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Technical Artist Ken Deng released VFX Texture Lab, a free Unity tool that lets artists make common texture edits, like mask cleanup, gradient mapping, and channel packing, without leaving the engine. 🎨 Check it out: #unity3d #realtimevfx

Jettelly Inc.

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13,821 görüntüleme • 2 ay önce •via X (Twitter)

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Claude Code: Auto mode Auto mode lets Claude safely complete long-running tasks without asking permission for every action. But how does it work? 4 key terms: • Classifier: a separate model that approves or denies each action based on your intent and scope • Filtering: the classifier only sees your messages and Claude's tool calls, not Claude’s reasoning or tool outputs, so it isn't influenced when making decisions • Tier check: read-only and easily-undone actions (like edits inside your repo) skip the classifier; everything else goes through it • Probe: a server-side check that scans incoming content, like web pages, for prompt injection and flags it to Claude I'm working on a longer video that explains how auto mode works and how to configure it. What questions do you have about it?

Claude Code: Auto mode Auto mode lets Claude safely complete long-running tasks without asking permission for every action. But how does it work? 4 key terms: • Classifier: a separate model that approves or denies each action based on your intent and scope • Filtering: the classifier only sees your messages and Claude's tool calls, not Claude’s reasoning or tool outputs, so it isn't influenced when making decisions • Tier check: read-only and easily-undone actions (like edits inside your repo) skip the classifier; everything else goes through it • Probe: a server-side check that scans incoming content, like web pages, for prompt injection and flags it to Claude I'm working on a longer video that explains how auto mode works and how to configure it. What questions do you have about it?

Delba

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🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. _ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. __ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

Cohen Brawley

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🔍 OSINT TOOL OF THE DAY Search Inside Messengers Ever wanted to uncover groups, channels, or hidden communities inside messaging apps? Waybien lets you search across major messengers & social platforms using keywords, then filter results with precision: 🌍 Geography 🗣 ️ Language 📌 Topic 👥 Member count Perfect for investigations, intel gathering, and mapping how conversations spread across regions. A clean, efficient, and underrated addition to any OSINT workflow 😄🧠 And in a future post, I’ll share a free tool that lets you map mobile network coverage and locate 2G–5G cell towers. 😉 You can check it out here ------------ P.S. ♻️ Repost if you found this helpful. If you would like to learn more about website OSINT and much more, check out the OSINT Mastery course at you’ll learn OSINT from scratch with a real-life investigation.

🔍 OSINT TOOL OF THE DAY Search Inside Messengers Ever wanted to uncover groups, channels, or hidden communities inside messaging apps? Waybien lets you search across major messengers & social platforms using keywords, then filter results with precision: 🌍 Geography 🗣 ️ Language 📌 Topic 👥 Member count Perfect for investigations, intel gathering, and mapping how conversations spread across regions. A clean, efficient, and underrated addition to any OSINT workflow 😄🧠 And in a future post, I’ll share a free tool that lets you map mobile network coverage and locate 2G–5G cell towers. 😉 You can check it out here ------------ P.S. ♻️ Repost if you found this helpful. If you would like to learn more about website OSINT and much more, check out the OSINT Mastery course at you’ll learn OSINT from scratch with a real-life investigation.

CyberSudo

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$🎓 Learn how to create a powerful Dynamic Snow gradient Map in a matter of seconds in my latest video series (AAA) Pro Tips! This special Map can be used to adjust the amount of snow coverage on any 3D asset straight inside a game engine or during in-game run time. In this video, the steps are as follows: 1. Bake out the following maps: World Space, AO, Curvature, and Position. 2. Create a fill layer and apply a dust generator to it. 3. Apply a histogram scan above the dust generator to preview the transition effect. 4. Add a Dirt 3 grunge just above the dust generator set to overlay. (This can be used to add small snowflakes around the pile of snow) 5. A blur slope filter can also be applied to the mask to help add randomness to it. 6. Apply the snow gradient information in a User Channel, that way the mask can be exported out of Painter. (Be sure the histogram scan is disabled before doing so) 7. You are finished and the mask is now ready to be utilized inside a Game Engine such as Unreal Engine or Unity. More AAA Game Dev Tips\Tutorials can be found on my YouTube channel here: Stay tuned for more weekly Tips. Happy Texturing! 💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing #substancepainter #art #ue4 #ue5$

🎓 Learn how to create a powerful Dynamic Snow gradient Map in a matter of seconds in my latest video series (AAA) Pro Tips! This special Map can be used to adjust the amount of snow coverage on any 3D asset straight inside a game engine or during in-game run time. In this video, the steps are as follows: 1. Bake out the following maps: World Space, AO, Curvature, and Position. 2. Create a fill layer and apply a dust generator to it. 3. Apply a histogram scan above the dust generator to preview the transition effect. 4. Add a Dirt 3 grunge just above the dust generator set to overlay. (This can be used to add small snowflakes around the pile of snow) 5. A blur slope filter can also be applied to the mask to help add randomness to it. 6. Apply the snow gradient information in a User Channel, that way the mask can be exported out of Painter. (Be sure the histogram scan is disabled before doing so) 7. You are finished and the mask is now ready to be utilized inside a Game Engine such as Unreal Engine or Unity. More AAA Game Dev Tips\Tutorials can be found on my YouTube channel here: Stay tuned for more weekly Tips. Happy Texturing! 💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing #substancepainter #art #ue4 #ue5

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Unreal Engine 5 Beginner Course is up 🔥 3 Months ago we decided to make a Bad Decision and create the MOST COMPLETE "Unreal Engine 5 Tutorial Beginner Series" and make it available to the world for FREE! We wanted to give every artist a chance to learn the 3D software of the future and be able to make a living through it. Well it's with immense pleasure that we'd like to say that the first 3 chapters of the Tutorial Series has officially been uploaded on our channel. Starting today we are going to upload a series of 20 episodes that will teach you all the basics you need to master Unreal Engine 5. It Doesn’t matter if you want to use unreal to make films, games, visuals for events, or even motion graphics and product shoots. By the end of this tutorial you will have everything you need to take whichever path you desire. We are putting this online for FREE and the only way to support us is to share this with friends, family, colleagues and etc. If you do please tag us on socials so that we can share it too 📷 Good luck and Enjoy the course 📷

Bad Decisions Studio

160,865 görüntüleme • 2 yıl önce

My mom brings back foreign foods from the market quite a bit and always expects me to try it first, maybe it make sure it’s good before she tries it. I don’t mind being a guinea pig but most of the stuff she brings back is actually good. Except she brought back some mystery meat in a dark, oily and smelly sauce. I did try it, I didn’t care for the texture or the smell. Later I found out it was chitterlings which I’ve heard of but never tried. This young lady was given jicama from her grandmother. She ate it out of respect but actually likes it because of the texture and mild taste. Because she likes it or seems like she does, her grandmother is going to bring her much more items to try and I can promise it all won’t be pleasant. The chitlin incident kind of stopped me from trying new things for now but I’m sure I’ll be back at it. Being the family guinea pig has its perks. But at least I will tell it to them straight if I don’t like something. The one thing I don’t like is if people get me to try something knowing I won’t like it because they don’t. I feel they ruin it for me. Common sense says if it smells or has a mushy texture, I won’t like it. It’s kind of rude for them to suggest I try it pretending I would like it just to get my reaction. I can’t see how that food is even appetizing yet some people I know love it, I just don’t know why. But I do know I can’t recommend it.

My mom brings back foreign foods from the market quite a bit and always expects me to try it first, maybe it make sure it’s good before she tries it. I don’t mind being a guinea pig but most of the stuff she brings back is actually good. Except she brought back some mystery meat in a dark, oily and smelly sauce. I did try it, I didn’t care for the texture or the smell. Later I found out it was chitterlings which I’ve heard of but never tried. This young lady was given jicama from her grandmother. She ate it out of respect but actually likes it because of the texture and mild taste. Because she likes it or seems like she does, her grandmother is going to bring her much more items to try and I can promise it all won’t be pleasant. The chitlin incident kind of stopped me from trying new things for now but I’m sure I’ll be back at it. Being the family guinea pig has its perks. But at least I will tell it to them straight if I don’t like something. The one thing I don’t like is if people get me to try something knowing I won’t like it because they don’t. I feel they ruin it for me. Common sense says if it smells or has a mushy texture, I won’t like it. It’s kind of rude for them to suggest I try it pretending I would like it just to get my reaction. I can’t see how that food is even appetizing yet some people I know love it, I just don’t know why. But I do know I can’t recommend it.

SonnyBoy🇺🇸

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This is Anagha Rajesh. And she is crazy. She wants to store data in bacterial DNA. Her startup is called BioCompute. And last year, they actually did it. They stored data in DNA and retrieved it in their tiny lab in Bengaluru. This is a huge moment. But why is she even doing it? Because DNA is the ultimate storage tool available to us. Just 1 gm of DNA can store about 215 petabytes of data - that's like storing over 2 million movies in 4K. On top of that - this data can last for literally 1000s of years. Right now, they still need to figure out a way to make the reading and writing process faster and cheaper. But if BioCompute solves this problem - we could theoretically store all the data created in the world every year in the palm of our hands. And that would be insane. P.S. Check out this video from vyom going to Anagha's lab and actually doing it.

This is Anagha Rajesh. And she is crazy. She wants to store data in bacterial DNA. Her startup is called BioCompute. And last year, they actually did it. They stored data in DNA and retrieved it in their tiny lab in Bengaluru. This is a huge moment. But why is she even doing it? Because DNA is the ultimate storage tool available to us. Just 1 gm of DNA can store about 215 petabytes of data - that's like storing over 2 million movies in 4K. On top of that - this data can last for literally 1000s of years. Right now, they still need to figure out a way to make the reading and writing process faster and cheaper. But if BioCompute solves this problem - we could theoretically store all the data created in the world every year in the palm of our hands. And that would be insane. P.S. Check out this video from vyom going to Anagha's lab and actually doing it.

Varun Guru

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Ken Carson Reflects on Recording With NBA YoungBoy in Utah 📰 Q: But what if an artist who makes downbeat music wants to lock in with you? You were in Utah, you were recording with YoungBoy Never Broke Again. Ken Carson: He know how to make everything. Q: But what if he gave you some melodic, pain shit. Ken Carson: I'm not going to act like I don't know how to do it, bro. Anybody [can] go through my whole discography: It's rare where I'm on a slow beat. I like to make stuff that's going to make you move. Q: What was it like hanging out in Utah with YB? Ken Carson: Shit, we was making music. Q: But did you fuck with the ambiance? The nature? Ken Carson: Hell yeah, that shit was hard. He got one of them little truck shits that Ye and Carti got. It's like some big ass wheels. We were driving that bitch through the snow. It was snowing hard as fuck out here. I only had on a zip-up. I ain't used to all that snow. Q: I'm surprised he didn't have you hunting or fishing. Ken Carson: Shit. Nah, I'm trying to record. Q: So how many songs did y'all guys knock out? Ken Carson: A lot of songs. I don't know how many. We made a lot though. Q: Were you bringing your sound to him or he was trying to bring his shit to you? Ken Carson: "It was a little bit of both. Of course we going to make both because it's two artists. Even when I'm recording with Lone, I’m rapping on Lone type shit too.

Ken Carson Reflects on Recording With NBA YoungBoy in Utah 📰 Q: But what if an artist who makes downbeat music wants to lock in with you? You were in Utah, you were recording with YoungBoy Never Broke Again. Ken Carson: He know how to make everything. Q: But what if he gave you some melodic, pain shit. Ken Carson: I'm not going to act like I don't know how to do it, bro. Anybody [can] go through my whole discography: It's rare where I'm on a slow beat. I like to make stuff that's going to make you move. Q: What was it like hanging out in Utah with YB? Ken Carson: Shit, we was making music. Q: But did you fuck with the ambiance? The nature? Ken Carson: Hell yeah, that shit was hard. He got one of them little truck shits that Ye and Carti got. It's like some big ass wheels. We were driving that bitch through the snow. It was snowing hard as fuck out here. I only had on a zip-up. I ain't used to all that snow. Q: I'm surprised he didn't have you hunting or fishing. Ken Carson: Shit. Nah, I'm trying to record. Q: So how many songs did y'all guys knock out? Ken Carson: A lot of songs. I don't know how many. We made a lot though. Q: Were you bringing your sound to him or he was trying to bring his shit to you? Ken Carson: "It was a little bit of both. Of course we going to make both because it's two artists. Even when I'm recording with Lone, I’m rapping on Lone type shit too.

GGNBAYB

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From Palantir and Two Sigma to turning mechanistic interpretability into a production-grade platform, Mark Bissell (Member of Technical Staff) and Myra Deng (Head of Product) are building Goodfire on the belief that “understanding what’s inside the model” is the path to safer, more controllable AI and Goodfire just raised a $150M Series B at a $1.25B valuation to scale that bet. We sat down with Mark and Myra to unpack what actionable interpretability looks like beyond demos: why SAE features can lose to raw-activation probes on real detection tasks, how they deployed token-level PII monitoring with Rakuten across English + Japanese without training on real customer data, and what it takes to do real-time steering on a trillion-parameter model (including the infamous Gen-Z feature). We also dig into hallucination detection, surgical post-training edits for bias/unlearning, the emerging equivalence between activation steering and in-context learning, and their push to bring interpretability into training so model development isn’t just “data in, weights out.” Goodfire mark bissell Myra Deng

From Palantir and Two Sigma to turning mechanistic interpretability into a production-grade platform, Mark Bissell (Member of Technical Staff) and Myra Deng (Head of Product) are building Goodfire on the belief that “understanding what’s inside the model” is the path to safer, more controllable AI and Goodfire just raised a $150M Series B at a $1.25B valuation to scale that bet. We sat down with Mark and Myra to unpack what actionable interpretability looks like beyond demos: why SAE features can lose to raw-activation probes on real detection tasks, how they deployed token-level PII monitoring with Rakuten across English + Japanese without training on real customer data, and what it takes to do real-time steering on a trillion-parameter model (including the infamous Gen-Z feature). We also dig into hallucination detection, surgical post-training edits for bias/unlearning, the emerging equivalence between activation steering and in-context learning, and their push to bring interpretability into training so model development isn’t just “data in, weights out.” Goodfire mark bissell Myra Deng

Latent.Space

19,389 görüntüleme • 6 ay önce

$🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the *global* _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. **Convert the refraction direction vector to tangent space before adding it to the screen UV.** Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.$

🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the global _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. Convert the refraction direction vector to tangent space before adding it to the screen UV. Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.

Mirza Beig

125,253 görüntüleme • 1 yıl önce

Sam Altman, OpenAI CEO: "with an affordable amount of spend on tokens, you can do what a 100-person incredibly great engineering team would do as a startup." in this 40-minute Stanford talk, he breaks down the exact shift that lets a solo founder out-build a 100-person team. free. straight from the Stanford stage. worth more than a $2,000 startup accelerator. so i stopped arguing and built one. local agents. local tool. nothing leaving my laptop. an Obsidian clone, a knowledge graph, 13 agents a full second brain. solo. what a whole team would've shipped. minus the team. minus the cloud. here's the shift he breaks down and what i found building on it: - why tokens replaced headcount - the "one-person frontier lab" model ; your second brain is the lab - the inference layer every founder is sleeping on - why hiring 100 engineers is now the expensive way to build the 100-person team didn't get cheaper. it became one person, a second brain, and a swarm of agents. bookmark this. the full build is in the article below ⬇️

Sam Altman, OpenAI CEO: "with an affordable amount of spend on tokens, you can do what a 100-person incredibly great engineering team would do as a startup." in this 40-minute Stanford talk, he breaks down the exact shift that lets a solo founder out-build a 100-person team. free. straight from the Stanford stage. worth more than a $2,000 startup accelerator. so i stopped arguing and built one. local agents. local tool. nothing leaving my laptop. an Obsidian clone, a knowledge graph, 13 agents a full second brain. solo. what a whole team would've shipped. minus the team. minus the cloud. here's the shift he breaks down and what i found building on it: - why tokens replaced headcount - the "one-person frontier lab" model ; your second brain is the lab - the inference layer every founder is sleeping on - why hiring 100 engineers is now the expensive way to build the 100-person team didn't get cheaper. it became one person, a second brain, and a swarm of agents. bookmark this. the full build is in the article below ⬇️

Avid

65,042 görüntüleme • 1 ay önce

Hey all, I'm excited to announce my new project: Introducing Third · Upload VRChat avatars without touching Unity · Creators pre-build avatars and upload to customers redeem and upload in minutes to VRChat · One inventory for avatars from Jinxxy, Gumroad, and Payhip Why did I make it? After building Robust Weight Transfer, I was looking for the next problem to solve, with the goal of simplifying avatar creation. Third is the next step towards that goal. Third has been over half a year in the making and has been in use by a handful of creators and their customers during that time. Today, I'm excited to release Third to everyone, free to use. Check out Third below ⬇️

Sent From Space 👽

67,275 görüntüleme • 1 yıl önce

Hello Anoma fam. ❤️ Check out my website: (use desktop for best experience) For the past a few days, i've been cooking this. I've just built a fun tool that lets you place the Wizard’s hat on your own images and instantly generate your Anoma PFPs. Give it a try! 🧙‍♂️✨ I have lots of other cool ideas to build for Anoma. My main goal is make the branding stronger. I've already started to build my second tool as well. And im confident it’ll be used by thousands, pushing the Anoma IP to even greater heights. 🔥 I’d love to hear your thoughts. Your feedback means a lot as I keep building and improving it. Also curious to hear what the team thinks. 👀 ASJ | Heliax chimpfone Feel free to drop anything. I’m all ears. 👇

Hello Anoma fam. ❤️ Check out my website: (use desktop for best experience) For the past a few days, i've been cooking this. I've just built a fun tool that lets you place the Wizard’s hat on your own images and instantly generate your Anoma PFPs. Give it a try! 🧙‍♂️✨ I have lots of other cool ideas to build for Anoma. My main goal is make the branding stronger. I've already started to build my second tool as well. And im confident it’ll be used by thousands, pushing the Anoma IP to even greater heights. 🔥 I’d love to hear your thoughts. Your feedback means a lot as I keep building and improving it. Also curious to hear what the team thinks. 👀 ASJ | Heliax chimpfone Feel free to drop anything. I’m all ears. 👇

0xArtix

15,003 görüntüleme • 1 yıl önce

While building SEV0, I ran into moments where natural language prompting just wasn't enough - too vague, too indirect. So I started using a method that bridges that gap. I call it Bridged Prompting - a technique where you temporarily step out of the prompt-response loop to manipulate something directly using an AI-generated UI, then step back in. Think of it like GenUI, but more user-driven and transient. AI generates a UI on-the-fly, tailored to your prompt, and lets you manipulate the artifact directly before resuming the conversation. Sure, you could build a full tool, switch tabs, wire it up and round-trip your data. But with Bridged Prompting, the AI just spins up a temporary interface right in the flow. In the video below, I used it to construct the hallway system to closely match the layout of the severed floor. This is something I needed to do for this one project, this one time - I didn't need to make a whole separate app. Bridged Prompting lets you: - Make precise edits visually or structurally - "Hit save" to persist changes to local storage or a backend - Return to your natural language prompt

While building SEV0, I ran into moments where natural language prompting just wasn't enough - too vague, too indirect. So I started using a method that bridges that gap. I call it Bridged Prompting - a technique where you temporarily step out of the prompt-response loop to manipulate something directly using an AI-generated UI, then step back in. Think of it like GenUI, but more user-driven and transient. AI generates a UI on-the-fly, tailored to your prompt, and lets you manipulate the artifact directly before resuming the conversation. Sure, you could build a full tool, switch tabs, wire it up and round-trip your data. But with Bridged Prompting, the AI just spins up a temporary interface right in the flow. In the video below, I used it to construct the hallway system to closely match the layout of the severed floor. This is something I needed to do for this one project, this one time - I didn't need to make a whole separate app. Bridged Prompting lets you: - Make precise edits visually or structurally - "Hit save" to persist changes to local storage or a backend - Return to your natural language prompt

Chris Tate

42,558 görüntüleme • 1 yıl önce

I built a Harvard-style resume builder Claude Skill that does it for you, and I’m giving it away free. Claude Applying for jobs without tailoring your resume should be a taboo by now. Most job seekers still treat applications like a volume game. Send the same CV everywhere. Make tiny edits. Hope something lands. But every strong application follows the same workflow: → understand the role → match your experience to it → rewrite your CV around that fit → refine it → repeat for the next role Same process. Every single time. So I stopped doing it manually and built a Claude Skill for each part of that thinking. Here’s what this one does: → Takes your current CV → Structures it properly → Outputs a clean Harvard-style resume → Tailors it to any job description in seconds → You just have to click download. What used to take a lot of effort now takes seconds. And the result is better because its Harvard style, ready to go and works in Claude, no new tool needed. Even we ditched our old model at hellocv and adopted the Harvard Style Resume Builder. Want it? -> Like this post -> RT + Comment “RESUME” I’ll DM it to you.

I built a Harvard-style resume builder Claude Skill that does it for you, and I’m giving it away free. Claude Applying for jobs without tailoring your resume should be a taboo by now. Most job seekers still treat applications like a volume game. Send the same CV everywhere. Make tiny edits. Hope something lands. But every strong application follows the same workflow: → understand the role → match your experience to it → rewrite your CV around that fit → refine it → repeat for the next role Same process. Every single time. So I stopped doing it manually and built a Claude Skill for each part of that thinking. Here’s what this one does: → Takes your current CV → Structures it properly → Outputs a clean Harvard-style resume → Tailors it to any job description in seconds → You just have to click download. What used to take a lot of effort now takes seconds. And the result is better because its Harvard style, ready to go and works in Claude, no new tool needed. Even we ditched our old model at hellocv and adopted the Harvard Style Resume Builder. Want it? -> Like this post -> RT + Comment “RESUME” I’ll DM it to you.

Opeyemi Awoyemi

14,708 görüntüleme • 4 ay önce

Your website doesn't need a redesign. It needs an honest audit. Most founders spend weeks changing headlines, tweaking CTAs, or redesigning pages... without knowing what's actually stopping people from converting. That's why I like what the team at Kite AI built. At you can get a free Growth Grader that audits your website across messaging, conversions, SEO, AI visibility, pricing, and technical health. It doesn't just tell you what's wrong it prioritizes the fixes that will have the biggest impact and even shows a before/after version of your homepage. The best part? No signup required. Just reply to Kite AI with your website URL, and it'll send back your Growth Grader in about 5 minutes. If you're building a startup, this is probably the easiest way to find out why your website isn't pulling its weight. Check out here:

Your website doesn't need a redesign. It needs an honest audit. Most founders spend weeks changing headlines, tweaking CTAs, or redesigning pages... without knowing what's actually stopping people from converting. That's why I like what the team at Kite AI built. At you can get a free Growth Grader that audits your website across messaging, conversions, SEO, AI visibility, pricing, and technical health. It doesn't just tell you what's wrong it prioritizes the fixes that will have the biggest impact and even shows a before/after version of your homepage. The best part? No signup required. Just reply to Kite AI with your website URL, and it'll send back your Growth Grader in about 5 minutes. If you're building a startup, this is probably the easiest way to find out why your website isn't pulling its weight. Check out here:

Shruti Codes

50,380 görüntüleme • 26 gün önce

AI is taking the world by storm! Yes, it’s an incredible tool, but it’s also taking content directly from publishers, artists, and creators without compensating them. My dear friend and business partner, Bill Gross who revolutionized the tech world in the 90s by creating the pay-per-click model and selling it to Google, which still uses it today — has developed a groundbreaking solution that I’m excited to partner in with him. We’ve just launched ProRata, a new AI platform that ensures creators get paid for the content AI uses. ProRata is all about fairness — it’s pro-publisher, pro-consumer, pro -artist, pro-creator, and pro-AI. ProRata has invented an attribution algorithm that can look at the output of generative AI – text, images, music, movies – and figure out the sources that contribute to it. And they’re compensating creators by paying out 50% of the profits generated from AI searches that use their materials! This is a MASSIVE shift from how things are currently done, where AI like ChatGPT takes content without compensating creators. “We are looking to build a movement for fairness and quality content in AI.” - Bill Gross ProRata has already made deals with some of the biggest publishers including Universal Music Group, TIME, Financial Times, The Atlantic and more.

AI is taking the world by storm! Yes, it’s an incredible tool, but it’s also taking content directly from publishers, artists, and creators without compensating them. My dear friend and business partner, Bill Gross who revolutionized the tech world in the 90s by creating the pay-per-click model and selling it to Google, which still uses it today — has developed a groundbreaking solution that I’m excited to partner in with him. We’ve just launched ProRata, a new AI platform that ensures creators get paid for the content AI uses. ProRata is all about fairness — it’s pro-publisher, pro-consumer, pro -artist, pro-creator, and pro-AI. ProRata has invented an attribution algorithm that can look at the output of generative AI – text, images, music, movies – and figure out the sources that contribute to it. And they’re compensating creators by paying out 50% of the profits generated from AI searches that use their materials! This is a MASSIVE shift from how things are currently done, where AI like ChatGPT takes content without compensating creators. “We are looking to build a movement for fairness and quality content in AI.” - Bill Gross ProRata has already made deals with some of the biggest publishers including Universal Music Group, TIME, Financial Times, The Atlantic and more.

Tony Robbins

21,904 görüntüleme • 2 yıl önce

I solved building decks with AI agents — by giving them a CLI tool like Powerpoint or Google Slides. AI could already make a beautiful deck if you asked it to using Ant's pptx skill. The problem was working with it. If it made one alignment mistake, fixing it on one slide would break something on another, and it became a game of whack-a-mole. One time I spent two days playing AI roulette, hoping the next prompt would finally fix the thing, and ended up building the whole deck by hand because I was on a deadline. So I built Hands-on Deck. And the reason it works is that this isn't just a skill — this is PowerPoint. The actual application: PowerPoint, Google Slides, Keynote, whatever you use. This is that, but for an agent, presented as a CLI. Every gesture you make in a deck app maps to a command. Click a box and type, drag a shape from here to there, look at a slide – agent can do it all in a command. And that changes how the agent behaves. With this CLI it works and thinks like a designer — it looks, makes an edit, looks again, makes another surgical edit. Compare that to Anthropic's pptx skill, built on the idea that Claude is a great programmer: it literally writes code to manipulate the deck, hand-editing XML and hoping it doesn't break anything else in the middle. The real test isn't creating something once — it's whether it can make surgical edits like you want. That's what I did in this video walkthrough and my claude crushed it! Check it out for yourself. So decks can be built like a designer now — with real flavor and taste. If you spend hours every week on decks, this gives those hours back. You can install it as a skill in Claude Code, Codex, whatever you use. Works every harness that supports skills. Let me know if you make something cool with it.

I solved building decks with AI agents — by giving them a CLI tool like Powerpoint or Google Slides. AI could already make a beautiful deck if you asked it to using Ant's pptx skill. The problem was working with it. If it made one alignment mistake, fixing it on one slide would break something on another, and it became a game of whack-a-mole. One time I spent two days playing AI roulette, hoping the next prompt would finally fix the thing, and ended up building the whole deck by hand because I was on a deadline. So I built Hands-on Deck. And the reason it works is that this isn't just a skill — this is PowerPoint. The actual application: PowerPoint, Google Slides, Keynote, whatever you use. This is that, but for an agent, presented as a CLI. Every gesture you make in a deck app maps to a command. Click a box and type, drag a shape from here to there, look at a slide – agent can do it all in a command. And that changes how the agent behaves. With this CLI it works and thinks like a designer — it looks, makes an edit, looks again, makes another surgical edit. Compare that to Anthropic's pptx skill, built on the idea that Claude is a great programmer: it literally writes code to manipulate the deck, hand-editing XML and hoping it doesn't break anything else in the middle. The real test isn't creating something once — it's whether it can make surgical edits like you want. That's what I did in this video walkthrough and my claude crushed it! Check it out for yourself. So decks can be built like a designer now — with real flavor and taste. If you spend hours every week on decks, this gives those hours back. You can install it as a skill in Claude Code, Codex, whatever you use. Works every harness that supports skills. Let me know if you make something cool with it.

Nityesh

69,784 görüntüleme • 1 ay önce

Should Creatives Be Worried? Reflections on the Copyright Bill Debate. Parliament debated the Copyright Amendment Bill 12.03.26 during its 2nd reading, & the discussion raised several concerns. 1-The Rt. Hon. Speaker AAA asked why radio stations like her own mama bukedea should pay royalties to creators (artists) yet the stations are already promoting their work by playing their music. 2-Another MP argued that artists themselves often pay DJs and media hosts to promote their music, questioning why radio stations should still be required to pay royalties. 3-One submission called for a cost benefit analysis of the bill to clearly show what Artists stand to gain or lose if the law is passed. 4-Concerns were also raised about artists who may want their music promoted for free without media houses paying royalties. Dont they have liberty to choose? 5-Another MP argued that once an artist releases their music, it becomes public, and therefore people should be free to use it however way they wish without payment. 6-A further suggestion was that if artists want this bill passed, government should also begin taxing their revenue & income from public performances sighting zero tax compliance yet they want to be paid. The debate was eventually cut short due to a lack of quorum. However, a few observations stood out: 1-The debate focused mainly on music, overlooking the wider creative industries that copyright laws protect. 2-Some MPs seemed unaware that copyright protection is already a global standard for safeguarding creators’ rights. 3-It is unclear whether the proposed amendment was benchmarked against international markets with established copyright systems, since it does not introduce a new concept. 4-what Should be be the middle ground between media owners and creatives Without strong copyright protections, creatives may continue depending on occasional government support instead of earning sustainable income from their intellectual property. So i ask: should creatives be worried yet or you sense good will of passing the copyright amendment law? Dear creatives Watch👇🏻 Lets discuss. #NBSAfter5 Video credit : UBC UGANDA

Should Creatives Be Worried? Reflections on the Copyright Bill Debate. Parliament debated the Copyright Amendment Bill 12.03.26 during its 2nd reading, & the discussion raised several concerns. 1-The Rt. Hon. Speaker AAA asked why radio stations like her own mama bukedea should pay royalties to creators (artists) yet the stations are already promoting their work by playing their music. 2-Another MP argued that artists themselves often pay DJs and media hosts to promote their music, questioning why radio stations should still be required to pay royalties. 3-One submission called for a cost benefit analysis of the bill to clearly show what Artists stand to gain or lose if the law is passed. 4-Concerns were also raised about artists who may want their music promoted for free without media houses paying royalties. Dont they have liberty to choose? 5-Another MP argued that once an artist releases their music, it becomes public, and therefore people should be free to use it however way they wish without payment. 6-A further suggestion was that if artists want this bill passed, government should also begin taxing their revenue & income from public performances sighting zero tax compliance yet they want to be paid. The debate was eventually cut short due to a lack of quorum. However, a few observations stood out: 1-The debate focused mainly on music, overlooking the wider creative industries that copyright laws protect. 2-Some MPs seemed unaware that copyright protection is already a global standard for safeguarding creators’ rights. 3-It is unclear whether the proposed amendment was benchmarked against international markets with established copyright systems, since it does not introduce a new concept. 4-what Should be be the middle ground between media owners and creatives Without strong copyright protections, creatives may continue depending on occasional government support instead of earning sustainable income from their intellectual property. So i ask: should creatives be worried yet or you sense good will of passing the copyright amendment law? Dear creatives Watch👇🏻 Lets discuss. #NBSAfter5 Video credit : UBC UGANDA

Douglas Lwanga

49,601 görüntüleme • 4 ay önce

fable, I want you to grab a MetaHuman file off of Unreal Engine Marketplace or Fab Marketplace or something like that. There should be free ones. Find a character controller that works with that for web and threeJS. Specifically for flying, like Superman, generate a World Labs outdoor environment of your choosing and set up a threeJS project where we can fly around with a character like Superman, with really nice flying animations, camera animations, and camera zoom and shake effects when you're flying. Put some nice post-processing on it with some bloom and grain and stuff like that. Really just make this feel as polished as you can, where we get to fly around in a world where the flight feels similar to Superman. Do it in one shot and without any input from me. optimize it 2 prompts - NOT BAD!! Honestly could get this feeling/looking 10x better with probably 2 more prompts. I'd likely use a larger city GLB, populate the outskirts with World Labs gsplats, manually grab a better character to use, and add some objectives. But I wanted to see what it could do in 1 prompt (basically) Try it out 👇

fable, I want you to grab a MetaHuman file off of Unreal Engine Marketplace or Fab Marketplace or something like that. There should be free ones. Find a character controller that works with that for web and threeJS. Specifically for flying, like Superman, generate a World Labs outdoor environment of your choosing and set up a threeJS project where we can fly around with a character like Superman, with really nice flying animations, camera animations, and camera zoom and shake effects when you're flying. Put some nice post-processing on it with some bloom and grain and stuff like that. Really just make this feel as polished as you can, where we get to fly around in a world where the flight feels similar to Superman. Do it in one shot and without any input from me. optimize it 2 prompts - NOT BAD!! Honestly could get this feeling/looking 10x better with probably 2 more prompts. I'd likely use a larger city GLB, populate the outskirts with World Labs gsplats, manually grab a better character to use, and add some objectives. But I wanted to see what it could do in 1 prompt (basically) Try it out 👇

Nicholas | WithLore

88,617 görüntüleme • 1 ay önce