan Companion Quests dungeon. 2. Make good use of existing in-game mechanics and engine tools (such as UE Blueprints) to implement gameplay prototypes. Only through multiple iterations and feedback can a satisfying outcome be achieved — e.g., using flower seeds to connect paths in Camellya Companion Quests dungeon. 3. Use scripting tools to support smooth and exciting level flow — e.g., 1.3 Black Shores skiing segment. III. Open World Level Design - Example Regions: mt firmament, Black Shores, Nimbus Sanctum, Avinoleum Pioneers of Scene Pipeline Level planners mainly handle the following in massive open-world design tasks: 1. Provide basic map size, terrain structure, main roads, and points of interest (including main quest locations) 2. Propose and lead the design of core gameplay features, such as time reversal, Tethys portals, gliding, gravity inversion, etc. 3. Use top-down maps, whiteboxes, and even self-made models to push scene artists (2D, 3D, lighting) into action For example, the “first look” view — open-world level planners must emphasize its design and guide artists to focus accordingly. IV. Growth Path of a Level Planner Creative Master - Beginner Level Designer: Familiar with the game and development environment, capable of handling simple design work and basic configurations. Example: Completing an interactive mechanism “Chronosorter” in Mt. Firmament from version 1.1 / Placing wild monsters in Mt. Firmament. Senior Level Designer: Capable of completing full level content under the team lead’s guidance. Example: Designing the scene flow of version 2.0 Exploration quest “Where Wind Returns to Celestial Realms” under guidance. - Veteran Level Designer: Able to independently handle full level flow, area or area-themed gameplay design, and proactively push downstream execution efficiently. Example: Independently designing the themed gameplay “Tethys Portal” in version 1.3, and following through with visual performance so other level teammates can configure it smoothly. ➥Extension — Version Level Owner: Leads the level team to accomplish set design goals, guides new team members, coordinates with other departments, and ensures high-quality implementation. Example: Planning the map design of version 2.2 Avinoleum, coordinating cooperation between level planners and other departments. - Creative Master: Able to lead the team in creating level content that exceeds market expectations. Key Point: Able to repeatedly do the above! Examples: — Chief planner and owner of mt firmament and Time Reversal gameplay in version 1.1 — Chief planner and owner of Black Shores map and Tethys Portal in version 1.3 — Chief planner and owner of Flight gameplay in Rinascita in version 2.0 V. Q&A Q: At the end of version 1.0, exploration felt tedious and repetitive. Although version 2.0 introduced some fresh ideas, it’s hard to see how future updates can keep innovating without falling back into the same monotony. A: Everyone already recognized that issue in 1.0, which is why we iterated heavily in 2.0. The goal is simple — to get every planner thinking. We look at everyone's interesting ideas or even creative mechanics from other games that we can integrate. These will definitely feel refreshing, so please stay tuned — it will happen for sure. Q: Older maps felt darker in tone, BGM was monotonous, and overall gameplay was dull. While Rinascita was a major improvement, it felt fragmented, as if each person built something pretty in isolation. It’s hard to describe the region with a unified theme. A: That’s true — it was indeed pieced together by many people. The disjointed feeling came from insufficient communication. We’re aware of the issue and will solve it in version 3.0 or even later versions in the 2.x series. Once there’s a clear theme, the sense of disjointedness won’t be as strong. Q: How do planners decide what kind of map to make? What’s the workflow? A: Narrative, level, quest, and programming planners all sit down together to discuss what we want to make. Everyone shares ideas one by one, and we consolidate them based on data. Q: I’m a veteran of Wuthering Waves and Punishing Gray Raven. I think the four-person team setup, stationary dialogues, map, art, tech, and story are all great. Before Wuthering Waves came out, I used to play a competitor title — Genshin... (includes critical feedback) A: During development, we didn’t aim to compete directly. Comparisons don’t help us create anything better. We’re focused on what we can do and what we’re good at. Q: For the anniversary event, it seems like there was a disconnect between the company’s and players’ expectations. A: Yes, version 2.3 didn’t do well. We’ve already apologized — it was an issue. For the next anniversary, we’ll take it more seriously. Operations is aware of the problem. We’re learning and growing with each mistake. Everyone encounters problems, but we accept them and improve. That’s the best feedback we can give our players. #punishinggrayraven #WutheringWaves

Narushio

226,844 views • 1 year ago

Franco Nero on how he was cast for 'Django' (1966) & his experience while working with Sergio Corbucci: "Interviewer: You once said that the time in which the original DJANGO was made was almost like a fairy tale. Nero: Yes, because it was a great time for Italian cinema. We invented Italian westerns. Our photography was the best in the world. We had great directors. I managed to work with the top of the Italian directors at that time. The sixties were the best period for Italian cinema, I think. Still, today, all over the world they know DJANGO. When Quentin went to Cancun to present the movie for Sony he said there were hundreds of journalists asking about me: Where is Franco Nero? [Laughs] Interviewer: But you were hesitant to do DJANGO in 1966. Nero: Yes. I was in a car with a great Italian director named Elio Petri, and I said to him: Elio, they are asking me to do a western. I come from the Piccolo Teatro di Milano! And he said: Do people know you? I said: No. Nobody knows me. And he said: So you have nothing to lose. Just do the movie. You know why they chose me? One producer wanted a Spanish actor called Peter Martell. The other wanted Mark Damon, who went on to become a big producer. Corbucci wanted me. So the distributor asked for three close up photo’s of the three actors and when he got them he pointed to my face. And that was it. Interviewer: Sergio Leone had already made an unofficial remake of YOJIMBO with A FISTFUL OF DOLLARS. In what way was Corbucci influenced by Kurosawa’s film? Nero: He wanted this atmosphere with the mud and the rain, you understand? Corbucci was a very funny man. He had a lot of humor. In the morning he would say something like: How many did we ki!! yesterday? Thirty? And he would say to the cameraman, very seriously: I need you to put a special lens in the camera for those blue lakes - by which he meant my eyes. He made many jokes on the set. One time I had to drag that coffin up a hill for a scene. It was very heavy. I became really tired. Corbucci said: For the next take, you drag it over the hill, until you reach the river and you are out of the shot. I will call you back when I cut the scene. So I did it. I dragged the coffin over the hill and when I reached the river I was so tired. I waited and waited for him to call. But nobody called. Finally I just went back and they were all gone! He was very funny." (Franco Nero's interview originally published in Dutch fanzine Schokkend Nieuws, 2012 - From 'AGAIN, NO SCRIPT!', Flashback Files)

DepressedBergman

15,713 views • 8 months ago

If you have followed my journey as a solo artiste and even before, you will notice that I give people their due credit where necessary as I am a firm believer in team work; I know my strengths, where I need assistance or guidance I am not afraid to ask or work with those who are strong in the areas I am not; this includes the process of creating music, executing concepts and ideas etc. I will always give people their due credit for their contributions to my projects. Sometime in June 2022, I stumbled upon a producer based in Ghana named Vampire, and had my team and I also personally reached out to him via DM, that I liked his work and was interested in working with him. Before getting him to Lagos, I presented the idea of this producer to my twin brother and our team, getting their buy in before I got him flight tickets and flew him to Lagos. It was when he got into Lagos I asked if he would be open to working on P-SQUARE’s next album project, that the 5 songs I had penned down from my end to be presented to our A&R team for the album project these were: JAIYE, WINNING, FIND SOMEBODY, LEGENDARY, and ATTENTION, based on tracks he had produced. We started with my own 5 songs that needed to be submitted for PSQUARE's album, which he produced for me: The idea for WINNING came from one of his beats that I discovered. I came up with the idea of changing the chord progression from the original version to what it is today with my own producer Goldswarm who is the co-producer of the song WINNING. I had also engaged a songwriter known as CALYPSO who wrote and composed the song WINNING and sent it to me on the beats through a voice note. And we started working on the song. Mind you, he worked on some other songs that were to make the album as well, so my brother was aware of his input to the production as we were all in the studio during this period. Then when my twin brother heard the song WINNING, which we had already created the hook/chorus for, he then wanted to start creating a verse. Our agreed-on process for each song presented by us was: arrange the song, leave a verse for the other person, then we both harmonise the chorus and refrain bits together. He wasn’t supposed to until Calypso and I finished it as part of my own song submission to the LEGENDARY ALBUM. After that, we finished and shared verses among ourselves. I do not wish to get into details of why the album didn’t see the light of day till date but it takes a different level of psychosis for one to steal what is theirs already; as since the release of this song, I have been labeled and called all sorts online and they have even gone as far as asking for the song to be taken down on various platforms, to what end? It was never part of his 5, now 6 (according to him) songs for submission, yet when he felt I was not interested in making music because I chose my sanity over the constant berating and drama that seemed to come up over creative direction in the group. If it were his song, why do I have all the music data including initial conversations and picture/video evidence on the above-mentioned titles/songs? Which of his songs do I have its data in my possession in that case? All because he was hoping for me to quit music. Even when I learnt that he had removed my vocals on songs we did together, suggesting that he sing the entire songs including the ones that he planned to present for the album without my input (a very absurd idea as we both make up the duo not just the one), but we both perform them on stage, I begun to have a rethink of the entire situation. Let me leave this here. Maybe because I was not posting anything music related on my social media page for over 4 months. He believes I have lost interest in music. I took a breather to get my mind and head in the right space and when that was done, my epiphany was WINNING!

Mr Psquare

713,107 views • 1 year ago

Here’s my info dump on vampires… In fact, jews were the original inspiration for the vampire & witch caricatures because of their desire for blood (actually vampires, demons, witches, ogres, goblins are all inspired by jews). They will tell you it’s all antisemitic blood libel, but I can assure you that it’s 100% true. 1️⃣ “If jews are vampires, can someone explain the garlic weakness?” >Build up of porphyrins cause inability to process garlic. Porphyria is the disease which causes severe intestinal pain and aversion to light and blood transfusions are the only way to treat it. It's genetic. If jews don't interbreed with non-jews within several generations they will develop it. 2️⃣ In Romanian folklore, jews worked with the devil at an evil school called Scholomance. They were called Solomonari after Solomon but some say it’s a corruption of Zalmoxis and a continuation of the ancient cult (more likely Zalmoxis and Solomon are the same figure). Bran Stoker mentions them too, he called them schlomo school. Solomonari jews were also involved in Romanian vampire folklore for drinking the blood of Christian children and killing them in blood rituals. This is one of the earliest origins of what the jews would later refer dismiss as “blood libel”. And judges and local leaders would dismiss the claims, probably because the jews had paid them off. 3️⃣ The fangs are a misconception caused by the two piercings left on the victims neck. People assume the vampire bit into the neck but in reality they are caused by a nail-like device to drain the blood (similar to the ones shown in attached videos). The scroll gets pulled inside the device and the needles hold in the scroll, which is a great alibi for needles used in blood draining (aka Ritual blood magik). One shown was found by Turkish authorities in the car of smugglers, but I’m not sure about the other, and there’s also a book-bound version. The images from the scroll are often shared with that story, but they're two separate pieces. Just add that to the colossal pile of "forgeries and fakes”. By the way, a “forgery”, like the ‘Protocols of the Learned Elders of Zion’ doesn't mean it's fake, just that it isn't the original copy. It’s just a pilpul game of wordplay and semantics (or should I say ‘semitics’ lol). 4️⃣ Werewolves were never men who transformed into wolves; that's a misnomer—they were wolf-men, as in men with domesticated wolves, who would go out on full moons to hunt jews before they could kill others. They went out on full moons because jews with polymorphia can't go outside during the daytime and thus would hunt by moonlight or using a lantern. Hence, Hitler was called the Wolf of Europe (hence his compound called the Wolf's Lair) for this reason. It was also said that if a vampire is chasing you, escape maybe possible by dropping a coin to distract them. 5️⃣ Gentiles made dracula to warn people about jews. They associated him with a bat, a blood drinking animal. Centuries later, jews came up with a plan to negate this association. 100 years ago or before, if you asked someone, who is a man that is like a bat? The answer was dracula. Now days, the answer is Batman. Batman is Jewish propaganda.
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Here’s my info dump on vampires… In fact, jews were the original inspiration for the vampire & witch caricatures because of their desire for blood (actually vampires, demons, witches, ogres, goblins are all inspired by jews). They will tell you it’s all antisemitic blood libel, but I can assure you that it’s 100% true. 1️⃣ “If jews are vampires, can someone explain the garlic weakness?” >Build up of porphyrins cause inability to process garlic. Porphyria is the disease which causes severe intestinal pain and aversion to light and blood transfusions are the only way to treat it. It's genetic. If jews don't interbreed with non-jews within several generations they will develop it. 2️⃣ In Romanian folklore, jews worked with the devil at an evil school called Scholomance. They were called Solomonari after Solomon but some say it’s a corruption of Zalmoxis and a continuation of the ancient cult (more likely Zalmoxis and Solomon are the same figure). Bran Stoker mentions them too, he called them schlomo school. Solomonari jews were also involved in Romanian vampire folklore for drinking the blood of Christian children and killing them in blood rituals. This is one of the earliest origins of what the jews would later refer dismiss as “blood libel”. And judges and local leaders would dismiss the claims, probably because the jews had paid them off. 3️⃣ The fangs are a misconception caused by the two piercings left on the victims neck. People assume the vampire bit into the neck but in reality they are caused by a nail-like device to drain the blood (similar to the ones shown in attached videos). The scroll gets pulled inside the device and the needles hold in the scroll, which is a great alibi for needles used in blood draining (aka Ritual blood magik). One shown was found by Turkish authorities in the car of smugglers, but I’m not sure about the other, and there’s also a book-bound version. The images from the scroll are often shared with that story, but they're two separate pieces. Just add that to the colossal pile of "forgeries and fakes”. By the way, a “forgery”, like the ‘Protocols of the Learned Elders of Zion’ doesn't mean it's fake, just that it isn't the original copy. It’s just a pilpul game of wordplay and semantics (or should I say ‘semitics’ lol). 4️⃣ Werewolves were never men who transformed into wolves; that's a misnomer—they were wolf-men, as in men with domesticated wolves, who would go out on full moons to hunt jews before they could kill others. They went out on full moons because jews with polymorphia can't go outside during the daytime and thus would hunt by moonlight or using a lantern. Hence, Hitler was called the Wolf of Europe (hence his compound called the Wolf's Lair) for this reason. It was also said that if a vampire is chasing you, escape maybe possible by dropping a coin to distract them. 5️⃣ Gentiles made dracula to warn people about jews. They associated him with a bat, a blood drinking animal. Centuries later, jews came up with a plan to negate this association. 100 years ago or before, if you asked someone, who is a man that is like a bat? The answer was dracula. Now days, the answer is Batman. Batman is Jewish propaganda.

Freikorps Unite

30,954 views • 1 year ago

DAVID BOWIE ‘HEROES’ - THE POWERFUL & EVOCATIVE FINAL SONG IN THE SERIES FINALE OF NETFLIX’S STRANGER THINGS ‘HEROES’ IS AVAILABLE TO STREAM NOW ON PARLOPHONE: WATCH THE HD REMASTERED 'HEROES' VIDEO: New Year’s Day saw the broadcast on Netflix of the final episode of the phenomenally successful and critically lauded stranger things . Ten years in the making, the final song of the entire series is ‘Heroes’ by David Bowie, one of music’s boldest innovators and most enduring visionaries. After the final scene of Series 5 Episode 8 plays, the show doesn’t jump to its typical credits sequence. Instead, it rolls into a nostalgic animated end-credits segment and lets Bowie’s “Heroes” play all the way through. The decision to end the show with the iconic track was suggested by actor Joe Keery, who plays Steve Harrington on the show and records music under the name Djo. Speaking to Netflix Tudum, the show’s co-creator Ross Duffer says, “Once Joe said that, we immediately knew that was the right song to end the show on because it is, in some ways, an anthem for Stranger Things. To use the original Bowie version just felt right and fitting for the conclusion.” Initially released in September 1977, ‘Heroes’ is the title track of the second instalment of Bowie’s hugely influential ‘Berlin Trilogy’ of albums produced by Bowie and Tony Visconti and featuring Brian Eno. Recorded at Hansa Studios in West Berlin, which was situated only 150 metres away from the Berlin Wall and co-written with Eno, the song references the East German soldiers that could be seen from the studio’s control room and a love affair between a couple kissing in the shadow of the Wall. The song, which has become an iconic anthem, was recorded by Bowie in English, German and French and has been covered by artists such as Oasis, Prince, Coldplay, Yungblud, Lady Gaga, Arcade Fire, Smashing Pumpkins, Depeche Mode, Blondie, Neil Finn, Peter Gabriel, King Crimson, Bon Jovi, Motorhead, Miley Cyrus, Aurora, Moby, David Byrne & St Vincent and The Wallflowers, who took it into the US top 10. A decade after the 1977 release of ‘Heroes’, Bowie brought his Glass Spider Tour to Berlin during the Summer of 1987. He performed as part of a series of shows at the Reichstag, a poignant symbol of the divided city just metres away from the Wall. The concert was held near the border, where many East Berliners crowded along to listen to music forbidden by the Soviet government, allowing the two halves of the city to hear the same show, with ‘Heroes’ as the emotional highlight for both sides. Bowie later remarked, “We kind of heard that a few of the East Berliners might actually get the chance to hear the thing, but we didn’t realise in what numbers they would. And there were thousands on the other side that had come close to the wall. So it was like a double concert where the wall was the division. And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again.” During the shows, the East German authorities cracked down on the fans, attacking them with water cannons and arresting hundreds. The shows helped change the mood around the Wall, which had stood for over a quarter of a century, and was now seen with renewed anger. Within two years, the Wall came down, and it has long been believed that the Concerts For Berlin were a turning point in the East. When Bowie died in 2016, the German Foreign Office confirmed as much by posting a live version of ‘Heroes’ on social media and declaring, ‘Good-bye David Bowie. You are now among #Heroes. Thank you for helping bring down the #wall’ #StrangerThings #BowieHeroes

David Bowie Official

88,408 views • 7 months ago

Remember that paper that started with ‘Certainly, here is a possible introduction for your topic’? How did that get past peer review?! I don’t want AI tools to do my research for me. I want AI tools to speed up boring tasks that take up my time, so I can focus on the important stuff. Anara moved to a new handle (formerly Unriddle) does exactly that. Here’s how you can use it for your research. 🧵👇 #SponsoredWalkthrough One of the biggest challenges in research is time. A solid literature review takes at least 2-3 months… sometimes even longer, depending on the depth of analysis needed. Reading, organising, and synthesising information is a slow process, but it’s absolutely necessary for high-quality work. AI can help speed it up. Not by replacing your critical thinking. It’s your PhD, your ideas need to be your own—but by automating the tedious, repetitive parts of research so you can focus on deep understanding, analysis, and writing. Unlike other AI tools, Anara works with almost any document format. This is what makes it really stand out from the rest. For instance, you can upload: ✅PDFs and other word-based documents ✅Images and presentations ✅Handwritten notes, voice memos, even videos There are so many resources out there that we can learn from. You can upload everything from research papers to YouTube videos and even your own notes and scribbles. It actually understands handwriting surprisingly well! You get automatic summaries when you upload documents. The AI extracts key information immediately, giving you quick insights. It can also help you keep your documents organised. Use the Groups feature to sort and categorise your resources. Create a group for your literature review and keep these papers separate from your other projects or chapters. Tip: Overwhelmed by the number of papers in your "to-be-read" folder? Upload your papers to Anara for immediate insights on each of them, then use these to decide which ones you want to read in more detail. Quickly identify which papers are worth your time—thank me later! You can also go deeper into the papers with Anara’s chat feature. Instead of endlessly scrolling through documents to find relevant sections, just ask the AI a question based on your uploaded files. The chat provides direct answers, all with citations. ✅Suggests questions based on your prompt, helping you refine your focus ✅Everything is sourced directly from your documents. So no random AI-generated nonsense ✅Switch between different AI models to suit your needs. Some are better for summarisation, others for deeper contextual analysis It actually sticks to the sources you give it. My favourite feature is the ability to make flashcards! After you upload a document, Anara can create flashcards to help you test your understanding. Perfect for revision and retention. But… can you trust it? The problem with many AI research tools is hallucination... meaning that they make things up. Anara doesn’t do that. It reduces hallucinations by only referencing the documents you upload. Plus, it provides detailed references and hyperlinks so you can check the original source down to the exact page number. This doesn’t mean you shouldn’t read the paper for yourself. It does mean that you can find what you need much faster, and then verify it with automatic citations. At the end of the day, these tools are here to help you, not replace you. If you’ve made it this far, then it’s (definitely) time to go to 👇 anara(dot)so and give it a try. Use code THEPHDPLACE20 for 20% off

The PhD Place

23,135 views • 1 year ago

Until Monday, the X algorithm didn’t factor in who your mutuals were. That data was missing from the model. I give credit to X for saying it out loud and then shipping the fix the same day. Transparency matters. A lot. Now that we’re openly talking about improving the algorithm, I have a suggestion that moves us further in the same direction. I’m not a hater. I’m here every day. I want this place to win. I brought a use case for consideration: THE USE CASE • Same account (mine) • Two posts • Same followers • Hours apart • One got 7,700 reposts • The other got 136 A controlled experiment nobody designed. You voted 57 to 1 on which post you preferred. Lines of code vetoed you. THE DATA 7,700 to 136 is 57 to 1. Adjust for impressions and it’s still 29 to 1 (See chart below) THE PRICE Not all engagement is equal. A like is free, and nobody sees you cast it. A repost staples my words to your name, in front of your followers. It’s the most expensive vote on this platform, and 7,700 people paid it. X wasn’t listening. THE MACHINE The ranker is Phoenix, a transformer built from Grok. It reads your post and predicts how likely people are to like, reply, or repost. Distribution flows from that prediction, made before a single human sees the post. A machine guesses what we want. Then it decides what we get. That machine learned our taste by watching us. It’s a copy of us. Now the copy outvotes the original, and when it gets us wrong, nothing tells it. That loop isn’t broken. It was never built. This is the design, and a design is a choice. Respectfully, I think the design should be revisited. THE OBJECTION Maybe the first post just found its ceiling. Maybe 198,000 views was all the audience it had. Except 7,700 reposts isn’t a ceiling, it’s a battering ram. Those views weren’t Phoenix being generous. They were 7,700 people carrying the post by hand. I watched it climb minute by minute. No algo push. A crowd. THE SUGGESTION Monday worked because someone inside noticed the gap. Engineers see the code. Users see what it does to us. Each side holds half the picture. This post is my half. Elon already said it: “We need a complete overhaul of the algorithm.” Start here. Stop letting a robot predict what we’ll like. Use what we already told you we like. One is a guess. The other is actual humans. PS: Supporting data is in the comments. Please don’t throttle my account. I’m an active user and content creator, and I’m trying to be helpful.

Sovey

20,509 views • 22 days ago