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New Test Footage: Black Hawk executes rocket-powered launch of Altius-700. At Project Convergence Capstone 6, an H-60M Black Hawk crew employed an Altius-700 hunter-killer team to autonomously find the target, pass data across the formation, and strike. Another successful step towards fielding launched effects with Army Aviation, pushing sensing...

4,339,710 görüntüleme • 28 gün önce •via X (Twitter)

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The competition between strike systems and air defense/interceptor systems continues to evolve on both sides. In response to Russia’s growing use of jet-powered Geran-4 loitering munitions and Geran-5/Banderol cruise missiles, Ukraine has begun developing jet-powered interceptor drones. The aim is to address a class of faster aerial threats that can be difficult for conventional propeller-driven interceptors to engage. Ukraine has also used Bars jet-powered drones in at least one strike campaign against Moscow. Their numbers are still believed to be limited, with propeller-driven drones making up the majority of Ukraine’s long-range strike fleet. This highlights a broader issue for Russia: the need to develop and deploy compact interceptor drones before faster targets become more widespread. The challenge is not simply intercepting them, but doing so economically. Traditional air-defense systems and MANPADS can engage such targets, but using them against relatively inexpensive strike drones can be difficult to justify economically. One potentially relevant example comes from Iran. Several years ago, Iran developed and deployed the 358 missile, a specialized system intended to engage UAVs. It is a subsonic weapon with a reported speed of around 700 km/h, an infrared seeker, and a turbojet engine, with a claimed engagement range of up to 100 km. Its design reflects a different approach to countering relatively slow aerial targets, without relying on the speed and cost associated with conventional high-performance surface-to-air missiles. The missile has demonstrated its effectiveness, having shot down a number of U.S. and Israeli UAVs. This is not necessarily an argument for simply copying the 358. The more important point is anticipating what types of drones may be heading toward Russian cities in the future and developing an interceptor that is capable of engaging them while remaining cheaper than the strike systems it is designed to counter.

OSINTWarfare

39,591 görüntüleme • 24 gün önce

OCEANIC SHIELD: RUSSIA'S DOOMSDAY TORPEDO CARRIER NEARS COMPLETION Russia's Khabarovsk submarine, launched in November 2025, is currently completing fitting out and mooring tests at Sevmash shipyard, with sea trials expected later in 2026 and commissioning by year's end. It's a nuclear-powered special-purpose vessel built for one mission: to carry and deploy Poseidon (Status-6) nuclear torpedoes. What is Poseidon? 🔸A nuclear-powered, autonomous underwater torpedo 🔸Estimated range: up to 6,200 miles, intercontinental 🔸Capable of carrying a 2-megaton nuclear warhead, 100x more destructive than the Hiroshima bomb 🔸Runs at depths and speeds that make interception near impossible Putin confirmed its successful test in October 2025, calling it "a huge success" and saying "there is nothing like this." Khabarovsk, Poseidon's carrier: 🔸Nuclear-powered special-purpose submarine, launched November 2025 🔸Designed to carry up to 6 Poseidon torpedoes in specialized side-mounted launch hangars 🔸Powered by a single OK-650V nuclear reactor Operates from protected bastion zones near Russian coastlines, while Poseidon autonomously travels to its target 🔸No countermeasure exists to intercept it Poseidon is Moscow's direct hedge against U.S. missile defense, precision-strike capabilities, and low-yield nuclear systems that Russia views as a threat to strategic stability. Integrated with the Perimeter dead-hand system, Poseidon guarantees retaliation even if Russia's nuclear command and control is destroyed. Russia's plan, according to the U.S. Naval Institute, calls for 30 Poseidons on 4 submarines, with torpedoes in the Atlantic and Pacific capable of autonomously striking U.S. port cities, far beyond the effective reach of any American torpedo. The U.S. has no standoff weapon to intercept Poseidon.

DD Geopolitics

17,640 görüntüleme • 4 ay önce

Frameworks such as ai16zdao's Eliza and Virtuals Protocol have been instrumental in early AI agent developments. Agent swarms working in hierarchy represents for many the next logical step in unlocking the vast potential of AI. Learn below how Shadō Network achieves this. AI agents launched through current popular platforms have individual personas, on-chain functions and access to data via various APIs. This being said, they operate in isolated environments, with a ceiling on emergent behaviour such as collaboration or competition. Shadō Network invites massive expansion for capabilities of both new and existing AI agents, with an open-source package easily integrated into popular frameworks that enables the launching of stratified agent swarms. Our website is live: The "Shadō Play" package provides a modular, configurable platform for creating or employing agents of choice in a swarm-like setup, opening a Pandora’s box of near infinite emergent agent behaviours, relationships and functionalities. Users will be able to make use of various prefab client integrations such as Twitter, Telegram, Ollama, and others to specify swarms to their needs or create their own extensions to enhance agent capabilities even further. Agents operate with a memory module and a HTN for autonomously deciding which interactions to act on, walking the line between autonomy and configurability. The Shadō Network project’s development is supported by our ghostly friend Omnipotent (👻,👻), an AI agent developed by the Shadō Network team trained on and fine tuned with a multitude of academic data related to artificial intelligence, blockchain, finance, software engineering, world building and more. Omnipotent serves as both an interactive steward for the project and as an asset - regularly scanning social platforms, websites and newsfeeds he is capable of providing the team project development advice, whilst also communicating with the wider world via his automated X account (launching soon). Shado Network is collaborative and open-sourced. Agentic Swarms require a developer swarm to maximize the technical capabilities and impact the greatest number of users. Our dedicated team of core contributors are active in other web3 AI repos and are here to guide project direction and foster growth. We’re facilitators, not gatekeepers... Alone we can go fast but together we can go far. A lot more to come soon. 👻

Shadō Network | シャドウネットワーク

23,546 görüntüleme • 1 yıl önce

Unique footage has emerged showing remote control of interceptor drones. The 190th Training Center of the SBS reportedly used a drone-interceptor to shoot down a Shahed UAV remotely, with the pilot located at a significant distance from the launch site. The system used was LITAVR, developed by FDrones. According to the company, an operator can control the interceptor from hundreds of kilometers away from the launch point. The F7 LITAVR is already a well-known and highly effective system. As a reminder, here are the technical details (this is all open-source information): Development of the system began in autumn 2024. It was successfully tested and officially adopted in summer 2025. Serial production and deliveries to the military started in autumn 2025. Maximum speed: 350 km/h Flight time: up to 15 minutes Equipped with two cameras: daytime and thermal imaging The officially stated tactical range is 36 km, though in practice it can reach up to 60 km and operate at altitudes of up to 9.5 km. The warhead (separately codified) weighs 500 g. Detonation can occur via kinetic impact, self-destruction upon contact with the target, or manual activation by the operator. The system uses inertial guidance without GPS and features automatic terminal guidance (“last mile” / target lock system). At present, it reportedly destroys hundreds of targets per week, including Shaheds, Gerberas, Molniyas, Orlans, Lancets, and others. What is fundamentally new? Until now, mobile air defense fire groups and frontline crews using interceptor drones required a qualified pilot on-site. It has now been successfully demonstrated that a different tactic is possible: pilots can operate from protected, remote locations. The only requirement is internet access at both the control center and the launch site. Ukraine’s defense sector continues to develop innovative solutions. 📹 Oleksii Kopytko/Facebook

Anton Gerashchenko

48,992 görüntüleme • 6 ay önce

We continue to analyze the technical details of the war with Iran, and we would like to note the Iranian novelty - subsonic barraging anti-aircraft missiles Missile 358, equipped with compact turbojet engines. To some extent unexpectedly, they showed good effectiveness against Israeli reconnaissance and strike UAVs Hermes-900. The key role is played by the thermal homing head: it is able to reliably detect and track a wide range of heat-contrasting targets, including UAVs with various flight profiles. An additional advantage is the command and telemetry channel, which ensures data transmission and allows for radio correction of the trajectory. This is especially important in situations when the target attempts to disrupt the capture with infrared decoys or other means of counteraction. According to the stated parameters, the range of application of Missile 358 reaches about 100 km. At the same time, the maximum interception altitude is about 8.5 km, and the speed is up to 700 km/h, which expands the capabilities of the complex in covering objects and intercepting medium-altitude UAVs. Of course, this is a niche tool, and compared to solid-fuel missiles, the turbojet engine provides exponentially higher flight energy. This allows to dramatically increase the range at low speed, and the mass of the main units of the ammunition, its warhead and control system. On the other hand, this is a solution of necessity, because classic anti-aircraft missiles perfectly hit such high-altitude and slow-moving targets. But for such ammunition, no radar, complex and expensive beam installations are required, which greatly improves its survivability under constant air strikes. And in its niche of targets, there are enough of them, as such UAVs of Israel and the USA are the basis of UCAV, and are constantly over the territory of Iran. So with the 358th ammunition, you can score quite a lot of frags, and significantly complicate air strikes on Iran for the Epstein coalition. Russian Engineer -

𝐃𝐚𝐯𝐢𝐝 𝐙 🇷🇺🇮🇪

17,874 görüntüleme • 6 ay önce

Seedance V2 This used to take people month of study and practice on Adobe Flash, now it can be done with Seedance V2, not perfect but this is the worst it will be. 15 seconds, stylized 2D hand-drawn animation, overhead battlefield on aged yellow lined notebook paper, clear blue horizontal ruled lines and a red left margin line always visible, fine paper grain, pencil marks, ink strokes, minimal classroom-material aesthetic at the start. The entire video must preserve the same paper world from start to finish. No live action, no 3D rendering, no realistic human faces, no modern objects, no narration, no subtitles. Core concept: A childish classroom doodle of an ancient war gradually transforms into a legendary illustrated battlefield, then collapses back into scribbles after the climax. The escalation must feel smooth, intentional, and visually magical, as if imagination is taking over the page. Army design: Two opposing ancient armies drawn first as simple colored stick figures, one faction in red, one faction in blue. Dense infantry blocks with spears and swords, cavalry units with long lances, banner carriers, archers. At first they are crude doodles with simple line limbs and circular heads. As the battle intensifies, they evolve step by step into more detailed inked warriors with clearer armor silhouettes, horses, weapons, helmets, capes, and expressive movement, but still remain inside a hand-drawn 2D illustrated style on paper. Visual progression and timing: 0-3 seconds: Wide top-down view of a large notebook-paper battlefield. Rough stick-figure armies face each other across the page. The drawing feels playful and simple at first. The camera slowly glides forward over the paper as both sides begin charging. Tiny horses gallop, infantry rushes, arrows are sketched into existence and start falling. Everything still looks like rough schoolbook doodles. 3-7 seconds: The first major collision. Spears thrust, swords swing, cavalry crashes into cavalry, formations break apart. With each impact, the art style upgrades. Simple stick limbs become stronger ink lines, bodies gain armor shapes, horses gain muscular form, banners gain flowing detail, shadows and dust marks appear. The battlefield becomes denser, faster, more dramatic. Red and blue strokes smear across the page with the force of combat. 7-11 seconds: The battle reaches full transformation. The once-crude doodles are now a glorious hand-illustrated ancient war scene, still clearly drawn on notebook paper but far more detailed and cinematic. The camera pushes into a central duel between two opposing generals on horseback. Their weapons clash with a powerful burst of ink lines and paper tremor. Around them, infantry and cavalry continue fighting in layered motion, arrows rain down, fallen soldiers scatter across the ruled lines. 11-15 seconds: At the peak of the duel, one final strike lands. A shockwave ripples through the page. The detailed warriors, horses, banners, and battle effects suddenly break apart into loose pencil scribbles, sketch fragments, and drifting paper-line debris. The great war rapidly collapses back into childish rough doodles, then into scattered marks and unfinished lines, as if the imagination has burned out. End on the overhead notebook page with the battlefield reduced to messy hand-drawn remnants. Animation and motion: Smooth fluid motion, strong timing, readable silhouettes, at least 24fps feel. The escalation from crude doodle to epic illustrated warfare must be gradual and continuous, not abrupt. Impacts should feel sharp and rhythmic. Keep all action legible from overhead. Maintain strong contrast between the innocent notebook-paper setting and the seriousness of the war. Atmosphere: Starts playful and curious, grows intense and heroic, peaks as a mythic battlefield, then ends with a strange quiet after the collapse. The whole piece should feel like a child’s imagination turning into an epic war vision on paper.

Emily

35,023 görüntüleme • 5 ay önce

This was one of the craziest sequences I’ve ever seen at a racetrack. I’ve seen a couple different post about this on here and it’s blowing up on FB, so just informing the X/Twitter world. Last night was the 50th Annual 3-Hour Figure 8 Championship at the Indianapolis Speedrome, it paid $50,000 to win. These are a full blown “Outlaw Super Late Model” (or atleast our version of them) with these cars weighing 2,450 pounds, 10” tires, and some pushing 650-700 HP and costing more than $50,000 to build. With around 4 minutes left and over 400 laps of racing, Jeffrey Shackelford (track champion, #28) and Mark Tunny (Tunny’s are the family who’ve been out here forever and have dominated for decades, Mark has won a ton of these 3-Hour races and other bigger races, #3T) we’re still on the lead lap racing for the lead. Jeffrey had gotten into Mark with around 10 minutes left but both were able to keep going, then the below incidents happen. Mark gets back into Jeffrey and spins Jeffrey out (looked like a racing deal,) and then Dana Tunny (Mark’s Brother who is over 200 laps down at this point) comes from across the track to finish Jeffrey off. Jeffrey gets out and starts kicking Dana, and then in the pits apparently a 400-person fight broke out when Dana swerved to hit Jeffrey’s crew according to IMPD report. Dana has been taken to jail and charged with a misdemeanor and a felony. (Credit, Cody Hardcastle, Brandon Acree, Ashley Schafer on FB for videos.)

Brayton Laster

377,519 görüntüleme • 15 gün önce

SEEDANCE prompt : Presented in a style that resembles real video footage captured with an unprocessed iPhone handheld camera. All camera settings are automated, with no post-processing coloring or special effects applied. The footage features genuine handheld vibrations and the slight movement due to the operator's breathing. Autofocus occasionally experiences delays and brief loss of focus. Automatic white balance switches rapidly between strong lighting from flashlights and ambient classroom light. The image is overall flat, preserving the real-life lens flare, edge blurriness, slight overexposure, and motion blur. Only natural environmental sounds from within the scene are used, including sounds of chalk writing, page turning, student whispers, and recording notifications from the phone. The footage is captured from a first-person handheld perspective from behind the classroom. The camera movement is natural, with slight shaking occurring occasionally due to nervousness. A tall, short-haired Asian female teacher is depicted in the footage. Clothing She stood in front of the classroom blackboard. She had a well-proportioned figure, with a delicate makeup, and wore a pair of black-rimmed glasses. A high-intensity lighting source was placed on the floor in front of the classroom, shining brightly upwards. At 0 seconds, the camera was positioned behind the classroom, focusing on the female teacher as she stood sideways in front of the blackboard, writing with chalk. The high-intensity light from below illuminated her body, creating a strong backlight effect and prominent highlights. At 1 second, the light passed through the semi-transparent fabric of her black net dress, clearly highlighting the contours of her thighs, hips, and body. The autofocus briefly lost focus due to the intense light, but then re-established itself. At 2 seconds, the female teacher continued to write on the blackboard, and the sound of chalk against the blackboard was clearly audible. Fine chalk dust floated in the air of the 3 seconds, the student on the left side of the front row already noticed the bright light around them. Excitedly, she took out her phone and started recording the teacher secretly. The reflection on the screen made a brief flash in the video. At 4 seconds, the female teacher finished writing, put down her chalk, and turned to face the students. At 5 seconds, she picked up the dark red textbook on the table, held it with both hands, and stood up straight. At 6 seconds, the female teacher began teaching, holding the textbook in her hands, with her gaze directed towards the back of the classroom. The bright light from below made her silhouette even more distinct. At 7 seconds, the students in the front row already started talking in low voices. The student on the left continued to record secretly, while the student on the right tilted her head to look at the screen. At 8 seconds, the female teacher suddenly noticed that the back of the classroom was unusually quiet. Her movements paused briefly, and she slowly closed the textbook, with a slight frown on her 9 seconds, she raised her head, her gaze piercing straight through the black frame of her glasses, towards the back of the classroom. Her expression changed from concentration to obvious confusion and seriousness. At 10 seconds, the female teacher looked directly at the camera, speaking in a low but firm voice: “Wait, what’s going on?” Her voice sounded particularly clear in the classroom. At 11 seconds, it could be seen that several students were lowering their heads to avoid her gaze. One student quickly put away his phone. At 12 seconds, the female teacher remained standing in the middle of the classroom. The bright light from below elongated her silhouette. She didn’t press further, but simply stared silently at the back of the classroom, her eyes filled with obvious questioning and dissatisfaction. At 13 seconds, she tilted her head slightly, and the bright light highlighted the outline of her black net-style dress. A tense silence filled the 14 seconds, the female teacher held the book against her chest. Her voice was calm, but there was a sense of pressure in her tone: “Let’s continue with the lesson.” At 15 seconds, she turned back towards the blackboard. The scene ended in a tense and awkward atmosphere. The footage was captured using an unprocessed iPhone, with a natural, unrefined quality, without any post-processing adjustments or special effects. All of the camera movements were consistent with the physical characteristics of real-life classroom snaps. Changes in lighting and focus adjustments were all handled automatically.

John

11,707 görüntüleme • 4 ay önce

Claude CodeにMiniMax H3のプロンプトを丸投げしたら、この動画ができました😃 Claude Codeに投げたプロンプト↓ ------------------- MiniMax H3を使ってモーショングラフィックスをバリバリ使った15秒のCMを作りたい。 どんな内容が良いと思う? 条件は以下 ・モーショングラフィックスを多用 ・人物も登場させる(実写・アニメーションは問わない) ・アスペクト比は16:9 ------------------- すると、Claude Codeが3つCM案を提案。 そのうちの1つを選んだら↓のプロンプトができました。 MiniMax H3を利用したツールはMiniMax Design。 #MiniMaxH3 on #MiniMaxDesign Claude Codeが作ったMiniMax H3向けのプロンプト↓ ---------------------- integrated_multimodal_description: 2D-animated, a bold graphic-design motion-graphics commercial in 16:9 with exactly 13 distinct cuts at 24fps. This film is 85% kinetic graphic design and 15% character action: giant kinetic Japanese typography, hard-edged flat shapes, split screens, halftone, speed lines, torn-paper reveals and shutter flashes. Palette, strictly four colors: fluorescent orange, deep black, off-white, silver grey. The recurring character is a young anime street dancer with a black chin-length bob and blunt bangs, sharp confident eyes, an oversized off-white track jacket with fluorescent-orange sleeve stripes, black cargo shorts, and chunky white sneakers with fluorescent-orange lines. Preserve her exact face, proportions, hairstyle, outfit, materials and colors throughout; never redesign her. Every graphic element moves fast and snaps hard on the beat. [Shot 1] On a deep black field, a massive off-white circle slams into frame left of center, then two fluorescent-orange bars wipe across the upper and lower thirds, then the Japanese kanji "烈" builds itself stroke by stroke in off-white at the center until it is complete. The camera shakes slightly with small amplitude at fast speed on each impact. [Shot 2] At 00:01.000, the camera cuts to an off-white field where four black squares rotate into the center one at a time. The largest square opens as a porthole revealing an extreme close-up of the dancer's ice-sharp eye glancing up, then a red-and-cyan split flash tears across the edges and the squares shatter into flat shards. The camera pushes in with small amplitude at fast speed. [Shot 3] At 00:02.000, the camera cuts to an off-white field filled by an enormous black kanji "烈". The dancer sprints in from frame left, power-slides along the baseline of the typography, and fluorescent-orange ink splatter trails behind her as speed lines streak past. The camera trucks left with large amplitude at fast speed. The kanji stays fully readable before she crosses in front of it. [Shot 4] At 00:03.100, the camera cuts to a vertical triptych of fluorescent-orange, deep black and off-white panels. Her flat silhouette appears in each panel in stroboscopic freeze, one after another — takeoff, mid-air tuck, landing — while giant vertical silver text "全速" scrolls upward behind the panels. Static shot. [Shot 5] At 00:04.000, the camera cuts to a black field where a giant tilted ring of fluorescent-orange Japanese characters reading "止マルナ" rotates. The dancer leaps through the center of the ring, spins once in mid-air, and the characters break off and scatter outward as flat shards. The camera arcs with large amplitude at fast speed, then snap-zooms onto her confident face. [Shot 6] At 00:05.100, the camera cuts to a clean off-white editorial card holding a huge black kanji "跳" with one orange diagonal slash. She vaults over the word itself, plants her palm on its left radical, the character compresses like a spring under her hand, then rebounds as her legs whip across the frame. Static shot. [Shot 7] At 00:06.000, the camera cuts to a full fluorescent-orange field crossed by one thick black diagonal stripe. She back-flips along the stripe in three stroboscopic ghost frames tinted black, off-white and silver grey, while a large outlined kanji "回" rotates 180 degrees in sync with her rotation. The camera rolls clockwise with small amplitude at fast speed. [Shot 8] At 00:07.000, the camera cuts to an off-white field with a hard black band. Four bold black kanji slam in one at a time at different scales and angles — "速", then "鋭", then "静", then "烈" — each landing with a white shutter flash and an orange impact mark, while she slides on her knees across the foreground, jacket flaring. The camera shakes slightly with small amplitude at fast speed. [Shot 9] At 00:08.000, the camera cuts to a black frame where a white wireframe grid tilts away in 3D. She runs up the grid like a wall, kicks off it, and hangs frozen in mid-air as a fluorescent-orange circle stamps around her pose like a target lock with silver UI brackets and tick marks. The camera tilts up with small amplitude at slow speed. [Shot 10] At 00:09.000, the freeze releases and the camera cuts to layered flat-color panes stacked toward the lens. She dives straight at the camera, the panes tear open one at a time like thick paper, and each tear reveals a larger portion of the black kanji "烈" behind, before her sneaker wipes across the foreground. The camera pulls out with large amplitude at fast speed. [Shot 11] At 00:10.100, the camera cuts to a rapid-fire montage of four full-screen graphic posters of her in different action poses — mid-flip, sliding, landing, hands in pockets — snapping past with hard cuts, each with an oversized silver number 01 to 04, a black barcode strip and thick diagonal slashes. Static shot. [Shot 12] At 00:11.100, the camera cuts to a clean off-white cyclorama for the hero moment. She lands a final backflip dead center in slow motion, straightens with both hands in her pockets, and a shockwave of concentric fluorescent-orange rings blasts outward from her feet carrying shattered fragments of the kanji "烈" with it, then the frame overexposes toward white. The camera pushes in with small amplitude at slow speed. [Shot 13] At 00:13.000, the camera cuts to the final identity card on a pale off-white field. An enormous black kanji "烈" dominates the frame with translucent orange rings and thin technical arcs behind it, the silver-grey word "RETSU" sits directly beneath the kanji, and she stands relaxed at the lower center overlapping the bottom of the strokes with her jacket rippling. One thin orange pulse sweeps horizontally through the typography and holds cleanly until exactly 15.000 seconds. Static shot. Editing: extremely aggressive rhythm — hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, split flashes and impact shakes. Every cut must feel compositionally different. All Japanese typography is always fully readable before the character overlaps it. No weapons, no combat, no fire, no explosions; all energy comes from motion design, ink, torn paper, wind and her street-dance athleticism. No photorealism, no 3D rendering, no gradients, no browser interface, no player controls, no subtitles, no captions, and no text other than the Japanese characters named above. Exactly 13 cuts. overall_soundscape: Sneaker impacts, knee slides and landings hit hard against a clean room tone. Ink splatters burst, thick paper tears open, and flat panels shatter like glass. Sharp whooshes carry the color wipes and typography slams, with small shutter clicks on each flash. No dialogue. non_diegetic_music: An original 15-second drum-heavy breakbeat with a deep sub bass, hard snare hits, risers and glitch fills locked to every cut. Begin with a single impact, build tightly through the middle, peak at the landing at 00:11.100, and end with a cold electronic logo sting that resolves at 15.000 seconds.

タナベ | AI動画 × マーケティング

58,531 görüntüleme • 1 ay önce

🚨 BMW HAS SOLVED ONE OF HYDROGEN’S BIGGEST PACKAGING PROBLEMS. The company has developed a new “Hydrogen Flat Storage” system for the iX5 that uses seven slim hydrogen tanks instead of two large ones. This flat design fits into the same space as the high-voltage battery pack used in the electric iX5. This is significant because it allows BMW to build the hydrogen-powered iX5 on the same production line as petrol, diesel, plug-in hybrid, and fully electric versions without major changes to the factory or vehicle architecture. The system stores 7kg of hydrogen at 700 bar and gives the iX5 an estimated range of 385 miles. BMW plans to start series production of the iX5 Hydrogen in 2028, using a fuel cell developed in partnership with Toyota. Why this matters: • One of the biggest barriers to hydrogen vehicles has been packaging the tanks without sacrificing interior space or requiring completely separate production lines • This modular “flat storage” approach makes hydrogen powertrains much more practical to manufacture at scale • It gives BMW flexibility to produce multiple powertrains on one platform depending on demand and regional infrastructure The deeper implication: While battery electric vehicles currently dominate, BMW is continuing to develop hydrogen as a parallel technology, particularly for larger vehicles and longer-range applications. Being able to build both BEVs and FCEVs on the same line is a pragmatic engineering step that could make hydrogen vehicles more commercially viable in the future if the refuelling infrastructure catches up. Follow for more frontier automotive and energy technology.

TheNewPhysics

2,071,461 görüntüleme • 3 ay önce