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Vibe Coding 3D Garment Software with ThreeJS : A Small Step For Me So, after modeling the human i did what any reasonable vibe coder would do, i asked codex how to get clothes for my models After it was done running subliminal ad campaigns for Marvelous Designer and... CLO 3D, i asked it to explain their architecture to me and adapt it to my threejs app. Guess what it did? You damn right, it built the most basic shit interpretation you can think of. And this is the average interaction the Anti-AI coders have until they conclude that AI is slop and/or it can only work if you micro manage it on every line of code. Well, eons of humanities knowledge are now packaged in tiny silicon and transferred across the globe in realtime, available on tap. So anyways i just iterated quite a lot over it, told it repeatedly why it was bad (the initial one used rapier physics and a naive cloth simulation) We found out together that: 1. A ground truth document model is needed 2. The visual mesh in 3D should be triangulated from the 2D shape 3. The physical object is running independently through different solvers: - A fast proxy which is generated by reading all the bones in runtime and just inflating these areas with spheres and capsules - A medium quality proxy which resamples the human model and creates a lower-poly mesh for simulations - Full mesh simulation (can't run it, every simulation tick takes about 5 minutes on my machine) It ended the session by telling me that this is still crap because it runs everything on CPU (thanks, not that i care, but i guess we'll be fixing that?) Oh yea also built a 2D canvas editor with boolean operations so i can build cool stuff like ponchos. It also allows me to mark stitches between two objects, which is how the shirt in the video pulls towards the other half. The garment's properties and materials are not yet exposed, yes i know it looks very stiff like a poncho made from a persian rug, we're working on it, okay? So, yea, tbh this is another endless rabbit hole, let's go i guessshow more

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✨ I made a little demo of #vibejam sponsor Tripo and how you can use it to generate assets for your games In this case I'm generating an apartment flat that's half destroyed and open for my drone sim to fly around, take cover and shoot at enemies from First I write the prompt and select Nano Banana to generate an image first, I get a few different ones, and I select the one I like Then that one is converted into a 3d object called a Smart Mesh Smart Mesh is different than regular image-to-3d models because usually you get issues with uneven polygon distribution, too dense geometry and poor edge flow, so while you think you save time with generating it with AI you end up doing lots of editing after to fix the topology which kinda defeats the point Smart Mesh doesn't have any of this, it's fast and clean low-poly models you can drop into your game Anyway, after generating the model I can then see it in 3d, and if I don't like it, regenerate it, or if I like it start texturing it Once that's done, I export it as a GLB, FBX or OBJ and drop it in (usually I use GLB as ThreeJS seems to prefer that), in my case I just drop the URL into Cursor and let it figure out the placement of the asset into my game!

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Madison Beer talks about the ‘locket’ tour stage and theme: “Amusement parks and the Tunnel of Love, which is basically a swan boat that you get in and go through it, and this is supposed to be my version of that. It’s supposed to be a ride through my memories. I thought it would be fun and a cool take on the locket thing because, you know, how can I take the locket concept and push it a step further and see what I can do with it versus it just being a locket tour? but that’s why we have the heart on stage, that’s where you get the little bit of the locket.”

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$I just compared Claude Code vs Codex vs Cursor CLI The task was to build a Next.js app with Tailwind 4 and shadcn components to collect customer feedback and showcase it with a widget. I gave all three the same prompt and let them go for 30 minutes to see what they came up with. Claude Code with Opus 4.1 Even though I told it to set up the app in the existing project folder, it tried to create a directory for it. After I interrupted and told it not to do that, it built a demo form and landing page with no errors. I had to ask it to make the demo interactive so users could submit a testimonial and preview it. The landing page looked like AI and was pretty basic, but it worked and it was done in a fraction of the time of the others. Total tokens used: 33k Codex with GPT-5 At the end of the 30 minutes I just could not get Codex to produce a working app. It got stuck in a loop of not being able to set up Tailwind 4 and despite many, MANY, attempts, I ended up with a "failed to compile" error. Total tokens used: 102k Cursor Agent with GPT-5 This was the slowest agent by far and a couple of times I actually thought it got stuck in a loop and was close to Ctrl+C'ing to cancel it. The TUI is really nice though, especially how it shows diffs and it did eventually build a working app (after one or two slight errors that needed fixing) The demo was interactive and it had a very minimal design that looked bare but also a lot less like an "AI generated" app than the Opus 4.1 design. It also wasn't too chatty and just did what it needed to do! Code quality was on a par with Opus 4.1, but it did use 5.5x as many tokens to get there. Still cheaper than Opus on a direct comparison but not when you factor in a Claude Code Max subscription. Total tokens: 188k I'll be able to do a proper comparison and record some videos when I'm back from holiday but for now, Opus is still the more capable model out of the box and Claude Code is the more complete CLI product. It will be interesting to see how Cursor evolve their CLI though with commands and subagents because I think with GPT-5 they have a real shot at providing competition for Claude Code if they can optimise output to get similar quality with less tokens. Jump to 0:40 in the video to see the two apps. Which do you think is which? ;)$

I just compared Claude Code vs Codex vs Cursor CLI The task was to build a Next.js app with Tailwind 4 and shadcn components to collect customer feedback and showcase it with a widget. I gave all three the same prompt and let them go for 30 minutes to see what they came up with. Claude Code with Opus 4.1 Even though I told it to set up the app in the existing project folder, it tried to create a directory for it. After I interrupted and told it not to do that, it built a demo form and landing page with no errors. I had to ask it to make the demo interactive so users could submit a testimonial and preview it. The landing page looked like AI and was pretty basic, but it worked and it was done in a fraction of the time of the others. Total tokens used: 33k Codex with GPT-5 At the end of the 30 minutes I just could not get Codex to produce a working app. It got stuck in a loop of not being able to set up Tailwind 4 and despite many, MANY, attempts, I ended up with a "failed to compile" error. Total tokens used: 102k Cursor Agent with GPT-5 This was the slowest agent by far and a couple of times I actually thought it got stuck in a loop and was close to Ctrl+C'ing to cancel it. The TUI is really nice though, especially how it shows diffs and it did eventually build a working app (after one or two slight errors that needed fixing) The demo was interactive and it had a very minimal design that looked bare but also a lot less like an "AI generated" app than the Opus 4.1 design. It also wasn't too chatty and just did what it needed to do! Code quality was on a par with Opus 4.1, but it did use 5.5x as many tokens to get there. Still cheaper than Opus on a direct comparison but not when you factor in a Claude Code Max subscription. Total tokens: 188k I'll be able to do a proper comparison and record some videos when I'm back from holiday but for now, Opus is still the more capable model out of the box and Claude Code is the more complete CLI product. It will be interesting to see how Cursor evolve their CLI though with commands and subagents because I think with GPT-5 they have a real shot at providing competition for Claude Code if they can optimise output to get similar quality with less tokens. Jump to 0:40 in the video to see the two apps. Which do you think is which? ;)

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Therapist Trey Tucker came on Relatable to talk about anxiety. I asked him, "If you could define anxiety, how would you define it?" Tucker: "Fear of the future. Fear of the unknown. The verse, 'Be still and know that I am God' used to make me so angry. I'm like, God, what do you mean be still? Like, I got a real problem here. I'm in a storm. Why do you want me to just be still? And what I realized is that the word, and I believe it's "Rapha" in the Hebrew, it doesn’t mean just ‘don’t move.’ It means ‘release your grip.’ The idea that I thought that I had control, that was a lie anyway. If I can start to realize like, yes, the circumstances might happen that are negative or I might be in the middle of a battle right now, but if I can loosen my grip and stop white knuckling it, then I can realize that like oh—God is God, not me, and He’s going to take care of me no matter what happens. That really is the solution to anxiety. It’s not changing your circumstances or slapping meds on it.”

Therapist Trey Tucker came on Relatable to talk about anxiety. I asked him, "If you could define anxiety, how would you define it?" Tucker: "Fear of the future. Fear of the unknown. The verse, 'Be still and know that I am God' used to make me so angry. I'm like, God, what do you mean be still? Like, I got a real problem here. I'm in a storm. Why do you want me to just be still? And what I realized is that the word, and I believe it's "Rapha" in the Hebrew, it doesn’t mean just ‘don’t move.’ It means ‘release your grip.’ The idea that I thought that I had control, that was a lie anyway. If I can start to realize like, yes, the circumstances might happen that are negative or I might be in the middle of a battle right now, but if I can loosen my grip and stop white knuckling it, then I can realize that like oh—God is God, not me, and He’s going to take care of me no matter what happens. That really is the solution to anxiety. It’s not changing your circumstances or slapping meds on it.”

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I will continue to participate in the song production a lot. It is my job and my music. I think that if I do it myself and get the results so that you can understand the song, it will be more convincing and you will like it. And if I do that, I think you will be proud of me.

I will continue to participate in the song production a lot. It is my job and my music. I think that if I do it myself and get the results so that you can understand the song, it will be more convincing and you will like it. And if I do that, I think you will be proud of me.

아란

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"You know, I don't, I have not changed. I really make the movies for myself. I really, really do." Q: "For no one else, or just sort of like what you ultimately want to see in them?" "Yeah, I think so." Q: "As a fan yourself, too? "What I want to see, yeah, like as a, like, you only have the benchmark of yourself. Like, if you ever try and make a movie for someone other than yourself... I feel like you're going to blow it. "Because you can't, you don't know how anyone else is going to feel. So like, you know, you go, 'okay, do I find that emotionally real? Do I find that interesting? Is that the Krypton I want to go to? Is that the Superman I want to see fight?' "You know, those are the questions you ask yourself constantly. And I think once you, if you're constantly answering yes to that, then you'll end up the more, the film will end up being more interesting to you. "And ultimately, the film being interesting to you allows you to make the movie better because you're interested. "If you make it for someone else over a two-year period, you're just going to not give a sh*t at some point because you're just like, 'I don't care. This is not my movie. I don't care about this movie because I made it for someone else.'" Q: "I imagine that's a very hard thing to do in Hollywood, though, is to keep your vision clear with so much collaboration, with so much going on, with so many other people in the mix." "It really depends on the project. For instance, it was hard on Guardians, you know, where I feel like what ended up happening on that movie was people, we did end up, they did end up asking me like, 'this is for kids, right?' "And I got to honestly say that I knew it was for kids, but I didn't want to make it for kids. You know what I mean? And I think that's what happened to that movie. It did get like second guessed at the end and turned more into a movie for kids. "My point of view is I can think like a child if I want. I have that enthusiasm for movies and what I think is cool. You, the collective you, don't need to try and second guess me and go, 'this is what we think a kid would like.' "And then it's like, 'oh, a song' or whatever. Then you're just like, 'okay, whatever.'"

"You know, I don't, I have not changed. I really make the movies for myself. I really, really do." Q: "For no one else, or just sort of like what you ultimately want to see in them?" "Yeah, I think so." Q: "As a fan yourself, too? "What I want to see, yeah, like as a, like, you only have the benchmark of yourself. Like, if you ever try and make a movie for someone other than yourself... I feel like you're going to blow it. "Because you can't, you don't know how anyone else is going to feel. So like, you know, you go, 'okay, do I find that emotionally real? Do I find that interesting? Is that the Krypton I want to go to? Is that the Superman I want to see fight?' "You know, those are the questions you ask yourself constantly. And I think once you, if you're constantly answering yes to that, then you'll end up the more, the film will end up being more interesting to you. "And ultimately, the film being interesting to you allows you to make the movie better because you're interested. "If you make it for someone else over a two-year period, you're just going to not give a sh*t at some point because you're just like, 'I don't care. This is not my movie. I don't care about this movie because I made it for someone else.'" Q: "I imagine that's a very hard thing to do in Hollywood, though, is to keep your vision clear with so much collaboration, with so much going on, with so many other people in the mix." "It really depends on the project. For instance, it was hard on Guardians, you know, where I feel like what ended up happening on that movie was people, we did end up, they did end up asking me like, 'this is for kids, right?' "And I got to honestly say that I knew it was for kids, but I didn't want to make it for kids. You know what I mean? And I think that's what happened to that movie. It did get like second guessed at the end and turned more into a movie for kids. "My point of view is I can think like a child if I want. I have that enthusiasm for movies and what I think is cool. You, the collective you, don't need to try and second guess me and go, 'this is what we think a kid would like.' "And then it's like, 'oh, a song' or whatever. Then you're just like, 'okay, whatever.'"

Zack Snyder Film

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Here is the Geometry Nodes Weighted Normals with Laplacian Blur on a full character (a vroid). It easily improves the shading even on game topology with almost no setup. I built this as part of my quest to improve real time toon shading. 3D anime models are popular, but use of dynamic light is rare even among high quality vtuber models. This is for several reasons, but a big one is simply that it takes a lot of Custom Normals work to make 3D cel shading not look like a jagged mess (other pieces of the puzzle are issues like deformations, multiple lights, etc). And fixing Normals is tedious, especially on existing game topology. I have focused on proxy meshes for priority areas like character faces, but they aren't an efficient solution for the whole body + outfit. I wanted something I could just throw on any model and make it at least not a jagged mess anymore even if it wasn't perfect. As you can see from this clip, this does that very well! And vertex groups can be used to control the style of the effect and power. It still can't smooth beyond what the topology density can support, but the topo itself is no longer a problem (for higher res, could be run on a subdivided version of the model and then baked to a Normal Map.) The only changes I made to this model were adding a weld modifier to merge split edges during interpolation, and a vertex group to select the skirt. I have not yet added full handling and logic for detecting edges with big angles like the skirt, or for handling boundaries like on the hair, so both those areas can get better too. You can also see that while it successfully smooths out the Face, it isn't really stylistically correct there. That is still best done with a proxy mesh to define a new shape. This is part of the tools I am working on for Fondant. We are putting together a Blender Addon to release this + a proxy mesh tool for the face, and are working on resolving other problems in-engine to fully bring dynamic light to real time 3D toon shading. Give us a follow, and send them a DM if you are interested in testing these tools as they develop!

aVersionOfReality

14,381 görüntüleme • 1 yıl önce

On the 13th of Sept, someone transferred 180k for an iPhone Xs 256GB. After acknowledging his receipt, he called, and I told him we don't have it but will ask colleagues and let him know. I asked my friend, and he told me 190k. I begged him to leave it at 180k because that is what the guy deposited (check frame 2 for reference). When he sent the phone from Kano to Jos, then I noticed it was an Xs Max. Seeing that the guy was in a hurry and didn't want to disappoint, I called him and told him what happened and said if he wants the Max, he can take it at no additional cost. I was willing to settle the difference because it was his first time buying from us. I packaged it with a new premium charger because all our used phones are sent packaged in our branded box with a charger, and I sent it to him in Abuja. He later messaged that he has received the phone and truly appreciates it. After months of not receiving any complaints from him, it clearly indicates that he has received a fully functioning phone. It is in our policy that if you find anything faulty within one week, you can return it to us and either ask for a replacement or refund. What this means is that the cost of bringing it from Kano to Jos, the packaging and charger, and the delivery to Abuja are all a loss to me. But I didn't mind because at least I have satisfied him. Nine weeks later, while I was in Kano, I saw a call from an unknown number. When I picked up, he said it was him. He told me that the camera has started giving him problems. I told him it has been months since you bought it, but you can take it to any repair store and tell me how much you spent, and I will pay. He asked if I know anyone, and I sent him someone's number. The guy didn't pick; he texted and informed me and later called me. I told him to go to anyone he trusts and let me know the amount he spent. A few days later, I was stranded between Kaduna and Abuja on my trip from Kano to Abuja because my car engine failed. He called, and I didn't pick; I don't even know his number. Later in the night, I received his messages on WhatsApp with a threat that he will make a video to tarnish the image of my business. Someone I was willing to help after months of buying a USED device from me is threatening me. I said he should go ahead because I can't entertain him anymore. In conclusion, a trade that I incurred a loss from is what some people are trying to justify as a scam. The beautiful part is I have made trades with hundreds of people here, and I would love two more people to come out and present a case in which they are still using a device I sold to them that is faulty and they contacted me for a replacement or refund, and I didn't do it instantly. "The hypocrite will always look for faults" - Ghazali. Those that are looking for a fault in me can justify something as woke as this; it doesn't matter. This is my own side and will no longer entertain him anymore. For those that believe in me without hearing from me, thank you so much.

On the 13th of Sept, someone transferred 180k for an iPhone Xs 256GB. After acknowledging his receipt, he called, and I told him we don't have it but will ask colleagues and let him know. I asked my friend, and he told me 190k. I begged him to leave it at 180k because that is what the guy deposited (check frame 2 for reference). When he sent the phone from Kano to Jos, then I noticed it was an Xs Max. Seeing that the guy was in a hurry and didn't want to disappoint, I called him and told him what happened and said if he wants the Max, he can take it at no additional cost. I was willing to settle the difference because it was his first time buying from us. I packaged it with a new premium charger because all our used phones are sent packaged in our branded box with a charger, and I sent it to him in Abuja. He later messaged that he has received the phone and truly appreciates it. After months of not receiving any complaints from him, it clearly indicates that he has received a fully functioning phone. It is in our policy that if you find anything faulty within one week, you can return it to us and either ask for a replacement or refund. What this means is that the cost of bringing it from Kano to Jos, the packaging and charger, and the delivery to Abuja are all a loss to me. But I didn't mind because at least I have satisfied him. Nine weeks later, while I was in Kano, I saw a call from an unknown number. When I picked up, he said it was him. He told me that the camera has started giving him problems. I told him it has been months since you bought it, but you can take it to any repair store and tell me how much you spent, and I will pay. He asked if I know anyone, and I sent him someone's number. The guy didn't pick; he texted and informed me and later called me. I told him to go to anyone he trusts and let me know the amount he spent. A few days later, I was stranded between Kaduna and Abuja on my trip from Kano to Abuja because my car engine failed. He called, and I didn't pick; I don't even know his number. Later in the night, I received his messages on WhatsApp with a threat that he will make a video to tarnish the image of my business. Someone I was willing to help after months of buying a USED device from me is threatening me. I said he should go ahead because I can't entertain him anymore. In conclusion, a trade that I incurred a loss from is what some people are trying to justify as a scam. The beautiful part is I have made trades with hundreds of people here, and I would love two more people to come out and present a case in which they are still using a device I sold to them that is faulty and they contacted me for a replacement or refund, and I didn't do it instantly. "The hypocrite will always look for faults" - Ghazali. Those that are looking for a fault in me can justify something as woke as this; it doesn't matter. This is my own side and will no longer entertain him anymore. For those that believe in me without hearing from me, thank you so much.

Rayyan Tilde

855,409 görüntüleme • 2 yıl önce

THEY ASKED KIMI ABOUT THE NOTE LEWIS LEFT FOR HIM AND HIS RESPONSE IS SO BEAUTIFUL 🥺🥹 "I think it tells a lot on how Lewis is as a person. I think you can see a lot, I could see a lot of the human side of Lewis, not only the driver and reading the message, it fulfilled my heart to receive such a message from such a figure in the sport." "He has done so much and he's still right there giving his best and it's one of the best in history and, you know, to receive such a message, of course, it's amazing. Its also, in the message it contains also some advices and I use it as a motivation as well to go out there and do my best because, yeah, it doesn't happen every day." Q: Will you keep the letter? Kimi: Yeah, it's actually on the wall, I'll keep it there and, yeah, because I think the message is so nice that, you know, I just want to leave it there because every day I enter in the room, every time I enter in the room I can see the message and it's also - it's also a really good reminder.

THEY ASKED KIMI ABOUT THE NOTE LEWIS LEFT FOR HIM AND HIS RESPONSE IS SO BEAUTIFUL 🥺🥹 "I think it tells a lot on how Lewis is as a person. I think you can see a lot, I could see a lot of the human side of Lewis, not only the driver and reading the message, it fulfilled my heart to receive such a message from such a figure in the sport." "He has done so much and he's still right there giving his best and it's one of the best in history and, you know, to receive such a message, of course, it's amazing. Its also, in the message it contains also some advices and I use it as a motivation as well to go out there and do my best because, yeah, it doesn't happen every day." Q: Will you keep the letter? Kimi: Yeah, it's actually on the wall, I'll keep it there and, yeah, because I think the message is so nice that, you know, I just want to leave it there because every day I enter in the room, every time I enter in the room I can see the message and it's also - it's also a really good reminder.

sim

141,398 görüntüleme • 1 yıl önce

Jack Dorsey on becoming a better storyteller: "I found myself very early on thinking about something like thinking about this early idea for Twitter and saying to myself, I could build this awesome. You have those shower-like moments, or you're walking at midnight in some town in New York City, and you've got these amazing brand ideas. And then you start thinking, well, I could really start doing this if only X and if I had this person or if this technology existed or if this happened or this happened. And what I realized was that I was constantly making excuses for not working on it. And then the window had passed, and then I couldn't do anything. So I think it's really, really important to write it out or to draw it out or to code it. But you need to get it out of your head. And the reason you have to get it out of your head is that you need to be able to see it on a surface that is not in your mind. And once you can see it, and once you can step back from it, then you can also decide this passes my filter, my constraints, so maybe I can show it and share it with some other people. And then they will be like that's the stupidest idea ever and or that's somewhat interesting, but maybe this and this and this. So the sooner you can do that, then you have a lot of momentum around it, and you can really decide if you want to commit to it and work on it more or put it on the shelf for a later date. And the realization that I think everyone needs to have about that latter option, putting it on the shelf, is that you can come back to it and it will surface back up in another piece of work or another idea at some point in your life. So having that ability to close off a chapter and move on is really, really important. You can't have all these open threads, and that's what I realized I was doing. And that also encouraged me to really write more and to really think about what's the story? How are people coming to this? And like when I show my friends this, how are they going to react and I would write it down. I would actually treat it like a play. And when I realized that I was writing plays, I read a lot more plays for style and for substance and for technique and I think it's really good. I think there is another company that I have always looked towards for inspiration and I know a number of people in this room probably have a similar company in mind, which is Apple. Apple, I think, is run like a theater company. It has a great sense of pacing, has a great sense of story and has a great sense of execution and it's all about event-driven, it's all stage-driven, the stage being a billboard or the stage being a keynote or the stage being a product launch. All of it has a very, very cohesive end-to-end story. I mean you think about what happened when Steve Jobs came back to the company. The first thing he did was kill every product line the company was working on. And for two years,rs they had no product on the market whatsoever. All they had were a bunch of posters all around the world with Steve Jobs' heroes, and it said, think different. And it was just focused on bringing up the brand and making people aware of the brand again and how the brand is aligning to this particular feeling and story. And then they came out with the iMac and then built iTunes and then the iPod, and they realized that, wait a minute, people are carrying music on their phones now, so we better build a phone, an iPhone. And so this unfolding of the plot and the epic story has been very, very interesting to watch, especially if you look back to that time when he came back to the company. So I've learned a lot from that company and other companies that operate in a similar fashion."

Founder Mode

107,213 görüntüleme • 5 ay önce

I've always secretly wanted a PDP-11. When I was a little kid, they were state-of-the-art. When I was in college, they were a staple of our CS program. I rarely got to touch one and never expected to own one. I found it on eBay for sale a couple of months ago, with proceeds going to charity. So I bid (yay, and won it. The price included free national crating and shipping, so I felt slightly cheated that it was only coming from Oregon! A cheerful fellow dropped it off from his liftgate truck, wheeling it and the pallet on which it sat into my garage before leaving. According to the shipping manifest, it weighed 840 lbs. I have a 2-ton portable shop crane (engine hoist), but wasn't sure if it would go high enough to lift the PDP or if you were even supposed to grab a PDP by its chassis and lift it. Nonetheless, the lift had the height, but the legs weren't wide enough to clear the wood shipping pallet, so I couldn't get the lift over the PDP. We set up the lift on top of the palette, then blocked it up so we could lift the PDP and slowly cut the pallet away with a Sawzall. Which is what I did. It seemed super-sketch but was never dangerous. I'm much too good-looking to be killed by a 1970s minicomputer. I then did something that earned me the nickname "YOLO" on the PDP-11 groups: I just plugged it in and turned it on to see what confronted me. The machine emitted a scary roar, like a powerful fan rubbing on the chassis or maybe an arc. The power dipped out every time it made the sad sound. It wasn't happy. It turns out there's a big electrical contactor in the power block, which was cycling intermittently. A helpful forum member told me what capacity was most likely responsible, and he was right! Five cents and some solder later, it powered up! I pulled a VT220 over and connected it, which brought me to a boot prompt! But any attempt to boot from any device (I had 2 fixed drives and a removable as part of the system) just locked things up. Coming out of the back of the machine was a giant 100-pin ribbon cable that daisy chained from one drive to the next. It ended in a unibus card on the end of an 8' extension cable. Clearly intended to plug into another cabinet, which I didn't have. Long story short, the bus wasn't terminated because the termiantor was in the other stack. So I located one on eBay and waited patiently for it to arrive, spending most days on the front steps waiting for the UPS truck in anticipation. In the meantime I redid all of the filtration in the system, which is a lot of it! When the terminator finally did arrive, I installed it and the machine still wouldn't boot. None of the drives seems readable at this point, but at least it was trying. The good news is that I can load old DEC diagnostic packages over the serial port, and it passes all CPU, logic, and disk controller tests. So beyond the physical media (which I can emulate in the worst case) it's up and running, if not doing a lot yet! PS: I bought the M3 new in '03, and it has 12K miles on it now...

I've always secretly wanted a PDP-11. When I was a little kid, they were state-of-the-art. When I was in college, they were a staple of our CS program. I rarely got to touch one and never expected to own one. I found it on eBay for sale a couple of months ago, with proceeds going to charity. So I bid (yay, and won it. The price included free national crating and shipping, so I felt slightly cheated that it was only coming from Oregon! A cheerful fellow dropped it off from his liftgate truck, wheeling it and the pallet on which it sat into my garage before leaving. According to the shipping manifest, it weighed 840 lbs. I have a 2-ton portable shop crane (engine hoist), but wasn't sure if it would go high enough to lift the PDP or if you were even supposed to grab a PDP by its chassis and lift it. Nonetheless, the lift had the height, but the legs weren't wide enough to clear the wood shipping pallet, so I couldn't get the lift over the PDP. We set up the lift on top of the palette, then blocked it up so we could lift the PDP and slowly cut the pallet away with a Sawzall. Which is what I did. It seemed super-sketch but was never dangerous. I'm much too good-looking to be killed by a 1970s minicomputer. I then did something that earned me the nickname "YOLO" on the PDP-11 groups: I just plugged it in and turned it on to see what confronted me. The machine emitted a scary roar, like a powerful fan rubbing on the chassis or maybe an arc. The power dipped out every time it made the sad sound. It wasn't happy. It turns out there's a big electrical contactor in the power block, which was cycling intermittently. A helpful forum member told me what capacity was most likely responsible, and he was right! Five cents and some solder later, it powered up! I pulled a VT220 over and connected it, which brought me to a boot prompt! But any attempt to boot from any device (I had 2 fixed drives and a removable as part of the system) just locked things up. Coming out of the back of the machine was a giant 100-pin ribbon cable that daisy chained from one drive to the next. It ended in a unibus card on the end of an 8' extension cable. Clearly intended to plug into another cabinet, which I didn't have. Long story short, the bus wasn't terminated because the termiantor was in the other stack. So I located one on eBay and waited patiently for it to arrive, spending most days on the front steps waiting for the UPS truck in anticipation. In the meantime I redid all of the filtration in the system, which is a lot of it! When the terminator finally did arrive, I installed it and the machine still wouldn't boot. None of the drives seems readable at this point, but at least it was trying. The good news is that I can load old DEC diagnostic packages over the serial port, and it passes all CPU, logic, and disk controller tests. So beyond the physical media (which I can emulate in the worst case) it's up and running, if not doing a lot yet! PS: I bought the M3 new in '03, and it has 12K miles on it now...

Dave W Plummer

115,281 görüntüleme • 1 yıl önce

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

22,952 görüntüleme • 5 ay önce

Jelly Hoshiumi has made a short statement at the beginning of her stream. "So I just want to take this moment to, um, say that... Okay, it's really no big deal but I am sorry to-to my friends and my company for making it- I wrote this all on my own by the way- for, you know, making it kind of, you know, suck on twitter. com. (...) I-I'm sorry for inconveniencing you and stressing you out most importantly. (...) I feel kind of bad for, you know, stressing you out with everything and also not streaming and I feel bad for that. That is what I feel bad for. Also just to clarify, I'm not a racist, I'm not a bigot. And most importantly I would like to thank you for the support" "I feel like I have to elaborate a bit because I was a bit nervous when I was making the statement (...) Right, so I feel like now that everything's calmed down a little bit, I feel like I can kind of say that, everything is actually cool between me and the company. (...) Sakana did personally send me an apology, so we're actually pretty good. We've been talking, I sent- I took a picture of a book and I sent it to him, I asked if he wanted it. He said yeah. So everything is actually fine, So don't worry about it, okay? It's good. I don't want you guys to be angry, I don't want you guys to be upset on behalf of me if anything, I just want you guys to be chill. Just like me and just let it go."

Sensitive content

Jelly Hoshiumi has made a short statement at the beginning of her stream. "So I just want to take this moment to, um, say that... Okay, it's really no big deal but I am sorry to-to my friends and my company for making it- I wrote this all on my own by the way- for, you know, making it kind of, you know, suck on twitter. com. (...) I-I'm sorry for inconveniencing you and stressing you out most importantly. (...) I feel kind of bad for, you know, stressing you out with everything and also not streaming and I feel bad for that. That is what I feel bad for. Also just to clarify, I'm not a racist, I'm not a bigot. And most importantly I would like to thank you for the support" "I feel like I have to elaborate a bit because I was a bit nervous when I was making the statement (...) Right, so I feel like now that everything's calmed down a little bit, I feel like I can kind of say that, everything is actually cool between me and the company. (...) Sakana did personally send me an apology, so we're actually pretty good. We've been talking, I sent- I took a picture of a book and I sent it to him, I asked if he wanted it. He said yeah. So everything is actually fine, So don't worry about it, okay? It's good. I don't want you guys to be angry, I don't want you guys to be upset on behalf of me if anything, I just want you guys to be chill. Just like me and just let it go."

Rima Evenstar

42,650 görüntüleme • 3 ay önce

As you know, I like recommending small and family run companies that do good work for me. When I bought my Johannesburg home, it had a semi-covered veranda and it used to stress me when it was raining. So I used AI to look for a solution and it recommended a company called Solara Awnings and Outdoor Blinds. They fitted the awnings for the first part yesterday and today, and they sent me this video of the work they have done so far. They are very good and very professional. AI recommended awnings with an electric motor, so when it is sunny you can open the veranda louvres, and when it is raining you close them. It gives you the flexibility to control how much light and sun comes in. So here is the deal. The company said I will get a discount for the back part of the house if I recommend them and they get more work, so do your thing. They are not expensive. The awnings can either be manual or electric, for old folks like me. Their WhatsApp number is +27 83 545 6784, and their email is awningsjhb@qproducts.co.za or dirk@qproducts.co.za. Tell them that I referred you, you will also get a discount.

As you know, I like recommending small and family run companies that do good work for me. When I bought my Johannesburg home, it had a semi-covered veranda and it used to stress me when it was raining. So I used AI to look for a solution and it recommended a company called Solara Awnings and Outdoor Blinds. They fitted the awnings for the first part yesterday and today, and they sent me this video of the work they have done so far. They are very good and very professional. AI recommended awnings with an electric motor, so when it is sunny you can open the veranda louvres, and when it is raining you close them. It gives you the flexibility to control how much light and sun comes in. So here is the deal. The company said I will get a discount for the back part of the house if I recommend them and they get more work, so do your thing. They are not expensive. The awnings can either be manual or electric, for old folks like me. Their WhatsApp number is +27 83 545 6784, and their email is [email protected] or [email protected]. Tell them that I referred you, you will also get a discount.

Hopewell Chin’ono

37,136 görüntüleme • 5 ay önce

Most people choose belonging over accuracy. The desire to fit in overpowers the desire for truth. "A lot of the time, people will tell you, “Don’t care what other people think about you,” but we all care what other people think—often for very good reason, which is that if people think well of you, it benefits you in life. It puts you in a good position; you are rewarded for it. It helps you accomplish things. It makes you safer. It just feels good. Belonging is a critical part of being human. However, especially in the modern world, the desire to belong can often run counter to the desire to understand or be accurate. If you have to choose between “I could believe this thing and be ostracized or criticized or outcast from my community” or “I could believe this other thing, which may not be that accurate, but it will get me praised and rewarded and accepted by my community,” a lot of the time, the desire to belong overpowers the desire to understand." James Clear on The Knowledge Project

Most people choose belonging over accuracy. The desire to fit in overpowers the desire for truth. "A lot of the time, people will tell you, “Don’t care what other people think about you,” but we all care what other people think—often for very good reason, which is that if people think well of you, it benefits you in life. It puts you in a good position; you are rewarded for it. It helps you accomplish things. It makes you safer. It just feels good. Belonging is a critical part of being human. However, especially in the modern world, the desire to belong can often run counter to the desire to understand or be accurate. If you have to choose between “I could believe this thing and be ostracized or criticized or outcast from my community” or “I could believe this other thing, which may not be that accurate, but it will get me praised and rewarded and accepted by my community,” a lot of the time, the desire to belong overpowers the desire to understand." James Clear on The Knowledge Project

Shane Parrish

63,966 görüntüleme • 5 ay önce

✨ A dream I had finally came true: I can now chat directly with my sites to build any feature or fix any bug just via Telegram I've been playing with OpenClaw for 3 weeks now and it's great but I was always too scared to run it on any production server And I was right a bit as Marc Köhlbrugge was able to hack it by social engineering and acting as if it was me, and with enough tries it believed him, and was able to modify the server, change SSH keys etc. of course I had it isolated properly on its own VPS and it didn't touch anything sensitive (as it should!) Marc then reported that bug to Peter Steinberger 🦞 who patched it fast But I wanted to try something more basic and simple, and I think maybe more secure: to just connect Claude Code on my server to Telegram which would be hard locked to only messages from me So I installed claude-code-telegram by Richard Atkinson on the server and run it as a system daemon and it works really well The cool thing is that I was already using Telegram for server errors like this: > Photo AI - ❌ Random credits giveaway failed (Attempt 30/30) with an exception: SQLSTATE[HY000]: General error: 5 database is locked So now I can just reply, "Ok fix this", and Claude Code on the server in production will try (and probably succeed) in fixing it In the video below I asked it to make show [🌳 Parks ] on the map by default on load, it did that, then I reloaded the page and it instantly worked One thing it still needs is sending actual messages while it's doing stuff which OpenClaw does really well, it's annoying to just wait while it says "Working..." but that's probably next

✨ A dream I had finally came true: I can now chat directly with my sites to build any feature or fix any bug just via Telegram I've been playing with OpenClaw for 3 weeks now and it's great but I was always too scared to run it on any production server And I was right a bit as Marc Köhlbrugge was able to hack it by social engineering and acting as if it was me, and with enough tries it believed him, and was able to modify the server, change SSH keys etc. of course I had it isolated properly on its own VPS and it didn't touch anything sensitive (as it should!) Marc then reported that bug to Peter Steinberger 🦞 who patched it fast But I wanted to try something more basic and simple, and I think maybe more secure: to just connect Claude Code on my server to Telegram which would be hard locked to only messages from me So I installed claude-code-telegram by Richard Atkinson on the server and run it as a system daemon and it works really well The cool thing is that I was already using Telegram for server errors like this: > Photo AI - ❌ Random credits giveaway failed (Attempt 30/30) with an exception: SQLSTATE[HY000]: General error: 5 database is locked So now I can just reply, "Ok fix this", and Claude Code on the server in production will try (and probably succeed) in fixing it In the video below I asked it to make show [🌳 Parks ] on the map by default on load, it did that, then I reloaded the page and it instantly worked One thing it still needs is sending actual messages while it's doing stuff which OpenClaw does really well, it's annoying to just wait while it says "Working..." but that's probably next

@levelsio

639,814 görüntüleme • 3 ay önce

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

Interview from 5 months ago with “RA” the new UFO whistleblower Randy Anderson by Gerb Here he describes the sphere encounter and the possible consciousness connection and how his memories of the incident are strangely fuzzy Link to full interview in comments H/T wow RA - “Both the items they had under there, they said somehow interacted with consciousness and, and the way he said it, this is why it's so fuzzy, he said, I wouldn't quote these things 'cause I'm gonna try to just remember the, the, the context. And I, and I can again, like when I meditate and I think about this, I can usually get more back. But just, just like sitting here talking to you and remembering it, it's difficult sometimes. But I remember him saying, we don't understand quite how to operate the systems or how they, but they do interact with consciousness so certain and some people they interact with and some people they don't. So certain people will go up to the object and it will respond. And some people go up to the object and it does nothing. So certain types of, I don't know if that's related to DNA or to consciousness or what, whatever, but it's different. People will have a different response and they, they had us kind of walked closer to the, the window and nothing happened. So we didn't, I mean, I don't know if we got closer or something would've happened, but they, I don't know if they were even looking for that, but maybe, you know, that they, that's one thing he said that like certain people will go near the object and will react. And he didn't describe how it would react. He instead it would react,” RA - “There's a really weird component to this, and I don't know what this means, but when I think back to this particular memory and, and this never happens to me in any other thing, I, I get real fuzzy. It gets real fuzzy, like, like almost like something was purposely done to to, to make it that way. Because I have a very photographic memory and things I've done in the military. Like I can tell you the color of the buttons on a shirt of a guy that I sniped from, you know, 800 feet, 800 meters away. So I mean, I, there's for me to not remember this is really bothers me, but there's, there's some cloudiness when I try to access this part of my brain, you know, I can definitely, maybe it's, it could definitely be the, the objects itself that had, and it felt this, this is why it's difficult because it obviously, it felt weird being down there. Okay. There's, there's something like, there was just, it is an unnatural feeling we're doing. It felt like we were doing something that wasn't normal. I mean, the fact that we were so deep underground, me and the dude were kind of freaked out and, and, but we didn't display that outwardly because we're trained to not do that, you know? But internally, yeah, I was like, what the hell is going on? And when they talk about optimal stuff, they didn't say it like, by the way, aliens are real like you or anything like of that sort. It was just, oh yeah, this is the off world technology division, this is Chuck, this is whatever. And just started talking like everything was normal and we just went along with it because we acted like it was normal, but the first time I'd ever been exposed to it and it, it was a lot to take in. So that could be part of it too.”

neandrewthal

41,422 görüntüleme • 1 yıl önce