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New personal environment project! Over 4000 hand placed objects, fully procedural texturing and more than 1000 instanced lights. Renders at 30mins/frame in Guerilla! Artstation: #vfx #cgi #3dart #digitalart #environmentart #houdini #nuke

Antoine B.

1,764 subscribers

71,490 görüntüleme • 2 yıl önce •via X (Twitter)

Sanat #vfx #cgi #3dart #digitalart #environmentart #houdini #nuke

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GOOD POINT profil fotoğrafı

GOOD POINT2 yıl önce

Stunning

STELL STUDIO profil fotoğrafı

STELL STUDIO2 yıl önce

Massive project! 30mins on the frame it's crazy...

Antoine B. profil fotoğrafı

Antoine B.2 yıl önce

haha just some optimization and the rest is up to Guerilla Render!

AlexMarks3D.eth profil fotoğrafı

AlexMarks3D.eth2 yıl önce

Beautiful work!

John Getchel profil fotoğrafı

John Getchel2 yıl önce

So awesome!

Minty profil fotoğrafı

Minty2 yıl önce

This is insane!! sooo goood!

INSPIRE profil fotoğrafı

INSPIRE2 yıl önce

Incredible detail!

Miguel Rodriguez profil fotoğrafı

Miguel Rodriguez2 yıl önce

Amazing work! 👏

Bad actor profil fotoğrafı

Bad actor2 yıl önce

Beautiful!

Baptiste Mauger profil fotoğrafı

Baptiste Mauger2 yıl önce

This is great! Congratulations

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The wait is over. Figure 03 is here, "Designed for Helix, the home, and the world at scale." ⦿ Shown testing at home, performing long-horizon tasks fully autonomously (nothing teleoperated). ⦿ A completely redesigned sensory suite and hand system, which is purpose-built to enable Helix, Figure's proprietary VLA AI. ⦿ 9% lighter than Figure 02. ⦿ Features 2kW wireless charging, an improved audio system for voice reasoning, and battery safety advancements. ⦿ Figure established a new supply chain and an entirely new process for manufacturing humanoid robots. ⦿ A new compact camera architecture delivers twice the frame rate, one-quarter the latency, and a 60% wider field of view per camera. ⦿ An embedded palm camera with a wide field of view and low-latency sensing. ⦿ First-generation in-house developed tactile sensors for fingertips, capable of detecting forces as small as three grams of pressure. ⦿ Includes 10 Gbps mmWave data offload capability. ⦿ Better protection against pinch points. Figure's manufacturing facility, BotQ, has a first-generation manufacturing line that will initially be capable of producing up to 12,000 humanoid robots per year, with the goal of producing a total of 100,000 robots over the next four years.

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NEWS: Figure has unveiling its 3rd generation humanoid robot. • Features a completely redesigned sensory suite and hand system. Wireless charging in feet. • Next-generation vision system engineered for high-frequency visuomotor control. Its new camera architecture delivers twice the frame rate, one-quarter the latency, and a 60% wider field of view per camera within a more compact form factor • Soft goods, wireless charging, improved audio system for voice reasoning, and battery safety advancements • "Engineered from the ground-up for high-volume manufacturing. In order to scale, we established a new supply chain and entirely new process for manufacturing humanoid robots at BotQ." • Lower manufacturing cost • Softer, more adaptive fingertips increase surface contact area, enabling more stable grasps across objects of varied shapes and sizes. Each fingertip sensor can detect forces as small as three grams of pressure - sensitive enough to register the weight of a paperclip resting on your finger. • Multi-density foam to protect against pinch points, and is covered in soft textiles rather than hard machined parts. 9% less mass and less volume than Figure 02 • 10 Gbps mmWave data offload capability, allowing the entire fleet to upload terabytes of data • Upgraded audio hardware system for better real time speech-to-speech. Its speaker is twice the size and nearly four times more powerful, while the microphone has been repositioned for improved performance and clarity. • Charging coils in the robot’s feet allow it to simply step onto a wireless stand and charge at 2 kW Figure: "BotQ is Figure’s dedicated manufacturing facility designed to scale robot production. BotQ’s first-generation manufacturing line will initially be capable of producing up to 12,000 humanoid robots per year, with the goal of producing a total of 100,000 robots over the next four years. Instead of relying on contract manufacturers, Figure brought production of its most critical systems in-house to maintain tight control over quality, iteration, and speed."

NEWS: Figure has unveiling its 3rd generation humanoid robot. • Features a completely redesigned sensory suite and hand system. Wireless charging in feet. • Next-generation vision system engineered for high-frequency visuomotor control. Its new camera architecture delivers twice the frame rate, one-quarter the latency, and a 60% wider field of view per camera within a more compact form factor • Soft goods, wireless charging, improved audio system for voice reasoning, and battery safety advancements • "Engineered from the ground-up for high-volume manufacturing. In order to scale, we established a new supply chain and entirely new process for manufacturing humanoid robots at BotQ." • Lower manufacturing cost • Softer, more adaptive fingertips increase surface contact area, enabling more stable grasps across objects of varied shapes and sizes. Each fingertip sensor can detect forces as small as three grams of pressure - sensitive enough to register the weight of a paperclip resting on your finger. • Multi-density foam to protect against pinch points, and is covered in soft textiles rather than hard machined parts. 9% less mass and less volume than Figure 02 • 10 Gbps mmWave data offload capability, allowing the entire fleet to upload terabytes of data • Upgraded audio hardware system for better real time speech-to-speech. Its speaker is twice the size and nearly four times more powerful, while the microphone has been repositioned for improved performance and clarity. • Charging coils in the robot’s feet allow it to simply step onto a wireless stand and charge at 2 kW Figure: "BotQ is Figure’s dedicated manufacturing facility designed to scale robot production. BotQ’s first-generation manufacturing line will initially be capable of producing up to 12,000 humanoid robots per year, with the goal of producing a total of 100,000 robots over the next four years. Instead of relying on contract manufacturers, Figure brought production of its most critical systems in-house to maintain tight control over quality, iteration, and speed."

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T.O.P about why he decided to play Thanos in ‘SQUID GAME’ and how it helped him on a personal level because of his past 💜🥺 🔝: “Before joining the project, I spent a long time thinking it over. I had many conversations with the director. The script was incredible, of course, but more than anything, when I first saw the character, I felt there were certain aspects that matched the theme of the album I was working on at the time, ‘ANOTHER DIMENSION’. I thought that if I were to take on this character, Thanos, it would mean acknowledging my past mistakes, fully recognizing them, and moving forward. If I could portray this role in a fresh, even ridiculous way, then perhaps it could become a personal challenge that would help me break free from even the ugliness of my own past. That's what inspired me to take on the role.” CR. b_cekpet #TOP #TTTOP #최승현 #탑 #AnotherDimension

T.O.P about why he decided to play Thanos in ‘SQUID GAME’ and how it helped him on a personal level because of his past 💜🥺 🔝: “Before joining the project, I spent a long time thinking it over. I had many conversations with the director. The script was incredible, of course, but more than anything, when I first saw the character, I felt there were certain aspects that matched the theme of the album I was working on at the time, ‘ANOTHER DIMENSION’. I thought that if I were to take on this character, Thanos, it would mean acknowledging my past mistakes, fully recognizing them, and moving forward. If I could portray this role in a fresh, even ridiculous way, then perhaps it could become a personal challenge that would help me break free from even the ugliness of my own past. That's what inspired me to take on the role.” CR. b_cekpet #TOP #TTTOP #최승현 #탑 #AnotherDimension

sha

15,815 görüntüleme • 14 gün önce

Every time a new AI model demonstrates an ability to manipulate or generate media, it's celebrated as if we're witnessing these capabilities for the first time. This framing misses a crucial point: most of these capabilities have existed for decades. We just used different technology to accomplish them. What's changing now is that AI is allowing media generation and editing to be more accessible to many more - both in terms of cost and ease of use. Take David Fincher's The Social Network from 2010. The Winklevoss twins were played by two different actors, but Armie Hammer's face was digitally placed onto Josh Pence's body. What we call deepfakes today was just traditional VFX pipelines then. The process involved high-resolution facial scanning, detailed 3D modeling, precise facial rigging, and frame-by-frame tracking. The VFX team created photorealistic digital doubles, mapped accurate skin textures, and manually refined each transformation until the result was imperceptible. Most viewers never noticed - which is exactly the point. The best CGI is invisible CGI. This wasn't unique. Hollywood has been digitally transforming actors for decades through well-established technical pipelines: photogrammetry, facial capture, advanced compositing, and physics-based rendering. The question isn't whether we can do it - that has already been answered. Previously, two factors kept this technology contained: technical complexity and cost. Traditional graphics pipelines required specialized infrastructure - from high-end capture equipment to render farms - and deep technical expertise across multiple disciplines. "Fix it in post" meant teams of technical artists working with proprietary tools and complex workflows. More importantly, it was expensive - often millions per shot. Digital effects at this level are reserved for big-budget productions. AI isn't changing what's possible - it's changing the implementation stack. The same transformations that once required extensive hardware, specialized software, and teams of technical artists are being consolidated by generative and world models. The technology is moving from complex production pipelines to end-to-end solutions that anyone can use. Like Act-One (who said Act-Two?). What becomes possible when these capabilities are democratized? When sophisticated effects and graphics become accessible to many more filmmakers? When actors will be able to do more, in more languages, for more audiences? What happens when the technical and financial barriers to high-end content creation disappear?

Every time a new AI model demonstrates an ability to manipulate or generate media, it's celebrated as if we're witnessing these capabilities for the first time. This framing misses a crucial point: most of these capabilities have existed for decades. We just used different technology to accomplish them. What's changing now is that AI is allowing media generation and editing to be more accessible to many more - both in terms of cost and ease of use. Take David Fincher's The Social Network from 2010. The Winklevoss twins were played by two different actors, but Armie Hammer's face was digitally placed onto Josh Pence's body. What we call deepfakes today was just traditional VFX pipelines then. The process involved high-resolution facial scanning, detailed 3D modeling, precise facial rigging, and frame-by-frame tracking. The VFX team created photorealistic digital doubles, mapped accurate skin textures, and manually refined each transformation until the result was imperceptible. Most viewers never noticed - which is exactly the point. The best CGI is invisible CGI. This wasn't unique. Hollywood has been digitally transforming actors for decades through well-established technical pipelines: photogrammetry, facial capture, advanced compositing, and physics-based rendering. The question isn't whether we can do it - that has already been answered. Previously, two factors kept this technology contained: technical complexity and cost. Traditional graphics pipelines required specialized infrastructure - from high-end capture equipment to render farms - and deep technical expertise across multiple disciplines. "Fix it in post" meant teams of technical artists working with proprietary tools and complex workflows. More importantly, it was expensive - often millions per shot. Digital effects at this level are reserved for big-budget productions. AI isn't changing what's possible - it's changing the implementation stack. The same transformations that once required extensive hardware, specialized software, and teams of technical artists are being consolidated by generative and world models. The technology is moving from complex production pipelines to end-to-end solutions that anyone can use. Like Act-One (who said Act-Two?). What becomes possible when these capabilities are democratized? When sophisticated effects and graphics become accessible to many more filmmakers? When actors will be able to do more, in more languages, for more audiences? What happens when the technical and financial barriers to high-end content creation disappear?

Cristóbal Valenzuela

30,561 görüntüleme • 1 yıl önce

The beauty & technology packed in the upgraded Model 3 is greatly under-appreciated, just look at all the new things that are in this car and then tell me you don’t want it. 👇 • Same prices as old Model 3, under $40K • Up to ~2.4% higher range on Long Range trim (341), same range on RWD (272) • 50% of the parts in the car are new • 4.3% more cargo capacity • Long Range is 4 lbs lighter than before, RWD is 29 lbs heavier than before • 0.1" lower ground clearance vs old 3 • 30% decrease in wind and ambient noise, 25% improvement in impact noise and 20% improvement in road noise • Redesigned interior w/ new door cards • More premium interior materials. The fabric is softer to the touch and sewn with a more refined process to present a better overall texture • Two new colors: Ultra Red ($2K) & Stealth Gray (no extra cost) • No more stalks. New steering wheel contains the turns signals, light controls, horn, new camera button, wiper controls and mic control • New dash design with textured/woven material • Multicolor ambient LED interior lighting extending from dash to rear seat doors • Updated center console w/ real metal handles, giving a more premium feel. • Acoustic glass on rear windows and back window (was only on front windows before). "360º acoustic glass" • More sound insulation for a quieter ride • Uptick in hood to let wind go over more quietly • Upgraded suspension for a more premium ride. New springs & dampers. New geometry on front suspension. New bushings. New way they mount the sub frame to the chassis • Stiffer body, better handling • More premium sounding door "thunk" • Passengers are more protected from door impacts due to new latch at the bottom of the door • Two motors close the trunk now vs one before, resulting in a quieter automatic close • Tires have more cushioning for improved ride • Center touchscreen now brighter, has smaller bezels, higher contrast & is more responsive • More comfortable rear seats • Redesigned lower rear bumper • All seats are now perforated • No fog lights anymore • Front seats are now ventilated, in addition to heated • 8" touchscreen for rear passengers in the back to control climate & enjoy entertainment. You can connect two headsets at the same time. • Better drag coefficient of 0.219 Cd • Upgraded 2.0 ventilation system. You can now separately turn off the passenger side air • Slimmer and sleeker headlight and taillight design • Single wing-shaped taillight design, meaning better reliability and low chance for leakage/part misalignment • New 17 speaker sound system (up from 14 before). It now includes 2 subwoofers and 2 amplifiers. More punchy • 65W USB-C charger in center console so you can charge a laptop • Improved bluetooth • Upgraded microphones. Now one on each passenger side. New mics make phone calls clearer and "smooth" • 5G connectivity. 50% improved cellular service. 2X greater WiFi range (dual-band) • Improved connectivity to phone so car will recognize your phone from farther away • Two new wheel designs that better optimize battery life • New Tesla lettering replaces rear Tesla logo badge • Car is 8% more efficient thanks to better aerodynamics • Car is 1" longer overall (Original vid from Andy Slye, cooked by me)

Teslaconomics

73,057 görüntüleme • 2 yıl önce

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

Gangster Cinema Central

120,390 görüntüleme • 1 ay önce

A protest was held in Erbil yesterday over what some see as disrespect toward the Prophet Muhammad. Protesters could be heard chanting: “Forever and always, Muhammad is the one who lights the way.” During a recent demonstration in solidarity with Syrian Kurds, a protester reading a poem on a live stream sparked widespread backlash after the poem was widely interpreted as insulting Islam and the Prophet Muhammad in particular. The incident has fueled controversy and public anger in some circles, though others have argued the poem is being misinterpreted and contains no disrespect toward the Prophet or Islam. Beyond the immediate Syrian Kurdish solidarity issue, a secondary fault line has emerged between religious and more secular or atheist voices, with both sides instrumentalizing the controversy to advance broader arguments about Islam and Kurdish identity. In Sulaimani, at least four religious clerics were detained at various points during the Syria-related crisis for highlighting the PKK and SDF’s staunchly secular character and questioning the deployment of women to front lines when able-bodied men are available. On the other side, some anti-religious voices seized on the Islamic orientation of Syria’s new rulers to frame religion as a tool of Kurdish oppression, using the moment to attack Islam more broadly. The mainstream public mood, however, has remained more moderate than either pole.

A protest was held in Erbil yesterday over what some see as disrespect toward the Prophet Muhammad. Protesters could be heard chanting: “Forever and always, Muhammad is the one who lights the way.” During a recent demonstration in solidarity with Syrian Kurds, a protester reading a poem on a live stream sparked widespread backlash after the poem was widely interpreted as insulting Islam and the Prophet Muhammad in particular. The incident has fueled controversy and public anger in some circles, though others have argued the poem is being misinterpreted and contains no disrespect toward the Prophet or Islam. Beyond the immediate Syrian Kurdish solidarity issue, a secondary fault line has emerged between religious and more secular or atheist voices, with both sides instrumentalizing the controversy to advance broader arguments about Islam and Kurdish identity. In Sulaimani, at least four religious clerics were detained at various points during the Syria-related crisis for highlighting the PKK and SDF’s staunchly secular character and questioning the deployment of women to front lines when able-bodied men are available. On the other side, some anti-religious voices seized on the Islamic orientation of Syria’s new rulers to frame religion as a tool of Kurdish oppression, using the moment to attack Islam more broadly. The mainstream public mood, however, has remained more moderate than either pole.

Kurdistan Watch

24,236 görüntüleme • 5 ay önce

The US Forest Service is planning on spraying glyphosate over a large areas of the Sierra at Tahoe in California They’ve actually already started. The goal is to kill competing native shrubs, grasses and hardwoods so commercially valuable conifers pine and fir seedlings can be hand-planted and grow faster with less competition But here’s the thing, why is that necessary The reason this is being done in the first place is because of the Caldor Fire. They want to replant trees But you don’t need to spray poison over the entire area to do that Forests already rebound well on their own with diverse vegetation. If you want to plant more of a specific tree you can do that without the poison “Studies have shown glyphosate can harm human health and the environment. And there are now more than $12 billion in legal payouts to people who say it made them sick” There were rumors it was cancelled, but that’s not true It’s partially moving forward, partially paused Lake Tahoe Basin including areas near Sierra-at-Tahoe, Heavenly, Meyers: The US Forest Service Lake Tahoe Basin Management Unit is holding off on herbicide use for 2026 and 2027. They are relying on manual/mechanical methods and prescribed burns instead for the 11,700-acre Tahoe Basin portion of the project. No new spraying is expected in the immediate basin watershed during this period. Some spraying occurred in 2025 Broader Caldor Fire project outside the strict Tahoe Basin, in Eldorado National Forest: The overall 75,000-acre restoration plan is moving forward, with some 2026 spraying already completed or ongoing in non-basin sections. Herbicide use is authorized All spraying should be cancelled

The US Forest Service is planning on spraying glyphosate over a large areas of the Sierra at Tahoe in California They’ve actually already started. The goal is to kill competing native shrubs, grasses and hardwoods so commercially valuable conifers pine and fir seedlings can be hand-planted and grow faster with less competition But here’s the thing, why is that necessary The reason this is being done in the first place is because of the Caldor Fire. They want to replant trees But you don’t need to spray poison over the entire area to do that Forests already rebound well on their own with diverse vegetation. If you want to plant more of a specific tree you can do that without the poison “Studies have shown glyphosate can harm human health and the environment. And there are now more than $12 billion in legal payouts to people who say it made them sick” There were rumors it was cancelled, but that’s not true It’s partially moving forward, partially paused Lake Tahoe Basin including areas near Sierra-at-Tahoe, Heavenly, Meyers: The US Forest Service Lake Tahoe Basin Management Unit is holding off on herbicide use for 2026 and 2027. They are relying on manual/mechanical methods and prescribed burns instead for the 11,700-acre Tahoe Basin portion of the project. No new spraying is expected in the immediate basin watershed during this period. Some spraying occurred in 2025 Broader Caldor Fire project outside the strict Tahoe Basin, in Eldorado National Forest: The overall 75,000-acre restoration plan is moving forward, with some 2026 spraying already completed or ongoing in non-basin sections. Herbicide use is authorized All spraying should be cancelled

Wall Street Apes

60,516 görüntüleme • 1 ay önce

Durban beachfront is getting their own amusement park valued at R1 billion - they are redeveloping the old Funworld Site🎪🎢🎡 I have been waiting forever for this announcement. The eThekwini Municipality shared renders with me earlier today, and they look incredible. •⁠ Completion date: 2027 •⁠ Jobs created during construction: 900 •⁠ Permanent jobs created once open: 500 •⁠ Project by: Masithu Consulting and Project Managers (MCPM) Key public upgrades will include: •⁠ Themed food courts. •⁠ Neon-lit pedestrian walkways. •⁠ An alcohol-free, family-friendly environment. •⁠ Panoramic viewing decks overlooking the ocean and city skyline. •⁠ A fully-redeveloped splash-park and children’s water play area - funded entirely by the developer. Some of the exciting amusement park rides include: the Lightning Roller Coaster, Disko 24, Vertical Swing, and a 1,500m2 Virtual Reality Theme Park with more than 160 interactive games and global e-sports activations. The park will be developed in partnership with 2 leading Italian amusement engineering firms, well known for projects at Ferrari World, Universal Studios and Disneyland. The city's revival of its beachfront properties through public-private partnerships is excellent. This redevelopment is part of a larger R2-billion private-sector investment pipeline along the Golden Mile. It complements the Joe Kools redevelopment, enhancements to the Elangeni & Maharani hotels, and the City’s long-term beachfront renewal plan. Durban has the best climate year-round and deserves to be one of South Africa’s top tourism destinations. Looking forward to seeing the former Funworld Site restored. Who has memories connected to Funworld? Let me know in the comments.

Durban beachfront is getting their own amusement park valued at R1 billion - they are redeveloping the old Funworld Site🎪🎢🎡 I have been waiting forever for this announcement. The eThekwini Municipality shared renders with me earlier today, and they look incredible. •⁠ Completion date: 2027 •⁠ Jobs created during construction: 900 •⁠ Permanent jobs created once open: 500 •⁠ Project by: Masithu Consulting and Project Managers (MCPM) Key public upgrades will include: •⁠ Themed food courts. •⁠ Neon-lit pedestrian walkways. •⁠ An alcohol-free, family-friendly environment. •⁠ Panoramic viewing decks overlooking the ocean and city skyline. •⁠ A fully-redeveloped splash-park and children’s water play area - funded entirely by the developer. Some of the exciting amusement park rides include: the Lightning Roller Coaster, Disko 24, Vertical Swing, and a 1,500m2 Virtual Reality Theme Park with more than 160 interactive games and global e-sports activations. The park will be developed in partnership with 2 leading Italian amusement engineering firms, well known for projects at Ferrari World, Universal Studios and Disneyland. The city's revival of its beachfront properties through public-private partnerships is excellent. This redevelopment is part of a larger R2-billion private-sector investment pipeline along the Golden Mile. It complements the Joe Kools redevelopment, enhancements to the Elangeni & Maharani hotels, and the City’s long-term beachfront renewal plan. Durban has the best climate year-round and deserves to be one of South Africa’s top tourism destinations. Looking forward to seeing the former Funworld Site restored. Who has memories connected to Funworld? Let me know in the comments.

Ash Müller

319,711 görüntüleme • 7 ay önce

RFK Jr. says BlackRock, State Street, and JPMorgan are “jangling the keys” in one hand and “robbing the bank over here” at press conference after Biden drops out “They’re shifting the wealth upward to this new oligarchy of billionaires” “We need a leader who can stop feeding into the vitriol, the anger, the marginalization, the polarization, and who can find those values that bring Americans together rather than focusing on these toxic issues that are intended to keep us all apart. It’s BlackRock, State Street, JPMorgan who are profiting from that division. The very people that President Trump has promised to appoint to run our government are profiting on it, because it’s like the jangling of keys. They’re saying, look over here, look at abortion … trans rights, gun rights, and while we’re all at each others’ throats on those issues, on the jangling keys, they’re robbing the bank over here. They’re shifting the wealth upward to this new oligarchy of billionaires. Both President Trump and President Biden engineered the lockdowns. In 500 days, they created 500 new billionaires, and they shifted $4.3 trillion northward from the American middle class to this new aristocracy that we have. It’s destroying our country. We need a change. If people want more of the same, they can vote Democrat and they can vote Republican. The only way we’re gonna get a change in this country is if people come together behind the one candidate who is Independent, who has vowed to have a unity government, to bring Republicans and Democrats and others all together in a way that finds common ground in our country. The only candidate who is pro-choice, who is pro-environment, who is pro-civil rights, and who beats Donald Trump by 14%. There is no other candidate who can best Donald Trump. Look at all the polls that have been done over the last year. I beat Donald Trump, and nobody else can.” From the Associated Press

RFK Jr. says BlackRock, State Street, and JPMorgan are “jangling the keys” in one hand and “robbing the bank over here” at press conference after Biden drops out “They’re shifting the wealth upward to this new oligarchy of billionaires” “We need a leader who can stop feeding into the vitriol, the anger, the marginalization, the polarization, and who can find those values that bring Americans together rather than focusing on these toxic issues that are intended to keep us all apart. It’s BlackRock, State Street, JPMorgan who are profiting from that division. The very people that President Trump has promised to appoint to run our government are profiting on it, because it’s like the jangling of keys. They’re saying, look over here, look at abortion … trans rights, gun rights, and while we’re all at each others’ throats on those issues, on the jangling keys, they’re robbing the bank over here. They’re shifting the wealth upward to this new oligarchy of billionaires. Both President Trump and President Biden engineered the lockdowns. In 500 days, they created 500 new billionaires, and they shifted $4.3 trillion northward from the American middle class to this new aristocracy that we have. It’s destroying our country. We need a change. If people want more of the same, they can vote Democrat and they can vote Republican. The only way we’re gonna get a change in this country is if people come together behind the one candidate who is Independent, who has vowed to have a unity government, to bring Republicans and Democrats and others all together in a way that finds common ground in our country. The only candidate who is pro-choice, who is pro-environment, who is pro-civil rights, and who beats Donald Trump by 14%. There is no other candidate who can best Donald Trump. Look at all the polls that have been done over the last year. I beat Donald Trump, and nobody else can.” From the Associated Press

Holden Culotta

305,082 görüntüleme • 2 yıl önce

22,580 drones soared into the sky at the 2026 Spring Festival Gala in Hefei, all controlled by a single computer and setting a new Guinness World Record. Powered by a fully homegrown system, the drones delivered a stunning display of scale, speed, and coordination. The night unfolded like a glowing canvas. Over eight minutes, the drones executed more than 5 million movements, each with centimeter-level precision. Building on this flawless control, lanterns symbolizing joy and celebration, visual elements inspired by Huangmei Opera and local architecture, and a sci-fi-style “time tunnel” appeared in sequence. The lights blended festive warmth, cultural memory, and futuristic imagination into one flowing spectacle. The show was presented by EHang, the company behind the performance team, whose drone fleets have staged numerous exhibitions across Asia, Africa, and Europe, repeatedly setting global records. This latest milestone highlights how China’s innovation is driving the rapid growth of the low-altitude economy, lighting up the traditional festival with technology, culture, and a distinctly Chinese sense of wonder.

22,580 drones soared into the sky at the 2026 Spring Festival Gala in Hefei, all controlled by a single computer and setting a new Guinness World Record. Powered by a fully homegrown system, the drones delivered a stunning display of scale, speed, and coordination. The night unfolded like a glowing canvas. Over eight minutes, the drones executed more than 5 million movements, each with centimeter-level precision. Building on this flawless control, lanterns symbolizing joy and celebration, visual elements inspired by Huangmei Opera and local architecture, and a sci-fi-style “time tunnel” appeared in sequence. The lights blended festive warmth, cultural memory, and futuristic imagination into one flowing spectacle. The show was presented by EHang, the company behind the performance team, whose drone fleets have staged numerous exhibitions across Asia, Africa, and Europe, repeatedly setting global records. This latest milestone highlights how China’s innovation is driving the rapid growth of the low-altitude economy, lighting up the traditional festival with technology, culture, and a distinctly Chinese sense of wonder.

Sinical

360,440 görüntüleme • 4 ay önce