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Rainbow Six Siege CUSTOM Kafe Rework - • Soft wall added in Piano Room Created by Noc 🇨🇦 using "Heated Metal" mod

KianChopper

2,601 subscribers

109,160 Aufrufe • vor 8 Monaten •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

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.Google Cloud killed its own opening video 3 weeks before Google Cloud Next. In rehearsals, VP of Marketing Sarah Kennedy Ellis looked at the opener her team had built and called it. It was using AI, but not enough of it to actually showcase what the product could do. So they rebuilt it from scratch. In 3 weeks. Here's how it came together, straight from her SaaStr AI 2026 session: - It started on a napkin. A creative director sketched the concept by hand, then fed it into Nano Banana to generate the source images and inspiration. - The story was Google's own history. The 1998 origin garage. Dino. The original server rack that was actually built out of Legos. 138 Easter eggs packed into the video, prompted from Google's own lore. - Then they added motion with Veo and stitched it all together with a few custom agents built on the Gemini Enterprise platform. - The agents improvised. They prompted for balls representing customers, and the model added a burst of water that was nowhere in the brief. It injected its own creativity into a physical, on-stage moment. - The hardest part was the most physical: resolution. Max output was 4K. The screen at Next is the size of a 737. They had to upres from 4K to 12K using a custom Deep Mind model, the same one used for the Wizard of Oz production at the Sphere. Top Takeaways: 1️⃣ The old version of this project needed an agency, a much bigger budget, and a lot more than 3 weeks. That whole path collapsed into an internal team using their own tools. 2️⃣ And the same video was impossible a year earlier. They tried similar work the prior year and it was too early, mostly because of the upres wall. Twelve months later it shipped on the biggest screen they had.

.Google Cloud killed its own opening video 3 weeks before Google Cloud Next. In rehearsals, VP of Marketing Sarah Kennedy Ellis looked at the opener her team had built and called it. It was using AI, but not enough of it to actually showcase what the product could do. So they rebuilt it from scratch. In 3 weeks. Here's how it came together, straight from her SaaStr AI 2026 session: - It started on a napkin. A creative director sketched the concept by hand, then fed it into Nano Banana to generate the source images and inspiration. - The story was Google's own history. The 1998 origin garage. Dino. The original server rack that was actually built out of Legos. 138 Easter eggs packed into the video, prompted from Google's own lore. - Then they added motion with Veo and stitched it all together with a few custom agents built on the Gemini Enterprise platform. - The agents improvised. They prompted for balls representing customers, and the model added a burst of water that was nowhere in the brief. It injected its own creativity into a physical, on-stage moment. - The hardest part was the most physical: resolution. Max output was 4K. The screen at Next is the size of a 737. They had to upres from 4K to 12K using a custom Deep Mind model, the same one used for the Wizard of Oz production at the Sphere. Top Takeaways: 1️⃣ The old version of this project needed an agency, a much bigger budget, and a lot more than 3 weeks. That whole path collapsed into an internal team using their own tools. 2️⃣ And the same video was impossible a year earlier. They tried similar work the prior year and it was too early, mostly because of the upres wall. Twelve months later it shipped on the biggest screen they had.

Jason ✨👾SaaStr.Ai✨ Lemkin

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The Beast's Last Breath I shared the opening scene prompt earlier and added it to my first reply. For the rest, I built it out using the extend method. This is the prompt I used for the second part. The third part follows the same structure, with only the added segment description changing. I used reference images for the knight, dragon and dragon rider, but they're optional. I used Seedance 2.0 Omni on @MartiniArt_ Prompt for extending: Extend @[Video1] by 15s. Use @[image1] for the knight referece. CONTINUITY: Match the hostile blizzard, Cold Isolation Look, one continuous stalking camera language, armored knight silhouette, and suffocating storm sound design. Preserve battlefield wreckage under the drifts, intermittent lens strikes from hard ice, cold rim light through the whiteout, and a slow dread build with no release. ADDED SEGMENT: The knight drags upright with visible effort, legs unsteady, shoulders sagging under ice-caked armor, breath stuttering in the visor before the body settles into a low guarded stance with the sword ready. Opposite him, the ogre-like giant remains at a threatening distance in the whiteout, broad as a siege gate, wearing crude metal scraps and frozen hides, still advancing one deliberate step at a time without closing in too fast. The danger comes from its certainty, not speed. At the same time, the camera slowly cranes upward and pulls away, widening the frame as both figures stay locked on each other, turning the moment into a suspended battlefield standoff with the storm pressing in from every side. SFX: strained breath, steel creak, cloth snap, deep weighted footfalls, snow grind under mass, wind shear, low storm bass.

The Beast's Last Breath I shared the opening scene prompt earlier and added it to my first reply. For the rest, I built it out using the extend method. This is the prompt I used for the second part. The third part follows the same structure, with only the added segment description changing. I used reference images for the knight, dragon and dragon rider, but they're optional. I used Seedance 2.0 Omni on @MartiniArt_ Prompt for extending: Extend @[Video1] by 15s. Use @[image1] for the knight referece. CONTINUITY: Match the hostile blizzard, Cold Isolation Look, one continuous stalking camera language, armored knight silhouette, and suffocating storm sound design. Preserve battlefield wreckage under the drifts, intermittent lens strikes from hard ice, cold rim light through the whiteout, and a slow dread build with no release. ADDED SEGMENT: The knight drags upright with visible effort, legs unsteady, shoulders sagging under ice-caked armor, breath stuttering in the visor before the body settles into a low guarded stance with the sword ready. Opposite him, the ogre-like giant remains at a threatening distance in the whiteout, broad as a siege gate, wearing crude metal scraps and frozen hides, still advancing one deliberate step at a time without closing in too fast. The danger comes from its certainty, not speed. At the same time, the camera slowly cranes upward and pulls away, widening the frame as both figures stay locked on each other, turning the moment into a suspended battlefield standoff with the storm pressing in from every side. SFX: strained breath, steel creak, cloth snap, deep weighted footfalls, snow grind under mass, wind shear, low storm bass.

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High Elf Remnant: Warcraft 3 Custom Faction/Altered Melee Showcase #WC3 #Warcraft3 #GameMod Note: To make this faction showcase easier/quicker, cheat codes are used. The High Elf Remnant is a Altered Melee Faction that are High Elves that fled the Scourge after Quel'Thalas fell and the Sunwell was destroyed by Arthas seeking to bring back Kel'Thuzad. Suffering from magic withdrawal, they used vials of Sunwell water to create Solar Wells, using something inspired by the Moon Wells from the Night Elves. 10% of the High Elves survived the fall of Quel'Thalas As for Units: The Ancient of Tradition gives you Swordsman (Basic foot soldier), Arcane Archer (archer with 3 different selectable, mana-draining attack options), Cavalry (melee warrior that appears to ride some kind of bird). The Ancient of Wisdom trains spellcasters: Enchantress (versatile spellcaster that can turn units into a sheep), Cleric (Support unit that heals troops), and Battlemage (melee spellcaster that can revive fallen units). Ancient of Creation allows you to train: Engineer (repairs structures and builds defensive towers), Ballista (siege weapon), Magic Carriage (utility unit that can carry 6 items in it's inventory, restore mana to friendly units, and detect invisible units), Arcane Guardian (melee mechanical siege unit that has a stationary anti-air ability). Conservative allows for the training of Dragonhawk Lancer (Flying unit that specializes in anti-art), Red Dragon Matron (a shapeshifter that has a elf and a dragon form, can increase nearby friendly unit attack rate, restore hit points, and basic attacks that restore it's own mana). Heroes include: Judicator (cunning hero that can dodge attacks, and stun and silence spellcasters), Ranger (cunning hero that has a chance to double the damage of nearby ranged units), War Mage (mystical elemental magic hero that can summon lighting orbs and give foes a fire debuff), and Warrior-Priest (defense based hero that can heal). The mod/map can be found on HiveWorkshop. The author of this mod/map is "wa666r" and "nielsdejong" I also upload videos on YouTube and Facebook that look at and profile video game mods, but I got other videos as well.

ZanyOnePip

18,282 Aufrufe • vor 1 Jahr

.cova on why AI made creativity more valuable: "The rise of AI has given way to a massive flooding of the internet. As a creator, I've noticed a lot of audiences have realized this, and the work that really cuts through the noise is work that is really resonant. You can tell it comes from a place the creator is deeply passionate about, and it feels very authentic. It's made for connection, but it's also very true to the person making it." "With AI producing this flood of content, people have felt like the media they're consuming feels more rootless. And therefore the high-taste, high-creativity stuff that's actually crafted by the person, people are starting to value way more." "I use so much AI, and a lot of it's invisible, a lot of it's very visible. I've found a way to automate away the logistical side of things, so I can focus on the creativity. I built a bunch of custom tools for video-making, and I built them all with AI. Even though I prefer to edit myself and I script everything myself, I still use AI to bounce ideas off of." "The way I initially blew up was I used AI to transform my dorm room into different crazy sets, and people thought I was a professional. I was by no means a professional. It was my tiny dorm room, and I added a piano there, a vinyl record player, fairy lights, a moving robot in the background, cool lighting. It was all AI. I really accredit AI to a lot of my success."

.cova on why AI made creativity more valuable: "The rise of AI has given way to a massive flooding of the internet. As a creator, I've noticed a lot of audiences have realized this, and the work that really cuts through the noise is work that is really resonant. You can tell it comes from a place the creator is deeply passionate about, and it feels very authentic. It's made for connection, but it's also very true to the person making it." "With AI producing this flood of content, people have felt like the media they're consuming feels more rootless. And therefore the high-taste, high-creativity stuff that's actually crafted by the person, people are starting to value way more." "I use so much AI, and a lot of it's invisible, a lot of it's very visible. I've found a way to automate away the logistical side of things, so I can focus on the creativity. I built a bunch of custom tools for video-making, and I built them all with AI. Even though I prefer to edit myself and I script everything myself, I still use AI to bounce ideas off of." "The way I initially blew up was I used AI to transform my dorm room into different crazy sets, and people thought I was a professional. I was by no means a professional. It was my tiny dorm room, and I added a piano there, a vinyl record player, fairy lights, a moving robot in the background, cool lighting. It was all AI. I really accredit AI to a lot of my success."

MTS

10,699 Aufrufe • vor 1 Monat

$Have a look at one of the greatest examples of industrial engineering art ever created. This is the rotor assembly of the Ansaldo Energia GT36, one of the most advanced heavy-duty gas turbines ever developed. What looks like a collection of polished metal blades is actually the result of 3.7 million hours of engineering, combining decades of research in aerodynamics, combustion, metallurgy, cooling systems and precision manufacturing. A gas turbine works by compressing enormous volumes of air, mixing it with fuel, burning it at extreme temperatures, and extracting energy from the expanding gases through multiple turbine stages. That is why no two blade rows look the same. Across this rotor assembly, the colours, shapes and surface finishes constantly change because each section is solving a different problem. Some blades are designed to move and control massive airflow volumes, while others must survive the most extreme environment inside the machine. The most advanced turbine blades contain microscopic internal cooling channels. The cooling does not come from room-temperature air. Compressed air extracted from the compressor section already heated to 650 degrees Celsius, is redirected through passages inside the blade. It then exits through thousands of tiny holes, creating a thin protective cooling film in real time 24/7 over the surface of the blades while the surrounding combustion gases exceed 1,500°C all while rotating at 3000 RPM. A blade is not surviving because the metal alone can withstand the heat. It survives because engineers created a controlled thermal environment around it. The blades rely on advanced nickel-based superalloys containing elements such as rhenium, tungsten, cobalt and chromium, protected by metallic bond coats and ceramic thermal barrier coatings such as yttria-stabilised zirconia. These coatings are one of the most closely guarded proprietary technologies in turbine manufacturing. Every blade requires precision casting, advanced machining, laser drilling and microscopic inspection. A manufacturing defect measured in fractions of a millimetre can affect a rotor weighing around 150 tonnes and spinning at 3,000 RPM. The complete GT36 turbine system weighs around 520 tonnes and, in its most efficient combined-cycle configuration, can produce approximately 800 MW of electricity at around 64% efficiency enough to supply roughly 500,000+ homes. A complete power plant built around a machine like this can cost around $500-600 million, but the true value is not the steel and turbine machinery. It is the industrial capability and know how required to build a machine designed to operate for 30+ years and more than 100,000 equivalent operating hours, while repeatedly surviving one of the harshest environments humans have ever engineered. This is what the peak of industrial engineering looks like before it starts moving, this is what powers the world. Engineering is Art Video by AnsaldoEnergia$

Have a look at one of the greatest examples of industrial engineering art ever created. This is the rotor assembly of the Ansaldo Energia GT36, one of the most advanced heavy-duty gas turbines ever developed. What looks like a collection of polished metal blades is actually the result of 3.7 million hours of engineering, combining decades of research in aerodynamics, combustion, metallurgy, cooling systems and precision manufacturing. A gas turbine works by compressing enormous volumes of air, mixing it with fuel, burning it at extreme temperatures, and extracting energy from the expanding gases through multiple turbine stages. That is why no two blade rows look the same. Across this rotor assembly, the colours, shapes and surface finishes constantly change because each section is solving a different problem. Some blades are designed to move and control massive airflow volumes, while others must survive the most extreme environment inside the machine. The most advanced turbine blades contain microscopic internal cooling channels. The cooling does not come from room-temperature air. Compressed air extracted from the compressor section already heated to 650 degrees Celsius, is redirected through passages inside the blade. It then exits through thousands of tiny holes, creating a thin protective cooling film in real time 24/7 over the surface of the blades while the surrounding combustion gases exceed 1,500°C all while rotating at 3000 RPM. A blade is not surviving because the metal alone can withstand the heat. It survives because engineers created a controlled thermal environment around it. The blades rely on advanced nickel-based superalloys containing elements such as rhenium, tungsten, cobalt and chromium, protected by metallic bond coats and ceramic thermal barrier coatings such as yttria-stabilised zirconia. These coatings are one of the most closely guarded proprietary technologies in turbine manufacturing. Every blade requires precision casting, advanced machining, laser drilling and microscopic inspection. A manufacturing defect measured in fractions of a millimetre can affect a rotor weighing around 150 tonnes and spinning at 3,000 RPM. The complete GT36 turbine system weighs around 520 tonnes and, in its most efficient combined-cycle configuration, can produce approximately 800 MW of electricity at around 64% efficiency enough to supply roughly 500,000+ homes. A complete power plant built around a machine like this can cost around $500-600 million, but the true value is not the steel and turbine machinery. It is the industrial capability and know how required to build a machine designed to operate for 30+ years and more than 100,000 equivalent operating hours, while repeatedly surviving one of the harshest environments humans have ever engineered. This is what the peak of industrial engineering looks like before it starts moving, this is what powers the world. Engineering is Art Video by AnsaldoEnergia

Ammanichanda

101,294 Aufrufe • vor 1 Monat