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SWORDFISH (2001) This epic 30-second "bullet time" shot required: 134 synchronized 35mm still cameras outside 69 synchronized cameras inside the cafe 17 effects artists from Frantic Films 8 months of post and VFX work Total cost = $5 million dollars

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WOW 🚨 Just 2 hospices in Los Angeles stole $16 MILLION dollars from taxpayers They would bill $30,000 for every patient to Medicare Over 8 months, 97% of patients were still alive but they billed $8 million in fraudulent services during that short time period “They're accused of collectively stealing about $16 million from taxpayers, and this money was intended right for compassionate end-of-life care for the terminally ill — what they were doing was this admitting people who are not qualified for hospice but billed the government as if they were about $30,000 per patient. When the benefits ran out, they dropped them. Here's the kicker. Nationally, 80% of adults admitted, or people admitted to hospice die. And usually in the first few weeks here, almost nobody died. After 8 months, 97% left alive. They've been billing the taxpayers for over $7 million, close to $8 million, and it's totaled in total fraudulent hospice services”

WOW 🚨 Just 2 hospices in Los Angeles stole $16 MILLION dollars from taxpayers They would bill $30,000 for every patient to Medicare Over 8 months, 97% of patients were still alive but they billed $8 million in fraudulent services during that short time period “They're accused of collectively stealing about $16 million from taxpayers, and this money was intended right for compassionate end-of-life care for the terminally ill — what they were doing was this admitting people who are not qualified for hospice but billed the government as if they were about $30,000 per patient. When the benefits ran out, they dropped them. Here's the kicker. Nationally, 80% of adults admitted, or people admitted to hospice die. And usually in the first few weeks here, almost nobody died. After 8 months, 97% left alive. They've been billing the taxpayers for over $7 million, close to $8 million, and it's totaled in total fraudulent hospice services”

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Celebrities Call for 'Total Hollywood Strike' To 'Punish America' Until Diddy Is Set Free As the trial of Sean "Diddy" Combs enters its seconds explosive week, with jury selection underway and the world’s cameras fixated on the courtroom, something far stranger is happening just outside the frame. Sources inside Creative Artists Agency - that's right, the puppet masters of Hollywood - are whispering about a total shutdown. Not from the unions. Not over pay. This time, the stars themselves are mobilizing. George Clooney. Beyonce. DiCaprio. Jay-Z. A-list, household names, circling the wagons. Demanding silence. Demanding the trial end. Why? Not because they believe in Diddy’s innocence. But because they believe in his threats.

Celebrities Call for 'Total Hollywood Strike' To 'Punish America' Until Diddy Is Set Free As the trial of Sean "Diddy" Combs enters its seconds explosive week, with jury selection underway and the world’s cameras fixated on the courtroom, something far stranger is happening just outside the frame. Sources inside Creative Artists Agency - that's right, the puppet masters of Hollywood - are whispering about a total shutdown. Not from the unions. Not over pay. This time, the stars themselves are mobilizing. George Clooney. Beyonce. DiCaprio. Jay-Z. A-list, household names, circling the wagons. Demanding silence. Demanding the trial end. Why? Not because they believe in Diddy’s innocence. But because they believe in his threats.

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The new Robert Zemeckis film “Here” uses a lot of generative AI. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. AI for de-aging the actors was preferable to usual techniques: ▫️Make-up: Takes hour to put on and can make actors look 10 years younger (but not 50 as the film requires) ▫️CGI: Expensive and long (per NYT, “Persuading us that we’re watching Hanks and Wright in their 20s would have required hundreds of VFX artists, tens of millions of dollars and months of postproduction work.”) Zemeckis says “Here” couldn’t have been made three years ago (its $50m budget wouldn’t be able to afford the CGI). Also by using generative AI, Hanks and Wright could act more naturally without thick make-up (or those CGI dots) on their face. The AI effects were done by Metaphysics (the company’s content head is Ed Ulbrich, the former CEO of Digital Domain, James Cameron’s FX firm). Metaphysics AI tools were particularly useful because of how much video and images there are of Hanks and Wright over the decades. Some of those images include 1994’s “Forrest Gump”, which was also directed by Zemeckis starring Hanks and Wright. That banger used a lot of advanced aging effects for the time and won the 1995 Best Visual Effects Oscar. *** More from NYT: “Here” featurette:

The new Robert Zemeckis film “Here” uses a lot of generative AI. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. AI for de-aging the actors was preferable to usual techniques: ▫️Make-up: Takes hour to put on and can make actors look 10 years younger (but not 50 as the film requires) ▫️CGI: Expensive and long (per NYT, “Persuading us that we’re watching Hanks and Wright in their 20s would have required hundreds of VFX artists, tens of millions of dollars and months of postproduction work.”) Zemeckis says “Here” couldn’t have been made three years ago (its $50m budget wouldn’t be able to afford the CGI). Also by using generative AI, Hanks and Wright could act more naturally without thick make-up (or those CGI dots) on their face. The AI effects were done by Metaphysics (the company’s content head is Ed Ulbrich, the former CEO of Digital Domain, James Cameron’s FX firm). Metaphysics AI tools were particularly useful because of how much video and images there are of Hanks and Wright over the decades. Some of those images include 1994’s “Forrest Gump”, which was also directed by Zemeckis starring Hanks and Wright. That banger used a lot of advanced aging effects for the time and won the 1995 Best Visual Effects Oscar. *** More from NYT: “Here” featurette:

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In 2015 Joaquín Guzmán known globally as El Chapo performed a feat of engineering that stunned the Mexican government. While held in the Altiplano maximum security prison he vanished from his cell in the middle of the night. The exit point was a small opening in the floor of his private shower stall which was the only area of the cell not visible to security cameras. Below the shower was a tunnel over one mile long that led to an abandoned construction site. This was not a crude hole in the ground. It was a sophisticated passage complete with lighting and a ventilation system using PVC pipes. To move the earth quickly and later transport the prisoner the engineers installed a modified motorcycle on a rail system. This custom bike allowed the escape team to ferry tools in and Guzmán out in a matter of minutes. The operation cost an estimated fifty million dollars and required a massive team of workers to dig and remove tons of soil without being noticed by prison guards. Guzmán remained free for six months before he was eventually recaptured in a military raid.

In 2015 Joaquín Guzmán known globally as El Chapo performed a feat of engineering that stunned the Mexican government. While held in the Altiplano maximum security prison he vanished from his cell in the middle of the night. The exit point was a small opening in the floor of his private shower stall which was the only area of the cell not visible to security cameras. Below the shower was a tunnel over one mile long that led to an abandoned construction site. This was not a crude hole in the ground. It was a sophisticated passage complete with lighting and a ventilation system using PVC pipes. To move the earth quickly and later transport the prisoner the engineers installed a modified motorcycle on a rail system. This custom bike allowed the escape team to ferry tools in and Guzmán out in a matter of minutes. The operation cost an estimated fifty million dollars and required a massive team of workers to dig and remove tons of soil without being noticed by prison guards. Guzmán remained free for six months before he was eventually recaptured in a military raid.

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The official spin on unauthorized immigrants: Pew and DHS tout just 11-14 million peaking in 2023, then magically shrinking to 13 million by mid-2025 thanks to over 2 million deportations and fewer border run-ins. It's all built on shaky Census math subtracting legal folks from foreign-born totals, and surveys like the American Community Survey that half the targets dodge. But dig below the surface, and the massive hidden bulk emerges: 50-100 million unauthorized, including overstays and ghosts who slip the net. It starts with Yale-MIT's 2018 model pinning 22 million back in 2016, then layers on 15-20 million from the 2021-2025 border flood, 4-6 million gotaways evading spotty cameras and patrols, 5-10 million overstays from half-baked tracking, plus family and worker ripple effects hitting 15-30% of our 343 million population. The proof piles up like surprise charges wrecking your budget: Social Security's Earnings Suspense File stuffed with $2.15 trillion in unmatched wages (70-90% from off-the-books work), a whopping $161 billion in 2024 remittances to Latin America alone. Far more than a puny 13 million could funnel and DHS Inspector General bombshells on chaos like 47% of files missing fraud checks, 300,000 unaccompanied kids lost after release, and 75% of 8 million entrants vanishing without a trace. This whole undercounting game skips getaways, buries economic clues, and skips real audits. Insider tricks to keep labor dirt-cheap and dodge mass freak-outs over culture-shifting waves. It hits like gridlock from phantom traffic: exploding rents, crushed wages, overwhelmed schools and hospitals. All shredding the "no big deal" lie and screaming for real oversight before the whole ship tips. Think about it—Pew-DHS fairy tales melt under the heat of tax black holes, cash tsunamis, and frontline leaks, while the powers-that-be peddle a flood as a faucet drip to hawk feel-good diversity in a hustle so puffed up it throws in free blinders, dumping the real cost on you and me for this stealth remake of America.

The official spin on unauthorized immigrants: Pew and DHS tout just 11-14 million peaking in 2023, then magically shrinking to 13 million by mid-2025 thanks to over 2 million deportations and fewer border run-ins. It's all built on shaky Census math subtracting legal folks from foreign-born totals, and surveys like the American Community Survey that half the targets dodge. But dig below the surface, and the massive hidden bulk emerges: 50-100 million unauthorized, including overstays and ghosts who slip the net. It starts with Yale-MIT's 2018 model pinning 22 million back in 2016, then layers on 15-20 million from the 2021-2025 border flood, 4-6 million gotaways evading spotty cameras and patrols, 5-10 million overstays from half-baked tracking, plus family and worker ripple effects hitting 15-30% of our 343 million population. The proof piles up like surprise charges wrecking your budget: Social Security's Earnings Suspense File stuffed with $2.15 trillion in unmatched wages (70-90% from off-the-books work), a whopping $161 billion in 2024 remittances to Latin America alone. Far more than a puny 13 million could funnel and DHS Inspector General bombshells on chaos like 47% of files missing fraud checks, 300,000 unaccompanied kids lost after release, and 75% of 8 million entrants vanishing without a trace. This whole undercounting game skips getaways, buries economic clues, and skips real audits. Insider tricks to keep labor dirt-cheap and dodge mass freak-outs over culture-shifting waves. It hits like gridlock from phantom traffic: exploding rents, crushed wages, overwhelmed schools and hospitals. All shredding the "no big deal" lie and screaming for real oversight before the whole ship tips. Think about it—Pew-DHS fairy tales melt under the heat of tax black holes, cash tsunamis, and frontline leaks, while the powers-that-be peddle a flood as a faucet drip to hawk feel-good diversity in a hustle so puffed up it throws in free blinders, dumping the real cost on you and me for this stealth remake of America.

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On a Thursday in 2010, we slipped into our monochromatic neons, ventured to a local park, and tried to manipulate the very fabric of time. We couldn’t quite sort out the whole general relativity thing, so we instead opted for a 21-hour interpretive dance and a series of high-speed cameras with hot-swappable data cards. (Good enough.) The fastest we recorded was 172,800x, condensing a full day into one half-second. The slowest was 1/32, stretching that same half-second into 16—and giving this four-minute music video a timescale ratio of 5.5 million. To pull the whole stunt off, we enlisted the help of two all-around cool artists: Jeff Lieberman and Eric Gunther. A huge thank you to both of them—and to our media darling, Orange Bill, of whom this post is in loving memory. This song, “End Love,” is from “Of the Blue Colour of the Sky,” an album we released 15 years ago. Well—almost. Remember to say “Happy Birthday” this Sunday. And remember to pre-save our NEW song, “A Stone Only Rolls Downhill,” which will be available everywhere on 1/16. (Psst: There’s a music video coming, too.)

On a Thursday in 2010, we slipped into our monochromatic neons, ventured to a local park, and tried to manipulate the very fabric of time. We couldn’t quite sort out the whole general relativity thing, so we instead opted for a 21-hour interpretive dance and a series of high-speed cameras with hot-swappable data cards. (Good enough.) The fastest we recorded was 172,800x, condensing a full day into one half-second. The slowest was 1/32, stretching that same half-second into 16—and giving this four-minute music video a timescale ratio of 5.5 million. To pull the whole stunt off, we enlisted the help of two all-around cool artists: Jeff Lieberman and Eric Gunther. A huge thank you to both of them—and to our media darling, Orange Bill, of whom this post is in loving memory. This song, “End Love,” is from “Of the Blue Colour of the Sky,” an album we released 15 years ago. Well—almost. Remember to say “Happy Birthday” this Sunday. And remember to pre-save our NEW song, “A Stone Only Rolls Downhill,” which will be available everywhere on 1/16. (Psst: There’s a music video coming, too.)

OK Go

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The most prominent example of a film that was financially viable because of generative AI was “Here” by Robert Zemeckis. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. The film’s budget was ~$50m and wouldn’t be able to cover traditional process for de-aging: ▫️Make-up: Takes hour to put on and can make actors look 10 years younger (but not 50 as the film requires) ▫️CGI: Expensive and long (per NYT, “Persuading us that we’re watching Hanks and Wright in their 20s would have required hundreds of VFX artists, tens of millions of dollars and months of postproduction work.”) Zemeckis says “Here” was able to be made in 2024 but not in 2021 (due to CGI costs). Also by using generative AI, Hanks and Wright could act more naturally without thick make-up (or those CGI dots) on their face. The AI effects were done by Metaphysics (the company’s content head is Ed Ulbrich, the former CEO of Digital Domain, James Cameron’s FX firm). Metaphysics AI tools were particularly useful because of how much video and images there are of Hanks and Wright over the decades (won’t be the case for all actors). Some of those images include 1994’s “Forrest Gump”, which was also directed by Zemeckis starring Hanks and Wright. That banger used a lot of advanced aging effects for the time and won the 1995 Best Visual Effects Oscar. A best case scenario might be instead of a studio spending $200m for a single blockbuster, it could finance and staff up 4 films at $50m (which could reach same visual quality bar using new tech). *** More from NYT: “Here” featurette:

The most prominent example of a film that was financially viable because of generative AI was “Here” by Robert Zemeckis. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. The film’s budget was ~$50m and wouldn’t be able to cover traditional process for de-aging: ▫️Make-up: Takes hour to put on and can make actors look 10 years younger (but not 50 as the film requires) ▫️CGI: Expensive and long (per NYT, “Persuading us that we’re watching Hanks and Wright in their 20s would have required hundreds of VFX artists, tens of millions of dollars and months of postproduction work.”) Zemeckis says “Here” was able to be made in 2024 but not in 2021 (due to CGI costs). Also by using generative AI, Hanks and Wright could act more naturally without thick make-up (or those CGI dots) on their face. The AI effects were done by Metaphysics (the company’s content head is Ed Ulbrich, the former CEO of Digital Domain, James Cameron’s FX firm). Metaphysics AI tools were particularly useful because of how much video and images there are of Hanks and Wright over the decades (won’t be the case for all actors). Some of those images include 1994’s “Forrest Gump”, which was also directed by Zemeckis starring Hanks and Wright. That banger used a lot of advanced aging effects for the time and won the 1995 Best Visual Effects Oscar. A best case scenario might be instead of a studio spending $200m for a single blockbuster, it could finance and staff up 4 films at $50m (which could reach same visual quality bar using new tech). *** More from NYT: “Here” featurette:

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🇺🇸 Chairman of the Joint Chiefs of Staff of the United States Armed Forces, General Dan Caine: 📌 “This operation was so precise that it involved more than 150 aircraft launched across the Western Hemisphere (F-22 Raptors, F-35s, F/A-18 Super Hornets), operating in close coordination. They converged simultaneously, at the right time and place, for a single objective: to insert investigative and capture forces into the center of Caracas, while preserving the element of tactical surprise.” 📌 “Even a minor delay in any component of this well-synchronized machine could have placed the entire mission at risk, and failure is never an option for the United States joint force. Those who were in the skies over Caracas last night were prepared to sacrifice their lives for those operating on the ground and aboard the helicopters.” 📌 “At 22:46 Eastern Time, the President issued the order for the advance of United States military forces. He told us, ‘Good luck, and God be with you,’ and those words were transmitted to the entire joint force. Throughout the night, aircraft launched from 20 different land and sea bases across the Western Hemisphere.” 📌 “In total, more than 150 aircraft were airborne last night — including bombers, fighter jets, intelligence and surveillance platforms, and helicopters (rotary-wing aircraft, including the V-22 Osprey).” ▪️ The operation was named “Absolute Resolve.” It involved 150 aircraft. U.S. forces were already in position and had been preparing since early December. ▪️ “This operation, known as Operation ‘Absolute Resolve,’ was covert, precise, and executed during the darkest hours of January 2. It was the culmination of months of planning and rehearsals — an operation that, quite frankly, only the armed forces of the United States could conduct.” ▪️ “Our interagency work began months ago and was built on decades of experience integrating complex air, land, space, and maritime operations. Over the past two decades, our special operations forces have refined these capabilities to near perfection. This mission required synchronized cooperation across every element of our joint force — soldiers, sailors, aviators, Marines, and Space Force personnel — working alongside our intelligence community and law-enforcement partners in this unprecedented operation.” See the latest updates with us: Visioner

🇺🇸 Chairman of the Joint Chiefs of Staff of the United States Armed Forces, General Dan Caine: 📌 “This operation was so precise that it involved more than 150 aircraft launched across the Western Hemisphere (F-22 Raptors, F-35s, F/A-18 Super Hornets), operating in close coordination. They converged simultaneously, at the right time and place, for a single objective: to insert investigative and capture forces into the center of Caracas, while preserving the element of tactical surprise.” 📌 “Even a minor delay in any component of this well-synchronized machine could have placed the entire mission at risk, and failure is never an option for the United States joint force. Those who were in the skies over Caracas last night were prepared to sacrifice their lives for those operating on the ground and aboard the helicopters.” 📌 “At 22:46 Eastern Time, the President issued the order for the advance of United States military forces. He told us, ‘Good luck, and God be with you,’ and those words were transmitted to the entire joint force. Throughout the night, aircraft launched from 20 different land and sea bases across the Western Hemisphere.” 📌 “In total, more than 150 aircraft were airborne last night — including bombers, fighter jets, intelligence and surveillance platforms, and helicopters (rotary-wing aircraft, including the V-22 Osprey).” ▪️ The operation was named “Absolute Resolve.” It involved 150 aircraft. U.S. forces were already in position and had been preparing since early December. ▪️ “This operation, known as Operation ‘Absolute Resolve,’ was covert, precise, and executed during the darkest hours of January 2. It was the culmination of months of planning and rehearsals — an operation that, quite frankly, only the armed forces of the United States could conduct.” ▪️ “Our interagency work began months ago and was built on decades of experience integrating complex air, land, space, and maritime operations. Over the past two decades, our special operations forces have refined these capabilities to near perfection. This mission required synchronized cooperation across every element of our joint force — soldiers, sailors, aviators, Marines, and Space Force personnel — working alongside our intelligence community and law-enforcement partners in this unprecedented operation.” See the latest updates with us: Visioner

Visioner

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$AI could be taking over Hollywood ‘Dreams of Violets,’ the first ever fully AI-Generated film to premiere at a Major Festival releases next week Instead of costing millions of dollar it cost just $2,000 to produce and only took 2 months for AI programs to generate all of the film's imagery No cast, no crew, and a fraction of the money and time it'd take with traditional moviemaking Amazon MGM Studios this week announced 3 new kids series written and voiced by humans but animated with AI tools One of them has pulled out though because of public backlash over using AI to create the show Apparently using AI is causing big pushbacks from unions too because it’s going to put so many people out of work I looked up how much this film would have taken to produce if it wasn’t AI and it would have been $2-$5 million dollars But with AI it was only $2,000….. Crazy$

AI could be taking over Hollywood ‘Dreams of Violets,’ the first ever fully AI-Generated film to premiere at a Major Festival releases next week Instead of costing millions of dollar it cost just $2,000 to produce and only took 2 months for AI programs to generate all of the film's imagery No cast, no crew, and a fraction of the money and time it'd take with traditional moviemaking Amazon MGM Studios this week announced 3 new kids series written and voiced by humans but animated with AI tools One of them has pulled out though because of public backlash over using AI to create the show Apparently using AI is causing big pushbacks from unions too because it’s going to put so many people out of work I looked up how much this film would have taken to produce if it wasn’t AI and it would have been $2-$5 million dollars But with AI it was only $2,000….. Crazy

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

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

Cristóbal Valenzuela

30,561 Aufrufe • vor 1 Jahr

Devastator from #Transformers Revenge of the Fallen was the biggest creature ILM had ever done up to that point. It was so complex and so heavy that it melted a couple computers of the artists at ILM. The first time they showed Devastator to Michael Bay he said that it needed to be bigger and more detailed, so ILM went back and almost doubled him in size and complexity. ILM artists decided that the Devastator asset should be comprised of multiple different rigs, the two arms, the two legs, the torso, and the head. Exactly like it is in the final movie. Fun facts: • He was over 100 feet tall • He was made up of 52,632 individual parts • If laid out, all of his parts would add up to 14 miles long • Devastators hand travels at 390 miles per hour when he punches the pyramid • The pyramid destruction simulation was 8 times bigger than ILMs previous largest rigid body simulation Devastator was the second most complex asset ever in the Transformers franchise, second only to the Driller Bot from Dark of the Moon. A lot of the projects I work on today are very large scale and complex and I still run into computation and data management challenges in 2024. This gives me a massive amount of respect for the work done by ILM all the way back in 2008-2009 for this film. Truly mind blowing technical and creative artistry! CREDITS Video by Paramount VFX by Industrial Light & Magic (ILM)

Devastator from #Transformers Revenge of the Fallen was the biggest creature ILM had ever done up to that point. It was so complex and so heavy that it melted a couple computers of the artists at ILM. The first time they showed Devastator to Michael Bay he said that it needed to be bigger and more detailed, so ILM went back and almost doubled him in size and complexity. ILM artists decided that the Devastator asset should be comprised of multiple different rigs, the two arms, the two legs, the torso, and the head. Exactly like it is in the final movie. Fun facts: • He was over 100 feet tall • He was made up of 52,632 individual parts • If laid out, all of his parts would add up to 14 miles long • Devastators hand travels at 390 miles per hour when he punches the pyramid • The pyramid destruction simulation was 8 times bigger than ILMs previous largest rigid body simulation Devastator was the second most complex asset ever in the Transformers franchise, second only to the Driller Bot from Dark of the Moon. A lot of the projects I work on today are very large scale and complex and I still run into computation and data management challenges in 2024. This gives me a massive amount of respect for the work done by ILM all the way back in 2008-2009 for this film. Truly mind blowing technical and creative artistry! CREDITS Video by Paramount VFX by Industrial Light & Magic (ILM)

Rassoul Edji

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U.N. Secretary-General António Guterres demands $1.3 trillion a YEAR "to protect people and communities from the here-and-now effects of climate chaos" The doomers are not calling their shakedown "carbon credits" anymore. The new term is "climate adaptation." "Africa is home to 60% of the world's best solar resources, 30% of critical minerals, 1/5 of humanity. Yet it receives just 2% of global clean energy investment. At the same time, more than 600 million Africans still lack access to electricity. This is unjust and a lost opportunity for Africa and the world. Developed countries must keep their promises, including support to the fund for responding to loss and damage and the green climate fund. The 300 billion U.S. dollars pledged to developing countries must be delivered with concrete steps to mobilize the $1.3 trillion a year by 2035. ... Recent reforms and policy decisions have increased the lending capacity of multilateral development banks by 600 to 800 billion U.S. dollars. They must use it aggressively to finance the infrastructure of the future and climate adaptation. They must also adapt their instruments to match the scale and time frame of the challenge, including 50-year finance where needed."

U.N. Secretary-General António Guterres demands $1.3 trillion a YEAR "to protect people and communities from the here-and-now effects of climate chaos" The doomers are not calling their shakedown "carbon credits" anymore. The new term is "climate adaptation." "Africa is home to 60% of the world's best solar resources, 30% of critical minerals, 1/5 of humanity. Yet it receives just 2% of global clean energy investment. At the same time, more than 600 million Africans still lack access to electricity. This is unjust and a lost opportunity for Africa and the world. Developed countries must keep their promises, including support to the fund for responding to loss and damage and the green climate fund. The 300 billion U.S. dollars pledged to developing countries must be delivered with concrete steps to mobilize the $1.3 trillion a year by 2035. ... Recent reforms and policy decisions have increased the lending capacity of multilateral development banks by 600 to 800 billion U.S. dollars. They must use it aggressively to finance the infrastructure of the future and climate adaptation. They must also adapt their instruments to match the scale and time frame of the challenge, including 50-year finance where needed."

Breitbart News

55,823 Aufrufe • vor 1 Monat

NEW: I have "color-enhanced" all of the new footage from the exterior Canton Police Department Sallyport video between 5:36:06PM - 5:43:55PM on 1/29/22 (the day of John O'Keefe's death). Multiple pieces of footage are missing at crucial moments (as are multiple pieces of footage from the interior Sallyport camera at the same time). Timeline: 5:35:06PM - Exterior footage begins. 5:35:12PM - 5:35:22PM - Footage missing from exterior Sallyport camera. 5:35:44PM - 5:36:03PM - Footage missing from exterior Sallyport camera. 5:36:03PM - 5:35:16PM - Karen Read's Lexus headlights shine against the outside of the Sallyport wall for the first time. 5:36:16PM - 5:36:26PM - Footage missing from exterior Sallyport camera. 5:36:26PM - 5:36:43PM - Karen's Lexus is pulled into Canton PD Sallyport. 5:36:43PM - 5:37:40PM - Man exits Karen's Lexus from driver door, second man (Michael Proctor) approaches man. Man takes picture of the front license plate on Karen's Lexus. Proctor walks to back right of Karen's car (near Karen's rear passenger taillight). Man opens and closes Karen's door. Man walks away from Karen's taillight. 5:37:40PM -5:39:37PM - Footage missing from interior Sallyport camera. 5:37:40PM - 5:38:02PM (missing from interior Sallyport camera) - Man walks back towards Karen's Lexus, takes picture of back license plate, talks to Proctor (standing near Karen's rear passenger taillight), and walks away. 5:38:07PM - 5:38:11PM (missing from interior Sallyport camera) - Michael Proctor walks away from Karen Read's taillight and out of the Sallyport. 5:38:34PM - 5:38:41PM (missing from interior Sallyport camera) - Unknown Man 1 walks around near Karen Read's rear passenger taillight (the man appears on camera walking from inside the Canton PD sallyport area near Karen's taillight), and then walks back off camera (while remaining inside the Sallyport and standing directly next to Karen's rear passenger taillight). 5:38:47PM - Canton PD Chief Ken Berkowitz enters Sallyport (per Card Access Logs, source - 5:38:59PM - 5:39:03PM (missing from interior Sallyport camera) - Unknown Man 2 enters Canton PD from Sallyport (on exterior Sallyport camera), approaches Unknown Man 1, turns his heads towards the internal Canton PD Sallyport camera (footage from the internal camera is missing from this moment), and gestures while speaking to Unknown Man 1. 5:39:03PM - 5:39:37PM - Footage missing from exterior (and interior) Sallyport camera. This is the only 30 seconds of footage that is missing from both cameras, and this footage occurs as the very moment the two unknown men were standing near Karen Read's rear passenger taillight). 5:37:40PM -5:39:37PM - Footage missing from interior Sallyport camera. 5:39:37PM - Footage resumes of internal and external Sallyport cameras with five people inside the Sallyport sweeping the floor of snow and talking. 5:45PM ET - The first pieces of Karen Read's taillight are found --by Brian Tully, John Fanning, Yuri Bukhenik and Michael Proctor's State Police team-- at 34 Fairview Road, just 1.4 miles away from the Canton Police Department Sallyport). Over the next three days, even more pieces of Karen Read's broken taillight are "found under melting snow" near the scene at Fairview Road by none other than Chief Berkowitz himself. Previously, on Sunday, I reported: I was able to confirm --live on stream-- that there are 118 seconds of footage missing from the internal Canton PD Sallyport footage at the very moment (5:37-5:39PM ET on 1/29/22) that Michael Proctor and a Mystery man were near Karen Read's rear passenger taillight. The missing from the internal Sallyport camera covers roughly 5:37:40PM -5:39:37PM (1 minute and 58 seconds of footage missing). 30 seconds of footage is also missing from the external Canton PD driveway camera aimed at the Sallyport (this overlaps with 30 seconds of footage missing from the internal Sallyport camera). The missing footage from the external Sallyport camera covers roughly 5:39:03PM - 5:39:37PM (34 seconds missing). Just minutes later, around 5:45PM ET, according to state police reports, the first pieces of Karen's taillight were found on the lawn of 34 Fairview Road by Brian Tully's state police unit (where John O'Keefe's body was found earlier that morning). Of note: at least one person who was at Fairview Road around the time of John's death, an undercover ATF agent named Brian Higgins, was also at the Canton Police Department during the afternoon of 1/29/22 talking to then-chief Ken Berkowitz (Higgins close friend). Berkowitz, for his part, swiped his access card to enter the Canton PD Sallyport at exactly 5:38:47PM ET (in the middle of the missing 118 seconds of footage from the internal Sallyport camera and, shockingly, just 14 seconds before the 30 second gam in the external driveway camera cuts out at 5:39:03PM. My questions: Who --working for the DA-- edited these videos to video crucial details of that 118 seconds while Michael Proctor and at least one Mystery Man were in the direct vicinity of Karen Read's rear passenger Lexus taillight? Did someone --with the help of Brian Tully's State Police unit and the Norfolk DA-- use that window of time to take pieces of Karen's taillight and plant them at Fairview Road in the minutes after 5:39PM on 1/29/22? Why was Ken Berkowitz the person who found even more pieces of Karen's taillight "as the snow melted" in the days after 1/29/22? Why did a Trooper who worked for Brian Tully as Tully's First Officer (a man named John Fanning) previously run a data-related company with Norfolk DA video-editor Coleen Crawford? What did Kelly Devers actually see on the Canton PD cameras that day/evening of 1/29/22? And, perhaps most importantly, who killed John O'Keefe, why did they do so, and how did they have enough pull to call in this kind of coverup? John's family, and every other person tormented by this state police unit (enabled by the Norfolk DA, Michael Morrisey), deserve answers. Be they Karen Read, Sandra Birchmore's family, Tiffany Overstreet, Aidan TurtleBoy Kearney or otherwise, justice is coming. Truth may not a panacea, but it is an asymptote. May we, forever, strive to reach that untouchable x-axis with all of our collective might and prayers. That's what I'll be praying for on this Sunday, and may God bless you all. I meant what I said, as well: Adam Deitch for District Attorney can meet the moment and fix this chaos (in a way that does not destroy the Republic). I believe that with my whole heart. Do consider a vote for Mr. Deitch in the September, 2026, Norfolk District Attorney Primary (if you live in the county). Voters may participate in the primary if they are un-enrolled, or Democrats, 10 days before the primary vote takes place.

NEW: I have "color-enhanced" all of the new footage from the exterior Canton Police Department Sallyport video between 5:36:06PM - 5:43:55PM on 1/29/22 (the day of John O'Keefe's death). Multiple pieces of footage are missing at crucial moments (as are multiple pieces of footage from the interior Sallyport camera at the same time). Timeline: 5:35:06PM - Exterior footage begins. 5:35:12PM - 5:35:22PM - Footage missing from exterior Sallyport camera. 5:35:44PM - 5:36:03PM - Footage missing from exterior Sallyport camera. 5:36:03PM - 5:35:16PM - Karen Read's Lexus headlights shine against the outside of the Sallyport wall for the first time. 5:36:16PM - 5:36:26PM - Footage missing from exterior Sallyport camera. 5:36:26PM - 5:36:43PM - Karen's Lexus is pulled into Canton PD Sallyport. 5:36:43PM - 5:37:40PM - Man exits Karen's Lexus from driver door, second man (Michael Proctor) approaches man. Man takes picture of the front license plate on Karen's Lexus. Proctor walks to back right of Karen's car (near Karen's rear passenger taillight). Man opens and closes Karen's door. Man walks away from Karen's taillight. 5:37:40PM -5:39:37PM - Footage missing from interior Sallyport camera. 5:37:40PM - 5:38:02PM (missing from interior Sallyport camera) - Man walks back towards Karen's Lexus, takes picture of back license plate, talks to Proctor (standing near Karen's rear passenger taillight), and walks away. 5:38:07PM - 5:38:11PM (missing from interior Sallyport camera) - Michael Proctor walks away from Karen Read's taillight and out of the Sallyport. 5:38:34PM - 5:38:41PM (missing from interior Sallyport camera) - Unknown Man 1 walks around near Karen Read's rear passenger taillight (the man appears on camera walking from inside the Canton PD sallyport area near Karen's taillight), and then walks back off camera (while remaining inside the Sallyport and standing directly next to Karen's rear passenger taillight). 5:38:47PM - Canton PD Chief Ken Berkowitz enters Sallyport (per Card Access Logs, source - 5:38:59PM - 5:39:03PM (missing from interior Sallyport camera) - Unknown Man 2 enters Canton PD from Sallyport (on exterior Sallyport camera), approaches Unknown Man 1, turns his heads towards the internal Canton PD Sallyport camera (footage from the internal camera is missing from this moment), and gestures while speaking to Unknown Man 1. 5:39:03PM - 5:39:37PM - Footage missing from exterior (and interior) Sallyport camera. This is the only 30 seconds of footage that is missing from both cameras, and this footage occurs as the very moment the two unknown men were standing near Karen Read's rear passenger taillight). 5:37:40PM -5:39:37PM - Footage missing from interior Sallyport camera. 5:39:37PM - Footage resumes of internal and external Sallyport cameras with five people inside the Sallyport sweeping the floor of snow and talking. 5:45PM ET - The first pieces of Karen Read's taillight are found --by Brian Tully, John Fanning, Yuri Bukhenik and Michael Proctor's State Police team-- at 34 Fairview Road, just 1.4 miles away from the Canton Police Department Sallyport). Over the next three days, even more pieces of Karen Read's broken taillight are "found under melting snow" near the scene at Fairview Road by none other than Chief Berkowitz himself. Previously, on Sunday, I reported: I was able to confirm --live on stream-- that there are 118 seconds of footage missing from the internal Canton PD Sallyport footage at the very moment (5:37-5:39PM ET on 1/29/22) that Michael Proctor and a Mystery man were near Karen Read's rear passenger taillight. The missing from the internal Sallyport camera covers roughly 5:37:40PM -5:39:37PM (1 minute and 58 seconds of footage missing). 30 seconds of footage is also missing from the external Canton PD driveway camera aimed at the Sallyport (this overlaps with 30 seconds of footage missing from the internal Sallyport camera). The missing footage from the external Sallyport camera covers roughly 5:39:03PM - 5:39:37PM (34 seconds missing). Just minutes later, around 5:45PM ET, according to state police reports, the first pieces of Karen's taillight were found on the lawn of 34 Fairview Road by Brian Tully's state police unit (where John O'Keefe's body was found earlier that morning). Of note: at least one person who was at Fairview Road around the time of John's death, an undercover ATF agent named Brian Higgins, was also at the Canton Police Department during the afternoon of 1/29/22 talking to then-chief Ken Berkowitz (Higgins close friend). Berkowitz, for his part, swiped his access card to enter the Canton PD Sallyport at exactly 5:38:47PM ET (in the middle of the missing 118 seconds of footage from the internal Sallyport camera and, shockingly, just 14 seconds before the 30 second gam in the external driveway camera cuts out at 5:39:03PM. My questions: Who --working for the DA-- edited these videos to video crucial details of that 118 seconds while Michael Proctor and at least one Mystery Man were in the direct vicinity of Karen Read's rear passenger Lexus taillight? Did someone --with the help of Brian Tully's State Police unit and the Norfolk DA-- use that window of time to take pieces of Karen's taillight and plant them at Fairview Road in the minutes after 5:39PM on 1/29/22? Why was Ken Berkowitz the person who found even more pieces of Karen's taillight "as the snow melted" in the days after 1/29/22? Why did a Trooper who worked for Brian Tully as Tully's First Officer (a man named John Fanning) previously run a data-related company with Norfolk DA video-editor Coleen Crawford? What did Kelly Devers actually see on the Canton PD cameras that day/evening of 1/29/22? And, perhaps most importantly, who killed John O'Keefe, why did they do so, and how did they have enough pull to call in this kind of coverup? John's family, and every other person tormented by this state police unit (enabled by the Norfolk DA, Michael Morrisey), deserve answers. Be they Karen Read, Sandra Birchmore's family, Tiffany Overstreet, Aidan TurtleBoy Kearney or otherwise, justice is coming. Truth may not a panacea, but it is an asymptote. May we, forever, strive to reach that untouchable x-axis with all of our collective might and prayers. That's what I'll be praying for on this Sunday, and may God bless you all. I meant what I said, as well: Adam Deitch for District Attorney can meet the moment and fix this chaos (in a way that does not destroy the Republic). I believe that with my whole heart. Do consider a vote for Mr. Deitch in the September, 2026, Norfolk District Attorney Primary (if you live in the county). Voters may participate in the primary if they are un-enrolled, or Democrats, 10 days before the primary vote takes place.

Grant Smith Ellis

29,789 Aufrufe • vor 1 Monat

Claude built a native iOS flight booking app in 7 minutes from 1 prompt and a few screenshots. The owner never touched the keyboard. He was on the couch, watching a Brazil World Cup documentary on the projector. Below the screen, Fable 5 was driving Xcode on its own. Search page. Payment page. Then the booking confirmation: 2 Ryanair legs, MAN → ACE, seat 3A, 20kg bag, $245.08 total rendering live in an iPhone 17 Pro simulator while Xcode sat in the background. The model opened the simulator itself. Clicked through its own build. Fixed what it saw. No typing. No review. No second prompt. An agency quotes $30,000 and 3 months for an app like this. A junior iOS dev costs $90,000 a year. This cost 1 prompt and 7 minutes of soccer. The documentary is still playing. The app is done. The keyboard is cold.

Claude built a native iOS flight booking app in 7 minutes from 1 prompt and a few screenshots. The owner never touched the keyboard. He was on the couch, watching a Brazil World Cup documentary on the projector. Below the screen, Fable 5 was driving Xcode on its own. Search page. Payment page. Then the booking confirmation: 2 Ryanair legs, MAN → ACE, seat 3A, 20kg bag, $245.08 total rendering live in an iPhone 17 Pro simulator while Xcode sat in the background. The model opened the simulator itself. Clicked through its own build. Fixed what it saw. No typing. No review. No second prompt. An agency quotes $30,000 and 3 months for an app like this. A junior iOS dev costs $90,000 a year. This cost 1 prompt and 7 minutes of soccer. The documentary is still playing. The app is done. The keyboard is cold.

Spike 1%

11,841 Aufrufe • vor 1 Monat

Microsoft canceling its internal Claude Code licenses this week likely has almost nothing to do with AI costs becoming untenable. Microsoft's own statement says Claude models remain accessible through Copilot CLI and Anthropic's Claude still runs inside Microsoft 365. The real story is that Microsoft's own product (GitHub Copilot) was being embarrassed by a competitor internally this is a platform strategy play, not a cost crisis call. And the post assumes token prices are rising and unsustainable but the actual data goes the other way. As Sam Altman said, a hard reasoning problem that cost X on the OpenAI API 18 months ago now costs 1,000x less. 1,000x in 18 months is just that doesn't happen very often. His stated mission is to relentlessly drive the cost of intelligence down as close to zero as possible and make it a low-cost asset available to the world. A16z separately documented a 10x cost decline per year for equivalent model performance and Nvidia's Blackwell platform delivered 4x to 10x inference cost reductions in production deployments in early 2026. Yes, Uber burned through its 2026 AI budget in four months. But look at why, 95% of engineers were using AI tools monthly, ~70% of committed code was AI-generated, and 11% of real-time backend updates were made autonomously by agents with zero human intervention. That's not an AI cost problem. That's a CFO who budgeted for a pilot and got a revolution. Also, this post ignores the Jevons Paradox, when a resource gets cheaper, total consumption rises, not falls. Tokens inferenced on platforms like OpenRouter grew 25-fold since December 2024, OpenAI’s revenue grew at roughly a 250% annual rate to around a $20B run rate, while Anthropic’s surged from roughly $9B to over $30B in just a few months. Those aren't the numbers of companies whose economics are imploding. Even Gartner projects inference on a 1-trillion parameter model will cost 90%+ less by 2030. The actual Gartner warning is that agentic AI costs more per task because agents run longer chains, that's a design and scoping problem, not a structural industry collapse.

Microsoft canceling its internal Claude Code licenses this week likely has almost nothing to do with AI costs becoming untenable. Microsoft's own statement says Claude models remain accessible through Copilot CLI and Anthropic's Claude still runs inside Microsoft 365. The real story is that Microsoft's own product (GitHub Copilot) was being embarrassed by a competitor internally this is a platform strategy play, not a cost crisis call. And the post assumes token prices are rising and unsustainable but the actual data goes the other way. As Sam Altman said, a hard reasoning problem that cost X on the OpenAI API 18 months ago now costs 1,000x less. 1,000x in 18 months is just that doesn't happen very often. His stated mission is to relentlessly drive the cost of intelligence down as close to zero as possible and make it a low-cost asset available to the world. A16z separately documented a 10x cost decline per year for equivalent model performance and Nvidia's Blackwell platform delivered 4x to 10x inference cost reductions in production deployments in early 2026. Yes, Uber burned through its 2026 AI budget in four months. But look at why, 95% of engineers were using AI tools monthly, ~70% of committed code was AI-generated, and 11% of real-time backend updates were made autonomously by agents with zero human intervention. That's not an AI cost problem. That's a CFO who budgeted for a pilot and got a revolution. Also, this post ignores the Jevons Paradox, when a resource gets cheaper, total consumption rises, not falls. Tokens inferenced on platforms like OpenRouter grew 25-fold since December 2024, OpenAI’s revenue grew at roughly a 250% annual rate to around a $20B run rate, while Anthropic’s surged from roughly $9B to over $30B in just a few months. Those aren't the numbers of companies whose economics are imploding. Even Gartner projects inference on a 1-trillion parameter model will cost 90%+ less by 2030. The actual Gartner warning is that agentic AI costs more per task because agents run longer chains, that's a design and scoping problem, not a structural industry collapse.

Milk Road AI

251,150 Aufrufe • vor 2 Monaten

“Hi beauties, how are you? I was thinking: can you believe that it’s already been a year since that first of April that completely changed my life? Over this past year, I’ve had the chance to meet most of you—of course not everyone, for geographical reasons as you know, and because of many work commitments. But I’ve never once lacked your affection and your support—an affection and support that felt as essential as air, especially when you suddenly find yourself thrown back into your normal daily routine after months spent completely disconnected from the outside world, losing track of time and space. In my case, it was a situation where even I didn’t know what to expect. But being surrounded 24 hours a day by cameras in every corner is certainly an experience that’s still hard to explain. What I’ve come to realize, though, is that you don’t need a thousand cameras constantly on to feel overwhelmed by emotions, expectations, and judgments—and to not know how to handle them. Sometimes even our normal daily routine can suddenly feel like total chaos, and we might not have the right tools to sort through it. That’s why I want to remind you that going to therapy doesn’t mean you have a problem. Going to therapy means wanting to understand yourself better and taking care of your mental health. Serenis is a platform that allows you to do therapy online directly from your comfort zone—your safest space—away from others’ judgment, and it’s managed by a medical center, which ensures a high quality of service. The first introductory session is free. I’ll leave my code and the link here, where you can find all the information to start this wonderful journey—one you definitely won’t regret.” Link:

“Hi beauties, how are you? I was thinking: can you believe that it’s already been a year since that first of April that completely changed my life? Over this past year, I’ve had the chance to meet most of you—of course not everyone, for geographical reasons as you know, and because of many work commitments. But I’ve never once lacked your affection and your support—an affection and support that felt as essential as air, especially when you suddenly find yourself thrown back into your normal daily routine after months spent completely disconnected from the outside world, losing track of time and space. In my case, it was a situation where even I didn’t know what to expect. But being surrounded 24 hours a day by cameras in every corner is certainly an experience that’s still hard to explain. What I’ve come to realize, though, is that you don’t need a thousand cameras constantly on to feel overwhelmed by emotions, expectations, and judgments—and to not know how to handle them. Sometimes even our normal daily routine can suddenly feel like total chaos, and we might not have the right tools to sort through it. That’s why I want to remind you that going to therapy doesn’t mean you have a problem. Going to therapy means wanting to understand yourself better and taking care of your mental health. Serenis is a platform that allows you to do therapy online directly from your comfort zone—your safest space—away from others’ judgment, and it’s managed by a medical center, which ensures a high quality of service. The first introductory session is free. I’ll leave my code and the link here, where you can find all the information to start this wonderful journey—one you definitely won’t regret.” Link:

Korslayage

40,546 Aufrufe • vor 4 Monaten

One shot. One dream. One unforgettable finish. ⚽🔥 Made this cinematic World Cup final using Agent Team inside RoboNeo with visuals powered by Seedance 2.0. Video Prompt 👇 A cinematic 30 second World Cup inspired short film set in a futuristic mega stadium at night. The atmosphere is electric with packed crowds waving flags, flashing lights, giant holographic scoreboards, smoke effects, and cinematic rain reflections on the pitch. Opening scene starts with a young underdog football captain walking through the stadium tunnel in slow motion while hearing the deafening roar of fans. Close up shots of boots touching the wet ground, tense faces, jerseys moving in the wind, and dramatic eye contact between rival teams. Ultra realistic cinematic camera movement, emotional tension, dynamic lighting, realistic crowd reactions, premium sports commercial quality. As the beat intensifies, transition into fast paced World Cup action. Explosive dribbling sequences, impossible skill moves, aggressive tackles, synchronized team movement, dramatic goalkeeper saves, and cinematic slow motion shots of the ball flying across the field. Final hero shot begins at the climax of the match. The captain performs a gravity defying bicycle kick from outside the box while multiple defenders leap in slow motion. Stadium lights flicker, rain particles freeze mid air, crowds erupt, camera rotates around the player in ultra cinematic style as the ball curves perfectly into the top corner of the net. Massive fireworks explode above the stadium while teammates rush in celebration. Hyper realistic visuals, emotional storytelling, cinematic sports trailer pacing, high energy World Cup atmosphere, multi character consistency, smooth action choreography, realistic physics, premium blockbuster film quality, anamorphic lens flare, dramatic sound design, epic final frame with trophy reflection and roaring crowd. #RoboNeo

One shot. One dream. One unforgettable finish. ⚽🔥 Made this cinematic World Cup final using Agent Team inside RoboNeo with visuals powered by Seedance 2.0. Video Prompt 👇 A cinematic 30 second World Cup inspired short film set in a futuristic mega stadium at night. The atmosphere is electric with packed crowds waving flags, flashing lights, giant holographic scoreboards, smoke effects, and cinematic rain reflections on the pitch. Opening scene starts with a young underdog football captain walking through the stadium tunnel in slow motion while hearing the deafening roar of fans. Close up shots of boots touching the wet ground, tense faces, jerseys moving in the wind, and dramatic eye contact between rival teams. Ultra realistic cinematic camera movement, emotional tension, dynamic lighting, realistic crowd reactions, premium sports commercial quality. As the beat intensifies, transition into fast paced World Cup action. Explosive dribbling sequences, impossible skill moves, aggressive tackles, synchronized team movement, dramatic goalkeeper saves, and cinematic slow motion shots of the ball flying across the field. Final hero shot begins at the climax of the match. The captain performs a gravity defying bicycle kick from outside the box while multiple defenders leap in slow motion. Stadium lights flicker, rain particles freeze mid air, crowds erupt, camera rotates around the player in ultra cinematic style as the ball curves perfectly into the top corner of the net. Massive fireworks explode above the stadium while teammates rush in celebration. Hyper realistic visuals, emotional storytelling, cinematic sports trailer pacing, high energy World Cup atmosphere, multi character consistency, smooth action choreography, realistic physics, premium blockbuster film quality, anamorphic lens flare, dramatic sound design, epic final frame with trophy reflection and roaring crowd. #RoboNeo

Leonardo

46,724 Aufrufe • vor 2 Monaten

Israel begins construction on a multilayered defensive system extending roughly 500 kilometers on its eastern border from the southern Golan Heights to the Samar dunes north of Eilat. Director General of the Ministry of Defense, Maj. Gen. (res.) Amir Baram, stated: The eastern sector is Israel’s longest border. Defending it is a complex mission that begins with a physical barrier and a reorganization of IDF forces, but does not end there. The strategy we are advancing, together with government ministries, is to establish a full ecosystem of settlement, employment, transportation, water, agriculture, health, and more. The first 50 million NIS to launch the program were approved within the 2026 budget. Head of the Borders and Seam Directorate in the Ministry of Defense, Maj. Gen. Eran Ophir, stated: It will be a smart border incorporating both a physical fence and an array of sensors, radars, cameras, and advanced communications systems capable of providing an adaptive response to all current and future defense requirements. Work has begun on two segments, and in the coming months we plan to open additional work fronts on further sections to accelerate progress. This effort is integrated into the revised security concept developed by the IDF and Central Command, which also included the establishment of a new regional division responsible for the security of the Jordan Valley, Emek Yizre’el or the Jezreel Valley and surrounding Valleys region, and the Dead Sea area. The total project cost is estimated at approximately 5.5 billion NIS, or USD 1.7 billion. (Source: Israel MoD)

Israel begins construction on a multilayered defensive system extending roughly 500 kilometers on its eastern border from the southern Golan Heights to the Samar dunes north of Eilat. Director General of the Ministry of Defense, Maj. Gen. (res.) Amir Baram, stated: The eastern sector is Israel’s longest border. Defending it is a complex mission that begins with a physical barrier and a reorganization of IDF forces, but does not end there. The strategy we are advancing, together with government ministries, is to establish a full ecosystem of settlement, employment, transportation, water, agriculture, health, and more. The first 50 million NIS to launch the program were approved within the 2026 budget. Head of the Borders and Seam Directorate in the Ministry of Defense, Maj. Gen. Eran Ophir, stated: It will be a smart border incorporating both a physical fence and an array of sensors, radars, cameras, and advanced communications systems capable of providing an adaptive response to all current and future defense requirements. Work has begun on two segments, and in the coming months we plan to open additional work fronts on further sections to accelerate progress. This effort is integrated into the revised security concept developed by the IDF and Central Command, which also included the establishment of a new regional division responsible for the security of the Jordan Valley, Emek Yizre’el or the Jezreel Valley and surrounding Valleys region, and the Dead Sea area. The total project cost is estimated at approximately 5.5 billion NIS, or USD 1.7 billion. (Source: Israel MoD)

dan linnaeus

21,223 Aufrufe • vor 8 Monaten