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NOCTURNAL BLOODLUST LIVE at clubasia — 2025.12.14 “𝘿𝙚𝙫𝙞𝙡 𝙞𝙣𝙨𝙞𝙙𝙚” Next One-Man Show: 2026.01.17 🎫 Video Production : UM Studio Staging #ノクブラ #NOCTURNALBLOODLUST

NOCTURNAL BLOODLUST

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45,775 görüntüleme • 7 ay önce •via X (Twitter)

#ノクブラ #NOCTURNALBLOODLUST

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NOCTURNAL BLOODLUST

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NOCTURNAL BLOODLUST

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Ad Hoc Committee to Investigate Allegations made by Lieutenant General Mkhwanazi. Deliberations on Draft preliminary Committee Report. Heated exchanges erupt as MPs clash over witness protections, claims evidence was criticised at the Madlanga Commission, and admissions the committee “dropped the ball” by not calling General Khan. The ANC demands a unified, transparent approach, stressing decisions were collective among 11 voting members, not a “one man show,” as pressure mounts over accountability, credibility, and next steps. LIVE | #Mkhwanazi #ParliamentSA #MadlangaCommission #GeneralKhan #ANC #SouthAfrica #Accountability #Governance #RuleOfLaw

Ad Hoc Committee to Investigate Allegations made by Lieutenant General Mkhwanazi. Deliberations on Draft preliminary Committee Report. Heated exchanges erupt as MPs clash over witness protections, claims evidence was criticised at the Madlanga Commission, and admissions the committee “dropped the ball” by not calling General Khan. The ANC demands a unified, transparent approach, stressing decisions were collective among 11 voting members, not a “one man show,” as pressure mounts over accountability, credibility, and next steps. LIVE | #Mkhwanazi #ParliamentSA #MadlangaCommission #GeneralKhan #ANC #SouthAfrica #Accountability #Governance #RuleOfLaw

IOL News

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Vidaio 2026 Roadmap (and a bit of 2025): Building The Next Phase of AI-Driven Video Infrastructure We listened to the market and are building practical, sought-after, real-world applicable products. Our 2026 roadmap is focused on automation, intelligence, accessibility, and scale. It’s ambitious, but so are we! Here’s what’s live….. and what we’re building next! (If there are too many words below, just watch this awesome video created by the legendary DankEngine (τ,τ)) Core Infrastructure (Live) - Launched: April 1st Market need: Decentralised, affordable, scalable video processing for high-volume video workloads. The subnet forms the backbone for AI-driven video tasks, enabling: -Parallel processing -Cost efficiency at scale -Continuous product innovation AI Video Upscaling (Live) Market need: Re-purposing legacy content for modern screens. Upscaling unlocks: -Reuse of legacy SD/HD content -Platform-ready delivery for modern displays -Reduced re-production costs Video Compression (Live) Market need: Reduce rising storage and delivery costs while maintaining high perceptual quality. Our AI-driven compression pipeline is designed to: -Optimise bitrate without perceptual quality loss -Support modern codecs -Reduce CDN and storage costs at scale Vidaio Studio (Live) Market need: AI- Driven engineering-grade control in one UI Features: -Multiple codecs -Multiple resolutions -Flexible encoding modes Advanced Post Production tools Market need: Automation replacing manual post-production. Coming enhancements: -Frame rate conversion -Colour correction -HDR processing -De-noise -Stabilisation These capabilities shift traditionally manual workflows into real-time AI processing. GenAI Video Enhancement Market need: Unparalleled video quality enhancement GenAI models enable: -Content-aware enhancement -Scene-level optimisation -Reviving bad quality and unusable content Access Services (New Pillar) Market need: Regulation, inclusivity, and global reach. Built-in accessibility services: -Subtitles -Closed captions -Audio description Accessibility is no longer optional; it’s required legislation. Video Streaming Market need: Low latency, high quality, decentralised streaming. Our streaming roadmap focuses on: -Optimised delivery pipelines -Leveraging current video processing tools -Decentralised delivery Truly decentralised, high-quality video streaming run on the Bittensor network. AI Colourisation Market need: Reviving legacy content and accelerating localisation. AI colourisation enables: -Restoration of black-and-white and faded archival footage -Faster remastering pipelines for broadcasters and studios -Consistent colour application at scale without manual grading Unlocking new commercial value from existing libraries. GenAI Lip Sync Market need: Localisation, dubbing, and global content expansion. GenAI lip sync enables: -High-quality localisation -Bringing premium content to multiple new audiences -Natural facial motion via advanced face-mapping workflows Meet the growing demand for multilingual content by delivering seamless lip syncing.

Vidaio 2026 Roadmap (and a bit of 2025): Building The Next Phase of AI-Driven Video Infrastructure We listened to the market and are building practical, sought-after, real-world applicable products. Our 2026 roadmap is focused on automation, intelligence, accessibility, and scale. It’s ambitious, but so are we! Here’s what’s live….. and what we’re building next! (If there are too many words below, just watch this awesome video created by the legendary DankEngine (τ,τ)) Core Infrastructure (Live) - Launched: April 1st Market need: Decentralised, affordable, scalable video processing for high-volume video workloads. The subnet forms the backbone for AI-driven video tasks, enabling: -Parallel processing -Cost efficiency at scale -Continuous product innovation AI Video Upscaling (Live) Market need: Re-purposing legacy content for modern screens. Upscaling unlocks: -Reuse of legacy SD/HD content -Platform-ready delivery for modern displays -Reduced re-production costs Video Compression (Live) Market need: Reduce rising storage and delivery costs while maintaining high perceptual quality. Our AI-driven compression pipeline is designed to: -Optimise bitrate without perceptual quality loss -Support modern codecs -Reduce CDN and storage costs at scale Vidaio Studio (Live) Market need: AI- Driven engineering-grade control in one UI Features: -Multiple codecs -Multiple resolutions -Flexible encoding modes Advanced Post Production tools Market need: Automation replacing manual post-production. Coming enhancements: -Frame rate conversion -Colour correction -HDR processing -De-noise -Stabilisation These capabilities shift traditionally manual workflows into real-time AI processing. GenAI Video Enhancement Market need: Unparalleled video quality enhancement GenAI models enable: -Content-aware enhancement -Scene-level optimisation -Reviving bad quality and unusable content Access Services (New Pillar) Market need: Regulation, inclusivity, and global reach. Built-in accessibility services: -Subtitles -Closed captions -Audio description Accessibility is no longer optional; it’s required legislation. Video Streaming Market need: Low latency, high quality, decentralised streaming. Our streaming roadmap focuses on: -Optimised delivery pipelines -Leveraging current video processing tools -Decentralised delivery Truly decentralised, high-quality video streaming run on the Bittensor network. AI Colourisation Market need: Reviving legacy content and accelerating localisation. AI colourisation enables: -Restoration of black-and-white and faded archival footage -Faster remastering pipelines for broadcasters and studios -Consistent colour application at scale without manual grading Unlocking new commercial value from existing libraries. GenAI Lip Sync Market need: Localisation, dubbing, and global content expansion. GenAI lip sync enables: -High-quality localisation -Bringing premium content to multiple new audiences -Natural facial motion via advanced face-mapping workflows Meet the growing demand for multilingual content by delivering seamless lip syncing.

Vidaio

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Veo 3.1 is now live on invideo. We’re one of the first official partners worldwide to launch Veo 3.1. The Google Cloud team gave us early access, and it changes everything. Veo 3.1 upgrades what creators actually care about: visual quality, motion realism, and prompt responsiveness. But the real breakthrough is in control: → You can now define a start and end frame and Veo 3.1 builds everything between them with perfect flow. → You can lock a character’s look across scenes. → You can merge multiple references into one coherent world. When that power meets invideo, it turns from generation into storytelling. Because invideo isn’t just an AI video generator, it’s a full-stack AI production house at your disposal. It makes over 300 creative decisions across editing, scripting, visuals, sound, and voiceover to craft videos like a full-scale production team would. Ad films, brand spots, social content, cinematic stories, all created with the precision of a studio team, at the speed of thought. Watch how Veo 3.1 inside invideo turns imagination into cinematic magic👇

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Announcing Innovative Dreams, a new production company by Luma and Wonder Project built by filmmakers for filmmakers, and our first production — Moses starring Sir Ben Kingsley, coming this Spring on Prime Video. AI is a fundamental change to the craft and business of filmmaking, and through ID, we are building a new production process for this era — one that brings Humans and AI together to enable great storytelling. We call it Hybrid Production — actors, artists, and generative AI working together in Luma. In real time. Innovative Dreams is a production services company where seasoned filmmakers from Director Jon Erwin's team and Luma's creative technologists work with great studios and filmmakers to help them realize ambitious ideas. It's a liberating force. Hybrid Production enables actors, directors, and artists to work together in real time. Creative teams collaborate with Luma Agents live and make changes to sets, props, lighting, and bring in performance capture from human actors. This is a significant improvement over the current virtual production and performance capture processes where things come together only in post. This is the leverage of AI — not just faster or cheaper, but better than what came before. We have built the first Hybrid Filmmaking studio at Manhattan Beach Studios where Moses is being shot. ID is significantly oversubscribed with demand and is actively growing the team to extend its services to more studios and filmmakers. Read more:

Announcing Innovative Dreams, a new production company by Luma and Wonder Project built by filmmakers for filmmakers, and our first production — Moses starring Sir Ben Kingsley, coming this Spring on Prime Video. AI is a fundamental change to the craft and business of filmmaking, and through ID, we are building a new production process for this era — one that brings Humans and AI together to enable great storytelling. We call it Hybrid Production — actors, artists, and generative AI working together in Luma. In real time. Innovative Dreams is a production services company where seasoned filmmakers from Director Jon Erwin's team and Luma's creative technologists work with great studios and filmmakers to help them realize ambitious ideas. It's a liberating force. Hybrid Production enables actors, directors, and artists to work together in real time. Creative teams collaborate with Luma Agents live and make changes to sets, props, lighting, and bring in performance capture from human actors. This is a significant improvement over the current virtual production and performance capture processes where things come together only in post. This is the leverage of AI — not just faster or cheaper, but better than what came before. We have built the first Hybrid Filmmaking studio at Manhattan Beach Studios where Moses is being shot. ID is significantly oversubscribed with demand and is actively growing the team to extend its services to more studios and filmmakers. Read more:

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🇺🇸 SOMETHING JUST FELL OUT OF SPACE A flash tore across the sky. Then came the boom. Windows rattled, dogs lost it. Locals swear it was a meteor. Astronomers say: space junk. A satellite, maybe, burning its final paycheck into the atmosphere. The sound barrier doesn’t care - it breaks the same either way. We’re orbiting a junkyard now. Thousands of defunct machines circling above, waiting their turn to fall home. One day it’s a harmless light show. The next, it’s an unplanned re-entry over your city. No official word yet, but the sky doesn’t lie: something man-made came back for a visit. Welcome to the Anthropocene fireworks. Source: PaulFox13 (Chief meteorologist at FOX13 in Tampa) Video: Mary Ann Meola in Live Oak

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this guy turned a raw 10-second phone clip into a multi-character media engine and pulled $19,400 in agency retainers this month he didn't rent a studio, buy expensive lighting, or hire actors → original clip: record yourself in a regular alleyway wearing black clothing → google flow upload: drop the raw mp4 file directly into the layout engine → omni flash prompt: "change clothing to premium white galabeya, preserve body weight and hand tracking" → asset injection: point at the empty space → render a white toyota sedan with exact matching shadows 30 minutes from zero to a flawless, physics-locked side-by-side demonstration video. earnings breakout from this single infrastructure setup: > brand deal 1 (local automotive): $8,500 > tech platform promo: $6,000 > dynamic ad variations contract: $4,900 most content agencies are still sending 5-man production crews to locations and charging clients $20,000 to shoot one clean commercial. he bypassed the entire physical production bottleneck using consumer hardware and a single web window.

Ridark

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🦾🔥 2026 will be the year of robotics. And you should start a robotic company right now! Let me explain you why and show you the opportunities in the video – but here is an outline: We're in an Will Smith spaghetti moment. Remember how AI-generated video looked horrific two years ago? That's where robotics is right now. Computer vision is solved. VLAs (vision language action models) are starting to work. The reliability problem is being cracked as we speak. And unlike software, where you're competing against 15,000 marketing AI startups, humanoids has maybe 200 companies worldwide. Warehousing, the most crowded robotics vertical, has 700. Plus what are you going to do? Build a SaaS that claude can one-shot? The macro tailwinds are also obvious: Dark factories. Self-driving everything. Drones dominating warfare. China pushing automation hard. The West needing to reindustrialize with an aging workforce. But the real unlock is that small teams can now move incredibly fast. In the video we show robots built by one person, that is a year later already shown at CES, and raised couple million euros. Components costs are also dropping. Plus production suppliers actually want to work with startups now. In the video we are also going into opportunities. One mental model is simple: robotics is the next SaaS. Look at any industry, find one specific task, and build a robot that can do it better, faster, or around the clock. But we go through multiple mental models more in the video I uploaded the full video right here on X. But if you got a second, i'd appreciate a share, like, subscribe on youtube (link below!) ⬇️

🦾🔥 2026 will be the year of robotics. And you should start a robotic company right now! Let me explain you why and show you the opportunities in the video – but here is an outline: We're in an Will Smith spaghetti moment. Remember how AI-generated video looked horrific two years ago? That's where robotics is right now. Computer vision is solved. VLAs (vision language action models) are starting to work. The reliability problem is being cracked as we speak. And unlike software, where you're competing against 15,000 marketing AI startups, humanoids has maybe 200 companies worldwide. Warehousing, the most crowded robotics vertical, has 700. Plus what are you going to do? Build a SaaS that claude can one-shot? The macro tailwinds are also obvious: Dark factories. Self-driving everything. Drones dominating warfare. China pushing automation hard. The West needing to reindustrialize with an aging workforce. But the real unlock is that small teams can now move incredibly fast. In the video we show robots built by one person, that is a year later already shown at CES, and raised couple million euros. Components costs are also dropping. Plus production suppliers actually want to work with startups now. In the video we are also going into opportunities. One mental model is simple: robotics is the next SaaS. Look at any industry, find one specific task, and build a robot that can do it better, faster, or around the clock. But we go through multiple mental models more in the video I uploaded the full video right here on X. But if you got a second, i'd appreciate a share, like, subscribe on youtube (link below!) ⬇️

Andreas Klinger 🦾

64,853 görüntüleme • 6 ay önce

VIDEO: Drama As APC Chieftain, Arise TV’s Rufai Oseni Clash During Live Interview There was drama on Arise TV during its This Morning Show on Monday as a chieftain of the All Progressives Congress, Jesutega Onokpasa, clashed with Arise TV’s Rufai Oseni who was interviewing him. Oseni, during the interview, disagreed with the chieftain’s view concerning the fuel subsidy removal. While Oseni talked, Onokpasa tried to interrupt him, but the interviewer said, “Let me finish Mr Onokpasa. Let me finish please.” That didn’t go well with Onokpasa who claimed that the interviewer was disrespectful. Onokpasa, pointing fingers at the screen, said, “Please, don’t raise your voice at me, young man. Don’t raise your voice at me Rufai. I’m your guest, you will respect me. I will walk out of your studio if you raise your voice at me. Talk to me respectfully.” Oseni responded, “You may well take your decision if you want to. I’m asking a question. You might decide to walk out if you want to.” However, the duo kept talking at the same time and Onokpasa refused to answer the question asked by Oseni. Credit: Arise TV -- Follow for breaking news and videos.

VIDEO: Drama As APC Chieftain, Arise TV’s Rufai Oseni Clash During Live Interview There was drama on Arise TV during its This Morning Show on Monday as a chieftain of the All Progressives Congress, Jesutega Onokpasa, clashed with Arise TV’s Rufai Oseni who was interviewing him. Oseni, during the interview, disagreed with the chieftain’s view concerning the fuel subsidy removal. While Oseni talked, Onokpasa tried to interrupt him, but the interviewer said, “Let me finish Mr Onokpasa. Let me finish please.” That didn’t go well with Onokpasa who claimed that the interviewer was disrespectful. Onokpasa, pointing fingers at the screen, said, “Please, don’t raise your voice at me, young man. Don’t raise your voice at me Rufai. I’m your guest, you will respect me. I will walk out of your studio if you raise your voice at me. Talk to me respectfully.” Oseni responded, “You may well take your decision if you want to. I’m asking a question. You might decide to walk out if you want to.” However, the duo kept talking at the same time and Onokpasa refused to answer the question asked by Oseni. Credit: Arise TV -- Follow for breaking news and videos.

Punch Newspapers

648,056 görüntüleme • 2 yıl önce

Here is part 1 of the animated short movie we made for Cardano! Read this tweet until the end & follow the instructions if you want a chance to win 500 $ADA 😉 Over the course of 5 chapters (to be released once a week over the next 4-5 weeks), we tell the story of the Cardano road map (a parodied version) from the "perspective" of Charles Hoskinson - at a certain point in Chapter one, we poked fun at how Charles viewed Emurgo & the Cardano Foundation. While this was always done strictly in jest, we feel the need to point out that the efforts of the founding entities are valued & we're happy to see the renewed spirit of collaboration among them to push the ecosystem forward 🫡 Seeing as its thanks giving for many, I feel the following challenge is appropriate, RT & reply to this video with one thing you are grateful for since joining the Cardano Community - one lucky winner will get 500 ADA! Enjoy the show, good luck with the challenge & happy thanks giving! 🍻 Long Live Cardano!

Here is part 1 of the animated short movie we made for Cardano! Read this tweet until the end & follow the instructions if you want a chance to win 500 $ADA 😉 Over the course of 5 chapters (to be released once a week over the next 4-5 weeks), we tell the story of the Cardano road map (a parodied version) from the "perspective" of Charles Hoskinson - at a certain point in Chapter one, we poked fun at how Charles viewed Emurgo & the Cardano Foundation. While this was always done strictly in jest, we feel the need to point out that the efforts of the founding entities are valued & we're happy to see the renewed spirit of collaboration among them to push the ecosystem forward 🫡 Seeing as its thanks giving for many, I feel the following challenge is appropriate, RT & reply to this video with one thing you are grateful for since joining the Cardano Community - one lucky winner will get 500 ADA! Enjoy the show, good luck with the challenge & happy thanks giving! 🍻 Long Live Cardano!

Tipsy Turtles

16,921 görüntüleme • 8 ay önce

Dear young men, You can be anything in this life but please don't be a simp. I was seeing various video snippets of a certain man who went to the honest bunch podcast to share the tales of his bitter ordeal in his marriage to a certain lady whose name I don't want to mention. I sincerely have no idea about the couple until I saw the video but I realised from online comments that they were a very popular power couple on Instagram way back 2018 or thereabout. Out of curiosity, I went on YouTube to watch the full video on Glitch Africa Studio channel. I cringed while watching the video because I was very pissed off with what the guy was saying. I felt for him at the same time though. My question still remains "how can a guy be so naive?". He married at 37yrs of age. One would have expected a 37y/o man to be well experienced about life. Now he is 48yrs old with no child anywhere in the world, and his wife has left him too. His first mistake: She was already married and divorced, and she told you about it, but you are a single man who has never been married, yet you made a divorced woman your first choice and you even got married to her just five months after she slid into your DM. She was already leading you on handicap with her prior marriage experience. As a single man, marrying a divorced woman or a single mother is more like you playing Russian roulette with your life. Another mistake: You agreed to her travelling abroad while you stay behind in Nigeria. She outgrew you while you remained at same level. Another mistake: You saw a chat she had with her friend where she said she was done with you and all sort, yet you still chose to stay in the long distance marriage and kept on fooling and simping. Another mistake: You agreed to her doing an arranged marriage in US so she can get a green card. Another mistake: You live in Nigeria and earn in naira but you still send money to your "wife" who is in America. I can go on and on but wetin concern me self. Anyways, like MKO the comedian would always banter on his show, "Dodoyo go dance gbedu". As a man, you are only allowed to simp up till 25yrs of age. Once you cross your mid 20s, as a man, please love with your brain. Don't be an intentional man. Don't be a matured guy. Don't be a real man. Na mumu dey answer all those name. Don't be a simp. Let him who has ears hear now. If you fail to hear now, you will also cry bitterly sooner or later. I pray Roby Ekpo heals. 📹 : Glitch Africa Studio (YouTube)

Dear young men, You can be anything in this life but please don't be a simp. I was seeing various video snippets of a certain man who went to the honest bunch podcast to share the tales of his bitter ordeal in his marriage to a certain lady whose name I don't want to mention. I sincerely have no idea about the couple until I saw the video but I realised from online comments that they were a very popular power couple on Instagram way back 2018 or thereabout. Out of curiosity, I went on YouTube to watch the full video on Glitch Africa Studio channel. I cringed while watching the video because I was very pissed off with what the guy was saying. I felt for him at the same time though. My question still remains "how can a guy be so naive?". He married at 37yrs of age. One would have expected a 37y/o man to be well experienced about life. Now he is 48yrs old with no child anywhere in the world, and his wife has left him too. His first mistake: She was already married and divorced, and she told you about it, but you are a single man who has never been married, yet you made a divorced woman your first choice and you even got married to her just five months after she slid into your DM. She was already leading you on handicap with her prior marriage experience. As a single man, marrying a divorced woman or a single mother is more like you playing Russian roulette with your life. Another mistake: You agreed to her travelling abroad while you stay behind in Nigeria. She outgrew you while you remained at same level. Another mistake: You saw a chat she had with her friend where she said she was done with you and all sort, yet you still chose to stay in the long distance marriage and kept on fooling and simping. Another mistake: You agreed to her doing an arranged marriage in US so she can get a green card. Another mistake: You live in Nigeria and earn in naira but you still send money to your "wife" who is in America. I can go on and on but wetin concern me self. Anyways, like MKO the comedian would always banter on his show, "Dodoyo go dance gbedu". As a man, you are only allowed to simp up till 25yrs of age. Once you cross your mid 20s, as a man, please love with your brain. Don't be an intentional man. Don't be a matured guy. Don't be a real man. Na mumu dey answer all those name. Don't be a simp. Let him who has ears hear now. If you fail to hear now, you will also cry bitterly sooner or later. I pray Roby Ekpo heals. 📹 : Glitch Africa Studio (YouTube)

Olamide Obe

57,771 görüntüleme • 3 ay önce

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +

David Bowie Official

50,698 görüntüleme • 1 yıl önce

ข่าวดีสำหรับ CENTINERS ไทย! 10CM กำลังจะกลับมาหาแฟนๆ ที่กรุงเทพฯ อีกครั้ง กับเอเชียทัวร์ที่หลายคนตั้งตารอ “2026 10CM Asia Tour in Bangkok” ในวันเสาร์ที่ 7 มีนาคม 2569 ณ Phenix Grand Ballroom 🎶🎶 #To10CM_Bangkok และเตรียมตัวพบกับเซอร์ไพรส์สุดหวาน — ซูเปอร์สตาร์ชาวไทย NuNew ✨ ที่จะมาร่วมเป็นแขกรับเชิญพิเศษบนเวที! เตรียมพบกับโมเมนต์แสนมหัศจรรย์ การแสดงร่วมกันที่สวยงาม และเคมีน่าประทับใจ ที่พร้อมจะเปล่งประกายบนเวที 🎤 ไม่ว่าคุณจะหลงรักเพลงฮีลใจของ 10CM หรือมาชมเสน่ห์และพลังเสียงอันโดนเด่นของ NuNew ในค่ำคืนพิเศษนี้ บอกเลยว่านี่คืออีกหนึ่งคอนเสิร์ตที่ไม่ควรพลาด! แล้วเจอกัน 💙✨ 🗓️｜วันแสดง : วันเสาร์ที่ 7 มีนาคม 2569 เวลา 18:30น. 📍｜สถานที่ : Phenix Grand Ballroom 🎫｜ราคาบัตร : 5,800/ 3,600/ 2,600 บาท (บัตรนั่งทั้งหมด) 🔗｜ช่องทางจำหน่ายบัตร : และDamai ---------- Exciting News for Thai CENTINERS! 10CM is coming back to Bangkok with his highly anticipated 2026 10CM Asia Tour in Bangkok on Saturday, March 7, 2026 at Phenix Grand Ballroom 🎶🎶 And here's the sweetest surprise — Thai superstar NuNew ✨will be joining as a special guest! Expect magical moments, beautiful collaborations, and their incredible chemistry lighting up the stage together.🎤 Whether you're here for 10CM's soothing hits or to see NuNew bring his charm and voice to the night, this is one concert you won't want to miss. See you soon, everyone! 💙✨ 🗓️｜Date: 7 March, 2026 (SAT) 6:30PM 📍｜Venue: Phenix Grand Ballroom 🎫｜Ticket : THB 5,800/ THB 3,600 / THB 2,600 (All Seated) 🔗｜Ticketing : & Damai Management Company: CAM Organizer: Damai Live / LESLIE STUDIO LIMITED / 168 Production / Do Concert Tour Management：BE IN Tour Agent：Lucky Clover #10CM #To10CM_Chapter1 #2026_10CM_AsiaTour #To10CM_Bangkok #NuNew #NuNewx10CM

ข่าวดีสำหรับ CENTINERS ไทย! 10CM กำลังจะกลับมาหาแฟนๆ ที่กรุงเทพฯ อีกครั้ง กับเอเชียทัวร์ที่หลายคนตั้งตารอ “2026 10CM Asia Tour in Bangkok” ในวันเสาร์ที่ 7 มีนาคม 2569 ณ Phenix Grand Ballroom 🎶🎶 #To10CM_Bangkok และเตรียมตัวพบกับเซอร์ไพรส์สุดหวาน — ซูเปอร์สตาร์ชาวไทย NuNew ✨ ที่จะมาร่วมเป็นแขกรับเชิญพิเศษบนเวที! เตรียมพบกับโมเมนต์แสนมหัศจรรย์ การแสดงร่วมกันที่สวยงาม และเคมีน่าประทับใจ ที่พร้อมจะเปล่งประกายบนเวที 🎤 ไม่ว่าคุณจะหลงรักเพลงฮีลใจของ 10CM หรือมาชมเสน่ห์และพลังเสียงอันโดนเด่นของ NuNew ในค่ำคืนพิเศษนี้ บอกเลยว่านี่คืออีกหนึ่งคอนเสิร์ตที่ไม่ควรพลาด! แล้วเจอกัน 💙✨ 🗓️｜วันแสดง : วันเสาร์ที่ 7 มีนาคม 2569 เวลา 18:30น. 📍｜สถานที่ : Phenix Grand Ballroom 🎫｜ราคาบัตร : 5,800/ 3,600/ 2,600 บาท (บัตรนั่งทั้งหมด) 🔗｜ช่องทางจำหน่ายบัตร : และDamai ---------- Exciting News for Thai CENTINERS! 10CM is coming back to Bangkok with his highly anticipated 2026 10CM Asia Tour in Bangkok on Saturday, March 7, 2026 at Phenix Grand Ballroom 🎶🎶 And here's the sweetest surprise — Thai superstar NuNew ✨will be joining as a special guest! Expect magical moments, beautiful collaborations, and their incredible chemistry lighting up the stage together.🎤 Whether you're here for 10CM's soothing hits or to see NuNew bring his charm and voice to the night, this is one concert you won't want to miss. See you soon, everyone! 💙✨ 🗓️｜Date: 7 March, 2026 (SAT) 6:30PM 📍｜Venue: Phenix Grand Ballroom 🎫｜Ticket : THB 5,800/ THB 3,600 / THB 2,600 (All Seated) 🔗｜Ticketing : & Damai Management Company: CAM Organizer: Damai Live / LESLIE STUDIO LIMITED / 168 Production / Do Concert Tour Management：BE IN Tour Agent：Lucky Clover #10CM #To10CM_Chapter1 #2026_10CM_AsiaTour #To10CM_Bangkok #NuNew #NuNewx10CM

Do Concert

246,986 görüntüleme • 5 ay önce

📖SEEDANCE 2.0 JUST MADE EVERY FILM SCHOOL IRRELEVANT FOR SOLO CREATORS Solo creators with the right workflow are closing clients that used to require a full production studio. Seedance 2.0 inside Dreamina holds character consistency across scenes in a way no other tool at this price point comes close to. Same face, same costume, same lighting logic — frame after frame after frame. That's the feature that turns a single prompt session into a short film. The lava demon materializing inside a gothic cathedral. The girl in black holding her ground while everything burns around her. Two characters with completely different visual languages sharing the same atmospheric world — and Seedance holds both of them consistent across every cut. That's not a generation. That's a production. Here's the 7-step workflow that produced this: • Step 1 — Define the character before you define the scene. Write a complete physical description — face structure, hair, clothing, skin, posture. This becomes the anchor every future generation references. • Step 2 — Build the world separately from the character. Gothic cathedral, candlelight, fog, cracked stone, scattered bodies. Define the atmosphere as its own entity before you place anyone inside it. • Step 3 — Generate the reference frame. One image that establishes the visual language, the color grade, the lighting temperature. Lock this as your style reference before generating any video. • Step 4 — Feed the reference into Seedance's image-to-video pipeline with a motion prompt. Camera behavior only — slow push, hold, circle. The image handles the subject. The prompt handles the direction. • Step 5 — Generate four variations per scene. Delete the two that look generated. Keep the one where the character's face holds and the atmosphere feels physical rather than rendered. • Step 6 — Edit in CapCut or Premiere Pro. Add music that matches the emotional temperature of the grade — the visual already tells you what the sound should feel like. Dark orchestral, slow tempo, single instrument carrying the melody. • Step 7 — Save the character description and reference frame as a template. The next episode starts from the same character in the same world. Series content becomes a system, not a restart. How a freelancer sells this: Dark fantasy content for game studios, music artists, and fantasy brands is a real market with real budgets. A musician dropping an album needs a visual world. A game studio needs promotional cinematics. A fantasy brand needs a story. Where to find clients: • Music artists on SoundCloud and Spotify releasing dark, gothic, or cinematic albums — search by genre, find artists with 1k–50k listeners who have no visual content. They have the audience and the need but no production budget for traditional video. • Indie game studios on Itch and Steam launching fantasy or horror titles — they need promotional cinematics and trailers but can't afford a production company. A single free scene built from their game's character art opens every conversation. • Dark fantasy and gothic brands on Instagram and TikTok with strong photo content but zero video presence — jewelry brands, clothing labels, occult lifestyle brands. They have the aesthetic already built. You just add motion to it. • Fantasy and horror fiction authors on Instagram and Substack launching new books — they need visual teasers, trailers, and world-building content to build pre-launch audiences. Most have no idea this kind of production is accessible at this price point. • Tabletop RPG creators and Dungeon Masters on Patreon and Kickstarter — they build entire fantasy universes and need cinematic content for campaigns, promotional videos, and subscriber rewards. The niche is underserved and the creators inside it spend consistently on content tools and services. 📥Tomorrow I'll show you what's sitting right next to this opportunity. 🔖Save this if you are looking for practical AI methods that actually pay.

Zentrix⌚️

50,098 görüntüleme • 1 ay önce

Remembering film director Lloyd Bacon on his Birthday Born | December 4, 1889 in San Jose, California, USA Died | November 15, 1955 aged 65 in Burbank, California, USA Video | The “By a Waterfall” production number from Footlight Parade (1933) featuring 300 choreographed swimmers. One of the workhorses in Warner Brothers' stable of directors in the 1930s, Lloyd Bacon didn't have a career as loaded with classic films as many of his more famous contemporaries. What few “classics” he had his hand in (42nd Street (1933), Footlight Parade (1933) are so overshadowed by the dazzling surrealistic choreography of Busby Berkeley that casual film buffs today often forget they were actually directed by Bacon. While his resume lacks the drama of failed productions and tales of an unbridled ego, he consistently enriched the studio's coffers, directing a handful of its biggest hits of the late 1920s and 1930s. Bacon's career amounts to that of a competent ― and at times brilliant ― director who did the best with the material handed to him in assembly-line fashion. Lloyd Bacon was born into a theatrical family (his father was Frank Bacon, a playwright and stage actor). His parents enlisted all the Bacon children onto the stage. Despite having a strong interest in law as a student at Santa Clara College, Lloyd opted for an acting career after appearing in a student production of “The Passion Play”. In 1911 he joined David Belasco's Los Angeles Stock Company (with Lewis Stone), touring the country and gaining good notices in a Broadway run of the hit “Cinderella Man”, and gaining further experience during a season of vaudeville. He switched gears in 1915 and took a stab at silent Hollywood, playing the heavy in several of Gilbert M. 'Broncho Billy' Anderson's shorts and pulling double duty as a stunt man. With America's entry into World War I in 1917, Bacon enlisted in the Navy and was assigned to the Photo Department. This began a lifelong admiration for the service and might explain the Navy being a favourite recurring theme in many of his films. After the war's end Bacon moved from Mutual (Charles Chaplin's studio at the time) to Triangle as a comedy actor. It was at this point that he got his first taste of directing ― he had let everyone at the studio know he had an interest in helming a picture, and when the director of a now forgotten Lloyd Hamilton comedy short fell ill, Bacon was given his chance. Constantly moving, he joined tightwad producer Mack Sennett as a gag writer. Sennett, sensing a bargain, happily accommodated Lloyd's desire to become a full-time director by early 1921. The Sennett studio was already in an irreversible decline during Bacon's tenure there but it allowed the novice director to gain a wealth of experience. He apprenticed for Sennett until joining Warner Brothers in 1925, an association that would last a remarkable 18 years and begin when the working-man's studio was building a strong stable of contract directors that included Michael Curtiz, Alan Crosland, John G. Adolfi and Mervyn LeRoy. Although Lloyd never became known for a particular style other than a well-placed close up, his ability to bring in an entertaining film on time and within budget earned him such enormous respect from the five Warner Brothers that he was soon handed control over important projects, including The Singing Fool (1928), Al Jolson's follow-up to The Jazz Singer (1927), which grossed an unheard-of (for Warners, at least) $4,000,000 in domestic receipts alone ― the studio's #1 hit for 1928. Bacon was rewarded by becoming the highest paid director on the studio lot, earning over $200,000 a year throughout the Depression. He was called upon to direct the studio's big-budget production of Moby Dick (1930), which garnered good notices, but it's a version that's barely remembered today. The 1930s saw Bacon assigned to the assembly line; aside from the Busby Berkeley-choreographed films, he directed many of James Cagney's crowd-pleasing two-week wonders, including Picture Snatcher (1933) (Cagney once remarked that the schedule on that picture was so tight that, one time after he and the cast had rehearsed a particular scene, Cagney said, “OK, Lloyd, are you ready to shoot?” Bacon grinned and said, “I just did!”) and The Irish in Us (1935). As a reward, he was occasionally afforded more time and money on productions such as Here Comes the Navy (1934) and Devil Dogs of the Air (1935). He also directed Cagney's return effort after his ill-advised move to cheapjack Grand National Pictures after one of his periodic salary disputes with studio head Jack L. Warner ― the badly miscast if frenetic Boy Meets Girl (1938). This was one of Cagney's least critically acclaimed Warner Brothers films of the 1930s, but a smash hit for the studio. During his years at Warners, Bacon gained a reputation as a clothes horse, the dapper director arriving on the set dressed to the nines, wearing expensive hats that he would hurl around the set when expressing his dissatisfaction (he ruined a lot of hats) at an actor's performance or missed cue. Bacon continued to turn out profitable films for the studio until moving to 20th Century-Fox in 1944 (a logical move, since the recently discharged Darryl F. Zanuck knew Bacon from his early days at Warners). He stayed at Fox until 1949, then bounced among Columbia, Fox, Universal and finally the chaotically-run RKO in 1954. He worked virtually until his death from a cerebral hemorrhage at age 65.

Remembering film director Lloyd Bacon on his Birthday Born | December 4, 1889 in San Jose, California, USA Died | November 15, 1955 aged 65 in Burbank, California, USA Video | The “By a Waterfall” production number from Footlight Parade (1933) featuring 300 choreographed swimmers. One of the workhorses in Warner Brothers' stable of directors in the 1930s, Lloyd Bacon didn't have a career as loaded with classic films as many of his more famous contemporaries. What few “classics” he had his hand in (42nd Street (1933), Footlight Parade (1933) are so overshadowed by the dazzling surrealistic choreography of Busby Berkeley that casual film buffs today often forget they were actually directed by Bacon. While his resume lacks the drama of failed productions and tales of an unbridled ego, he consistently enriched the studio's coffers, directing a handful of its biggest hits of the late 1920s and 1930s. Bacon's career amounts to that of a competent ― and at times brilliant ― director who did the best with the material handed to him in assembly-line fashion. Lloyd Bacon was born into a theatrical family (his father was Frank Bacon, a playwright and stage actor). His parents enlisted all the Bacon children onto the stage. Despite having a strong interest in law as a student at Santa Clara College, Lloyd opted for an acting career after appearing in a student production of “The Passion Play”. In 1911 he joined David Belasco's Los Angeles Stock Company (with Lewis Stone), touring the country and gaining good notices in a Broadway run of the hit “Cinderella Man”, and gaining further experience during a season of vaudeville. He switched gears in 1915 and took a stab at silent Hollywood, playing the heavy in several of Gilbert M. 'Broncho Billy' Anderson's shorts and pulling double duty as a stunt man. With America's entry into World War I in 1917, Bacon enlisted in the Navy and was assigned to the Photo Department. This began a lifelong admiration for the service and might explain the Navy being a favourite recurring theme in many of his films. After the war's end Bacon moved from Mutual (Charles Chaplin's studio at the time) to Triangle as a comedy actor. It was at this point that he got his first taste of directing ― he had let everyone at the studio know he had an interest in helming a picture, and when the director of a now forgotten Lloyd Hamilton comedy short fell ill, Bacon was given his chance. Constantly moving, he joined tightwad producer Mack Sennett as a gag writer. Sennett, sensing a bargain, happily accommodated Lloyd's desire to become a full-time director by early 1921. The Sennett studio was already in an irreversible decline during Bacon's tenure there but it allowed the novice director to gain a wealth of experience. He apprenticed for Sennett until joining Warner Brothers in 1925, an association that would last a remarkable 18 years and begin when the working-man's studio was building a strong stable of contract directors that included Michael Curtiz, Alan Crosland, John G. Adolfi and Mervyn LeRoy. Although Lloyd never became known for a particular style other than a well-placed close up, his ability to bring in an entertaining film on time and within budget earned him such enormous respect from the five Warner Brothers that he was soon handed control over important projects, including The Singing Fool (1928), Al Jolson's follow-up to The Jazz Singer (1927), which grossed an unheard-of (for Warners, at least) $4,000,000 in domestic receipts alone ― the studio's #1 hit for 1928. Bacon was rewarded by becoming the highest paid director on the studio lot, earning over $200,000 a year throughout the Depression. He was called upon to direct the studio's big-budget production of Moby Dick (1930), which garnered good notices, but it's a version that's barely remembered today. The 1930s saw Bacon assigned to the assembly line; aside from the Busby Berkeley-choreographed films, he directed many of James Cagney's crowd-pleasing two-week wonders, including Picture Snatcher (1933) (Cagney once remarked that the schedule on that picture was so tight that, one time after he and the cast had rehearsed a particular scene, Cagney said, “OK, Lloyd, are you ready to shoot?” Bacon grinned and said, “I just did!”) and The Irish in Us (1935). As a reward, he was occasionally afforded more time and money on productions such as Here Comes the Navy (1934) and Devil Dogs of the Air (1935). He also directed Cagney's return effort after his ill-advised move to cheapjack Grand National Pictures after one of his periodic salary disputes with studio head Jack L. Warner ― the badly miscast if frenetic Boy Meets Girl (1938). This was one of Cagney's least critically acclaimed Warner Brothers films of the 1930s, but a smash hit for the studio. During his years at Warners, Bacon gained a reputation as a clothes horse, the dapper director arriving on the set dressed to the nines, wearing expensive hats that he would hurl around the set when expressing his dissatisfaction (he ruined a lot of hats) at an actor's performance or missed cue. Bacon continued to turn out profitable films for the studio until moving to 20th Century-Fox in 1944 (a logical move, since the recently discharged Darryl F. Zanuck knew Bacon from his early days at Warners). He stayed at Fox until 1949, then bounced among Columbia, Fox, Universal and finally the chaotically-run RKO in 1954. He worked virtually until his death from a cerebral hemorrhage at age 65.

Hollywood Golden Age of Cinema

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This Is Absolutely Mind Blowing ⚠️ Barack Obama’s New Movie, Leave The World Behind, When Downloaded & Put Into An Editing Program Has 4 Audio Files Instead Of The Standard 1 One Of The Audio Files Is Just A Frequency 🚨 “Low Frequency Infrasound” Other Movies Do Not Have This. The Guy Has Done Thousands Of Movies & Never Seen This “When you open this this movie right here is Jurassic Park, for instance. Okay? I'm just showing this to people who have never seen this. For the last 15 years that I have been using Sony Vegas and other editing software and have gone through downloading movies And using them in our own video production, 100% of the time, it's either an MKV or a MP For occasionally, you'll download a torrent that's in AVR, but not very often. And this is what it will always look like. One video file right here. One audio file right here always. That's been my experience. Now let me show you what happened when we downloaded and put, Sony put the, uh, movie Leave the World Behind onto Sony Vegas. Here you go. Stunning. Stunning. One video file, 4 audio files opened up. And this one, This 4th audio file seems to be the weapon. This is a low ex uh, ELF, Uh, Low Frequency Infrasound. Infrasonic wave right here. And, um, so we We are gonna let me put the camera back on again. So this is big news just just so people realize. In in 15 years of video editing, I have never downloaded now speaking specifically a movie file. Okay. A Hollywood movie from a torrent downloading it in either MKV, MP4, occasionally AVI. 100% of the time, over a thousands movies I've done this with, you have video file, audio file, period. This is the very first time I've ever seen anything like this with the 4 files. Bonnie's gonna go into now talking about the The infrasonic sound waves and what we found out about that and the fact that there's one here. We're in the point is we're going to go back after Bonnie gives you some information about what it is we're dealing with, how this is a weapon. Then we're gonna go back, uh, towards the end of the live stream here. And I'm gonna hit specific places where this weapon was used against anybody who watches it. Okay.”

This Is Absolutely Mind Blowing ⚠️ Barack Obama’s New Movie, Leave The World Behind, When Downloaded & Put Into An Editing Program Has 4 Audio Files Instead Of The Standard 1 One Of The Audio Files Is Just A Frequency 🚨 “Low Frequency Infrasound” Other Movies Do Not Have This. The Guy Has Done Thousands Of Movies & Never Seen This “When you open this this movie right here is Jurassic Park, for instance. Okay? I'm just showing this to people who have never seen this. For the last 15 years that I have been using Sony Vegas and other editing software and have gone through downloading movies And using them in our own video production, 100% of the time, it's either an MKV or a MP For occasionally, you'll download a torrent that's in AVR, but not very often. And this is what it will always look like. One video file right here. One audio file right here always. That's been my experience. Now let me show you what happened when we downloaded and put, Sony put the, uh, movie Leave the World Behind onto Sony Vegas. Here you go. Stunning. Stunning. One video file, 4 audio files opened up. And this one, This 4th audio file seems to be the weapon. This is a low ex uh, ELF, Uh, Low Frequency Infrasound. Infrasonic wave right here. And, um, so we We are gonna let me put the camera back on again. So this is big news just just so people realize. In in 15 years of video editing, I have never downloaded now speaking specifically a movie file. Okay. A Hollywood movie from a torrent downloading it in either MKV, MP4, occasionally AVI. 100% of the time, over a thousands movies I've done this with, you have video file, audio file, period. This is the very first time I've ever seen anything like this with the 4 files. Bonnie's gonna go into now talking about the The infrasonic sound waves and what we found out about that and the fact that there's one here. We're in the point is we're going to go back after Bonnie gives you some information about what it is we're dealing with, how this is a weapon. Then we're gonna go back, uh, towards the end of the live stream here. And I'm gonna hit specific places where this weapon was used against anybody who watches it. Okay.”

Wall Street Apes

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