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[VIDEO] 🔴 BTS ARIRANG Live🌟 How-To Record // Audio & iPhone Settings Guide Settings matter. Simply changing your iPhone from Spatial Audio to Stereo Audio isn’t enough. 💡Before recording: Lock your camera settings. Lower the exposure (☀️🌓) between -0.3 and -2.0, depending on the stage lighting. 🍭 My sweet...

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Beyond ARMY ⊙⊝⊜⁷ saw PIED PIPER and 뱁새

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26,829 görüntüleme • 18 gün önce •via X (Twitter)

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🔴 iPhone ARMY 🌟 — AUDIO For your BTS concert memories / recording UPDATE: Stereo was 100% better. For context, while I had floor on D3, I was in section 115, so I wasn’t far away. You can hear a distinctive difference in sound. In the video, i included all my settings. Be mindful to: - reset to default settings after the concert, otherwise you will be recording in raw footage = massive files With the concert settings: 4k at 60 fps = 0:45 is 526MB on my device = 0:05 is 33MB on my device - So, make sure your phone is empty for BTS I’m on a 1TB iPhone 17 Pro Max D3, I didn’t need to use the xZoom Cam app. *ALL* my D3 (I haven’t finished uploading even half of them) is using the iPhone camera on 2x or 4x or 8x. I never went above 8x.
0:38

🔴 iPhone ARMY 🌟 — AUDIO For your BTS concert memories / recording UPDATE: Stereo was 100% better. For context, while I had floor on D3, I was in section 115, so I wasn’t far away. You can hear a distinctive difference in sound. In the video, i included all my settings. Be mindful to: - reset to default settings after the concert, otherwise you will be recording in raw footage = massive files With the concert settings: 4k at 60 fps = 0:45 is 526MB on my device = 0:05 is 33MB on my device - So, make sure your phone is empty for BTS I’m on a 1TB iPhone 17 Pro Max D3, I didn’t need to use the xZoom Cam app. *ALL* my D3 (I haven’t finished uploading even half of them) is using the iPhone camera on 2x or 4x or 8x. I never went above 8x.

Beyond ARMY ⊙⊝⊜⁷ saw PIED PIPER, Autumn Leaves

575,364 görüntüleme • 3 ay önce

🧵 NEW EVIDENCE — and this one's simple to understand. A professional broadcast camera (Canon XA55) was recording at UVU on September 10. Unlike every phone in the crowd, this camera records UNCOMPRESSED audio on 4 separate microphone channels at 48,000 samples per second. The Canon was roughly 46m away from the tent which provided a acoustic buffer between the onset of the events. This distance has provided clarity to the event that was missing with the other camera angles. Think of it this way: phone recordings are like looking through a foggy window. This camera is like a clean window with the lights on. Here's what that clean window shows: THE SOUND ARRIVED IN ORDER — HIGH TO LOW When a supersonic bullet passes, the crack arrives before the boom. High-pitched sounds hit first, low-pitched sounds hit last. A bomb going off? Everything originates from the blast and arrives at the camera at the same time. The Canon proves the high frequencies arrived FIRST — spread out over 100+ milliseconds. Followed by muzzle blast then a detonation which originates from the stage. THREE SEPARATE BOOMS — NOT ONE This is the big one. Phone recordings near the stage smear everything together into one big noise. The Canon's professional audio separates THREE distinct low-frequency events: • +114ms — Early energy (Mach cone) • +202ms — Muzzle blast from ~120 meters away • +321ms — DETONATION AT THE STAGE That third event — the stage detonation — is the LOUDEST of the three. It's not an echo. It's not a reflection. It is the strongest low-frequency peak in the entire recording, and it originates approximately 46 meters from the camera. Right at the tent. Right were Charlie was seated. Something EXPLODED there. The Canon captured it separately from the rifle blast for the first time. WHY THIS MATTERS If a rifle was fired from 120 meters away, and a separate detonation occurred at the stage approximately ~185ms later — those are two different events at two different locations. A single shooter doesn't produce a detonation under a tent 120 meters from the rifle. A device detonation doesn't produce a muzzle blast from 120 meters away. The Canon separated what the phones couldn't: proof of events at MULTIPLE locations. 733 SUPERSONIC SIGNATURES A supersonic bullet creates tiny pressure waves called N-waves. The Canon's shotgun microphone captured 733 of them in under 200 microseconds each. The best phone recording? 123. That's 6x more. The phones weren't broken — their compressed audio just can't preserve these. Uncompressed audio can. And it did. THE SHOTGUN MIC WAS POINTED AT IT The external microphone clipped 122,844 audio samples — it was overwhelmed because the sound source was directly in its line of fire. Meanwhile the built-in mics captured clean audio with almost zero clipping. Zero correlation between the two signal paths. Same conclusion. MUZZLE BLAST CONFIRMS THE DISTANCE The +202ms blast puts the rifle at ~120 meters from the camera. The 10-camera analysis estimated 127 meters. That's within 6%. Two completely independent methods. Same answer. But the stage detonation at +321ms? That's only ~46 meters from the camera. That's the tent. A rifle 120 meters away. A detonation at the tent. Two locations. Captured separately for the first time on professional uncompressed audio. This is the 11th recording to independently confirm the same findings. Professional grade. No codec excuses. And now, for the first time, the stage detonation is isolated from the rifle blast. Full analysis + raw audio downloads at
2:34

🧵 NEW EVIDENCE — and this one's simple to understand. A professional broadcast camera (Canon XA55) was recording at UVU on September 10. Unlike every phone in the crowd, this camera records UNCOMPRESSED audio on 4 separate microphone channels at 48,000 samples per second. The Canon was roughly 46m away from the tent which provided a acoustic buffer between the onset of the events. This distance has provided clarity to the event that was missing with the other camera angles. Think of it this way: phone recordings are like looking through a foggy window. This camera is like a clean window with the lights on. Here's what that clean window shows: THE SOUND ARRIVED IN ORDER — HIGH TO LOW When a supersonic bullet passes, the crack arrives before the boom. High-pitched sounds hit first, low-pitched sounds hit last. A bomb going off? Everything originates from the blast and arrives at the camera at the same time. The Canon proves the high frequencies arrived FIRST — spread out over 100+ milliseconds. Followed by muzzle blast then a detonation which originates from the stage. THREE SEPARATE BOOMS — NOT ONE This is the big one. Phone recordings near the stage smear everything together into one big noise. The Canon's professional audio separates THREE distinct low-frequency events: • +114ms — Early energy (Mach cone) • +202ms — Muzzle blast from ~120 meters away • +321ms — DETONATION AT THE STAGE That third event — the stage detonation — is the LOUDEST of the three. It's not an echo. It's not a reflection. It is the strongest low-frequency peak in the entire recording, and it originates approximately 46 meters from the camera. Right at the tent. Right were Charlie was seated. Something EXPLODED there. The Canon captured it separately from the rifle blast for the first time. WHY THIS MATTERS If a rifle was fired from 120 meters away, and a separate detonation occurred at the stage approximately ~185ms later — those are two different events at two different locations. A single shooter doesn't produce a detonation under a tent 120 meters from the rifle. A device detonation doesn't produce a muzzle blast from 120 meters away. The Canon separated what the phones couldn't: proof of events at MULTIPLE locations. 733 SUPERSONIC SIGNATURES A supersonic bullet creates tiny pressure waves called N-waves. The Canon's shotgun microphone captured 733 of them in under 200 microseconds each. The best phone recording? 123. That's 6x more. The phones weren't broken — their compressed audio just can't preserve these. Uncompressed audio can. And it did. THE SHOTGUN MIC WAS POINTED AT IT The external microphone clipped 122,844 audio samples — it was overwhelmed because the sound source was directly in its line of fire. Meanwhile the built-in mics captured clean audio with almost zero clipping. Zero correlation between the two signal paths. Same conclusion. MUZZLE BLAST CONFIRMS THE DISTANCE The +202ms blast puts the rifle at ~120 meters from the camera. The 10-camera analysis estimated 127 meters. That's within 6%. Two completely independent methods. Same answer. But the stage detonation at +321ms? That's only ~46 meters from the camera. That's the tent. A rifle 120 meters away. A detonation at the tent. Two locations. Captured separately for the first time on professional uncompressed audio. This is the 11th recording to independently confirm the same findings. Professional grade. No codec excuses. And now, for the first time, the stage detonation is isolated from the rifle blast. Full analysis + raw audio downloads at

Jon Bray

113,353 görüntüleme • 4 ay önce

Today I vibe-coded a small but incredibly useful macOS Electron app using Cursor + GPT-5.5. I use my Mac with a Samsung monitor that has a built-in webcam. Every time I used the camera, I noticed annoying light flickering. I always assumed it was my lighting. It turns out the culprit was the anti-flicker setting. The webcam was set to 60 Hz by default, while India's power frequency is 50 Hz. That mismatch causes visible flickering under indoor lighting. Samsung doesn't provide any way to change this on the monitor, and macOS doesn't have a built-in control for it either. So I asked Cursor to build a simple camera control app that lets me change the webcam's hardware settings, including the anti-flicker mode, along with zoom, brightness, contrast, and more. About 30 minutes and a few rounds of refinement later, I had a fully working Electron app. A tiny app, but it solved something that had been annoying me for months.
0:40

Today I vibe-coded a small but incredibly useful macOS Electron app using Cursor + GPT-5.5. I use my Mac with a Samsung monitor that has a built-in webcam. Every time I used the camera, I noticed annoying light flickering. I always assumed it was my lighting. It turns out the culprit was the anti-flicker setting. The webcam was set to 60 Hz by default, while India's power frequency is 50 Hz. That mismatch causes visible flickering under indoor lighting. Samsung doesn't provide any way to change this on the monitor, and macOS doesn't have a built-in control for it either. So I asked Cursor to build a simple camera control app that lets me change the webcam's hardware settings, including the anti-flicker mode, along with zoom, brightness, contrast, and more. About 30 minutes and a few rounds of refinement later, I had a fully working Electron app. A tiny app, but it solved something that had been annoying me for months.

AshutoshShrivastava

76,985 görüntüleme • 1 ay önce

Live hacking vlogs are dead. Or are they? It’s been years since I did a vlog and I have to admit that perfectionism was the reason why I stopped making them. But a couple of months back I had the chance to go to a google lhe in Seoul and brought my xe5 on for the ride. I was exited to capture frames and friends, but I messed some settings up so the video content was to shaky and audio was shit.. this stopped me from editing it and releasing it, since I though it had to be perfect to be up to my own standards, which are quite high tbh. So this time in testing out something new, I’m going to simply accept audio issues, shaky camera moves and inconsistency in the color grades, since that’s also what brings authenticity in today’s perfectly polished world. Creators gonna create. So Enjoy the first 1 minute, we got 15 more on YouTube in a few days. Ft insights from Vitor Falcão "busfactor" Justin Gardner Ciarán Cotter Joseph Thacker and more
1:07

Live hacking vlogs are dead. Or are they? It’s been years since I did a vlog and I have to admit that perfectionism was the reason why I stopped making them. But a couple of months back I had the chance to go to a google lhe in Seoul and brought my xe5 on for the ride. I was exited to capture frames and friends, but I messed some settings up so the video content was to shaky and audio was shit.. this stopped me from editing it and releasing it, since I though it had to be perfect to be up to my own standards, which are quite high tbh. So this time in testing out something new, I’m going to simply accept audio issues, shaky camera moves and inconsistency in the color grades, since that’s also what brings authenticity in today’s perfectly polished world. Creators gonna create. So Enjoy the first 1 minute, we got 15 more on YouTube in a few days. Ft insights from Vitor Falcão "busfactor" Justin Gardner Ciarán Cotter Joseph Thacker and more

STÖK ✌️

23,429 görüntüleme • 1 ay önce

This is one of my favorite iPhone hacks and works surprisingly well! Let me share all the steps here so you exactly know how to do this too: 1. Open Settings → Accessibility. 2. Scroll to the bottom and tap Accessibility Shortcut. 3. Select VoiceOver (make sure it has a ✓ next to it). → This lets you triple-click the side button to quickly toggle VoiceOver on or off. 4. Open the Camera app and swipe to Video mode. 5. Triple-click the side button to turn on VoiceOver. (You'll hear VoiceOver speak when it's active.) 6. When ready, double-tap the Record button to start recording. (VoiceOver will say "Recording.") 7. Triple tap the display with three fingers. → The screen goes black, but your iPhone keeps recording in the background. 8. When you're done, triple tap the screen with three fingers again to wake the screen. 9. Double-tap the Record button to stop recording. 10. Triple-click the side button again to turn off VoiceOver.. sc ig/appledsign
0:34

This is one of my favorite iPhone hacks and works surprisingly well! Let me share all the steps here so you exactly know how to do this too: 1. Open Settings → Accessibility. 2. Scroll to the bottom and tap Accessibility Shortcut. 3. Select VoiceOver (make sure it has a ✓ next to it). → This lets you triple-click the side button to quickly toggle VoiceOver on or off. 4. Open the Camera app and swipe to Video mode. 5. Triple-click the side button to turn on VoiceOver. (You'll hear VoiceOver speak when it's active.) 6. When ready, double-tap the Record button to start recording. (VoiceOver will say "Recording.") 7. Triple tap the display with three fingers. → The screen goes black, but your iPhone keeps recording in the background. 8. When you're done, triple tap the screen with three fingers again to wake the screen. 9. Double-tap the Record button to stop recording. 10. Triple-click the side button again to turn off VoiceOver.. sc ig/appledsign

Laurent Correia Bill

254,592 görüntüleme • 9 ay önce

Have a special treat for you! Here's an alternate view of me at Woodstock '99, which was 26 years ago today. The whole set at this festival is ubiquitously available online and has been bootlegged to death, but THIS is alternate B-roll footage that we shot that day from stage left, that NOBODY has seen before and features Alan Bershaw’s multitrack mix of the audio. I went on between Elvis Costello and Red Hot Chili Peppers on the final day, shortly before it literally went down in flames. Watch the full video now on my YouTube channel:
0:35

Have a special treat for you! Here's an alternate view of me at Woodstock '99, which was 26 years ago today. The whole set at this festival is ubiquitously available online and has been bootlegged to death, but THIS is alternate B-roll footage that we shot that day from stage left, that NOBODY has seen before and features Alan Bershaw’s multitrack mix of the audio. I went on between Elvis Costello and Red Hot Chili Peppers on the final day, shortly before it literally went down in flames. Watch the full video now on my YouTube channel:

Jewel

20,398 görüntüleme • 1 yıl önce

The video smooth zoom on the Samsung Galaxy S26 Ultra is still the closest thing to a professional camcorder experience in the smartphone industry today. In fact, it’s even easier to control than the iPhone. On many other phones, video zooming requires constant finger movement and very precise control. The zoom speed can easily become inconsistent, suddenly speeding up or slowing down. Samsung works differently. You simply hold your finger at a certain position, and the phone continues zooming at a constant speed. The entire process feels extremely stable and linear. It genuinely resembles the powered zoom control of a professional video camera. This logic is fundamentally related to Samsung’s AI slow motion technology. They share the same core foundation: real time control over motion trajectories, speed transitions, and frame interpolation. What you’re seeing here was shot in very windy conditions using Samsung’s Pro Video mode, continuously zooming from 5x to 25x. Aside from some slight stutter during optical lens switching points, the continuous zoom transition within digital zoom ranges is arguably the closest thing to a professional camera currently available on a smartphone. So if the future Samsung Galaxy S27 Ultra really removes the 3x telephoto camera, it could actually improve the video zoom experience further. Fewer optical switching points would theoretically reduce transition jumps and stutters, making the entire zoom range feel even more natural and continuous.
0:13

The video smooth zoom on the Samsung Galaxy S26 Ultra is still the closest thing to a professional camcorder experience in the smartphone industry today. In fact, it’s even easier to control than the iPhone. On many other phones, video zooming requires constant finger movement and very precise control. The zoom speed can easily become inconsistent, suddenly speeding up or slowing down. Samsung works differently. You simply hold your finger at a certain position, and the phone continues zooming at a constant speed. The entire process feels extremely stable and linear. It genuinely resembles the powered zoom control of a professional video camera. This logic is fundamentally related to Samsung’s AI slow motion technology. They share the same core foundation: real time control over motion trajectories, speed transitions, and frame interpolation. What you’re seeing here was shot in very windy conditions using Samsung’s Pro Video mode, continuously zooming from 5x to 25x. Aside from some slight stutter during optical lens switching points, the continuous zoom transition within digital zoom ranges is arguably the closest thing to a professional camera currently available on a smartphone. So if the future Samsung Galaxy S27 Ultra really removes the 3x telephoto camera, it could actually improve the video zoom experience further. Fewer optical switching points would theoretically reduce transition jumps and stutters, making the entire zoom range feel even more natural and continuous.

Ice Universe

27,111 görüntüleme • 3 ay önce

Hi Mark -TheWhale- W. (Visionary, Developer) Since you decided to tag me about your "world record" to flex on me (?), and I got that same monitor today, here's me breaking your "world record" on one gen older hardware that I did NOT need to steal from Emil Christensen. Please stop tagging me on your LLM slop and stop believing everything sycophantic LLM's tell you. Also, while you're at it, please stop scamming people, that would be nice. Also, since you claimed I was faking my numbers and I "stole them from a reddit post", here's a 4k video with no cuts of my camera pointing at the screen of the full thing, hitting 1116.9 avg, 362.5 P1, on a 7800x3d and 4090 (unlike your stolen 9950x3d and 5090), at the same resolution, on the same monitor as your "world record", while using normal settings (Dynamic Shadows on All, HDR on Quality, FidelityFX Disabled). I wonder if you were also using realistic settings like this in your run. Thanks, take care! P.S. I do not sell tweaks nor optimizations, I never have, I never will. If you reach out for tweaks/optimizations, I will either ignore you or redirect you to my Discord so I can help you in a public channel if I have time. Everything I did is fully public on my YouTube video or on my Discord. Remember your hard-earned money is valuable, it's a token of your time. Don't waste either money or time on scammers peddling snake oil. It's never worth it.
3:44

Hi Mark -TheWhale- W. (Visionary, Developer) Since you decided to tag me about your "world record" to flex on me (?), and I got that same monitor today, here's me breaking your "world record" on one gen older hardware that I did NOT need to steal from Emil Christensen. Please stop tagging me on your LLM slop and stop believing everything sycophantic LLM's tell you. Also, while you're at it, please stop scamming people, that would be nice. Also, since you claimed I was faking my numbers and I "stole them from a reddit post", here's a 4k video with no cuts of my camera pointing at the screen of the full thing, hitting 1116.9 avg, 362.5 P1, on a 7800x3d and 4090 (unlike your stolen 9950x3d and 5090), at the same resolution, on the same monitor as your "world record", while using normal settings (Dynamic Shadows on All, HDR on Quality, FidelityFX Disabled). I wonder if you were also using realistic settings like this in your run. Thanks, take care! P.S. I do not sell tweaks nor optimizations, I never have, I never will. If you reach out for tweaks/optimizations, I will either ignore you or redirect you to my Discord so I can help you in a public channel if I have time. Everything I did is fully public on my YouTube video or on my Discord. Remember your hard-earned money is valuable, it's a token of your time. Don't waste either money or time on scammers peddling snake oil. It's never worth it.

bardOZ (Giovanni Laerte Frongia)

60,986 görüntüleme • 7 ay önce

Apple Immersive Video Utility quietly dropped on the App Store and inside visionOS — right in the middle of the madness that was NAB 2025. And somehow, we were lucky enough to be among one the very first creators to get hands-on review. We tested it using the new Blackmagic Design URSA Cine Immersive camera and the DaVinci Resolve Immersive Build, and… wow. Let me tell you — the video will show you more than words ever could. But to be totally honest? This is the best immersive image quality I’ve ever seen in my entire career. Yes, even better than Apple’s own immersive content on Apple TV. Not exaggerating. No chromatic aberration. No stereo conflict in the corners. Just pure, comfortable 3D depth with insanely sharp resolution — even in close-up scenes. But what really blew my mind is the progressive immersion system. With Apple new Immersive Video Utility, the same video can shift seamlessly between Spatial Video and Immersive 180 — and the control is entirely in the viewer’s hands. Too much immersion? Click a button, and the same content plays in a 16:9 spatial format. Want to go full 180? One tap and you’re back in immersive mode. There’s no longer a divide between Spatial Video and Immersive 180. They’re now different states of the same media — and that changes everything for filmmakers like us! No more dual camera setup. Just ONE Blackmagic Design URSA Cine Immersive Camera you got both outputs for dual purposes. What do you think on the “Progressive Immersion” concept? Comment below 👇 #AppleVisionPro #immersive180 #spatialvideo
0:58

Apple Immersive Video Utility quietly dropped on the App Store and inside visionOS — right in the middle of the madness that was NAB 2025. And somehow, we were lucky enough to be among one the very first creators to get hands-on review. We tested it using the new Blackmagic Design URSA Cine Immersive camera and the DaVinci Resolve Immersive Build, and… wow. Let me tell you — the video will show you more than words ever could. But to be totally honest? This is the best immersive image quality I’ve ever seen in my entire career. Yes, even better than Apple’s own immersive content on Apple TV. Not exaggerating. No chromatic aberration. No stereo conflict in the corners. Just pure, comfortable 3D depth with insanely sharp resolution — even in close-up scenes. But what really blew my mind is the progressive immersion system. With Apple new Immersive Video Utility, the same video can shift seamlessly between Spatial Video and Immersive 180 — and the control is entirely in the viewer’s hands. Too much immersion? Click a button, and the same content plays in a 16:9 spatial format. Want to go full 180? One tap and you’re back in immersive mode. There’s no longer a divide between Spatial Video and Immersive 180. They’re now different states of the same media — and that changes everything for filmmakers like us! No more dual camera setup. Just ONE Blackmagic Design URSA Cine Immersive Camera you got both outputs for dual purposes. What do you think on the “Progressive Immersion” concept? Comment below 👇 #AppleVisionPro #immersive180 #spatialvideo

Hugh Hou

11,471 görüntüleme • 1 yıl önce

Seedance 2.0 is allowing us to enter a new era of music video creation. Here is how I created HONEY. It was a quick test to see how well this workflow holds up. 🐝 1 - Write your song and generate the music with Suno 5.5. 2 - Use an image generator of your choice. For HONEY I combined both Grok Imagine for aesthetics and Nano Banana Pro for refined editing. 3 - In Capcut I import my audio and just save out a blank video video containing the audio. This step is important because this video file containing audio will now be used with Seedance 2.0 as a video reference with Omni. This allows the AI to apply automatic and realistic lipsync and movement to the music, it's extremely powerful! 4 - Once I have a both my image and video with audio as reference, I use Seedance 2.0 Omni and upload my starting image and then the video reference with the audio. 5 - From here I'm simply prompting like normal, specifying what's happening in my scene with detailed instructions, mentioning multi shots and camera angle changes and then specifying that the person is singing along to the song. I type out the lyrics that are present to have better lipsync accuracy. 6 - Once I have generated a video and like the result, I do video to video, so i upload that video that just got generated and type "The scene continues" and prompt new actions to take place. This allows you to expand on a narrative. These new shots can be used as B-ROLL and since I uploaded my video as reference I have full consistency of everything it saw in the video. This is also extremely powerful. 7 - This is actually the most difficult part. Edit in Capcut. This is where you need to understand pacing and shot selection from all the scenes you generated to bring it all together. You must be strategic with the editing. Goodluck! I'll probably record a video tutorial at some point as it's easier to see what is being done.
0:46

Seedance 2.0 is allowing us to enter a new era of music video creation. Here is how I created HONEY. It was a quick test to see how well this workflow holds up. 🐝 1 - Write your song and generate the music with Suno 5.5. 2 - Use an image generator of your choice. For HONEY I combined both Grok Imagine for aesthetics and Nano Banana Pro for refined editing. 3 - In Capcut I import my audio and just save out a blank video video containing the audio. This step is important because this video file containing audio will now be used with Seedance 2.0 as a video reference with Omni. This allows the AI to apply automatic and realistic lipsync and movement to the music, it's extremely powerful! 4 - Once I have a both my image and video with audio as reference, I use Seedance 2.0 Omni and upload my starting image and then the video reference with the audio. 5 - From here I'm simply prompting like normal, specifying what's happening in my scene with detailed instructions, mentioning multi shots and camera angle changes and then specifying that the person is singing along to the song. I type out the lyrics that are present to have better lipsync accuracy. 6 - Once I have generated a video and like the result, I do video to video, so i upload that video that just got generated and type "The scene continues" and prompt new actions to take place. This allows you to expand on a narrative. These new shots can be used as B-ROLL and since I uploaded my video as reference I have full consistency of everything it saw in the video. This is also extremely powerful. 7 - This is actually the most difficult part. Edit in Capcut. This is where you need to understand pacing and shot selection from all the scenes you generated to bring it all together. You must be strategic with the editing. Goodluck! I'll probably record a video tutorial at some point as it's easier to see what is being done.

Travis Davids

19,236 görüntüleme • 4 ay önce

I FINALLY tried out the ultra-wide display, and I’m sorry, but I refuse to accept that this isn’t already the KILLER feature for the Apple Vision Pro. I edited this entire video on it, and here are my thoughts: 1. Productivity Boosted to the Max: I was so much faster than usual, never needing to switch between any windows. It is so cool. 2. Sharper Display: It’s hard to describe, but the clarity is so much closer to Retina now. Everything feels significantly sharper and more refined. 3. Immersive Experience: You truly feel godlike. This isn’t something my video can capture—you have to experience this massive screen curving around you to really understand what I mean. I used to tell everyone that while I loved the virtual Mac setup for when I’m on the go, I still preferred my 5K Studio Display at home. Well, that’s over, guys. Nothing beats this level of screen size and aspect ratio. #VisionPro #ultrawide
0:57

I FINALLY tried out the ultra-wide display, and I’m sorry, but I refuse to accept that this isn’t already the KILLER feature for the Apple Vision Pro. I edited this entire video on it, and here are my thoughts: 1. Productivity Boosted to the Max: I was so much faster than usual, never needing to switch between any windows. It is so cool. 2. Sharper Display: It’s hard to describe, but the clarity is so much closer to Retina now. Everything feels significantly sharper and more refined. 3. Immersive Experience: You truly feel godlike. This isn’t something my video can capture—you have to experience this massive screen curving around you to really understand what I mean. I used to tell everyone that while I loved the virtual Mac setup for when I’m on the go, I still preferred my 5K Studio Display at home. Well, that’s over, guys. Nothing beats this level of screen size and aspect ratio. #VisionPro #ultrawide

Phil Traut ᯅ

71,136 görüntüleme • 1 yıl önce

🎬 Want to create cinematic AI videos in seconds? Here’s exactly how I do it using Seedance 2.0 on Yapper: Most people get this wrong… your results depend on how well you *direct* the AI. Here’s the workflow 👇 ✅ Step 1: Open Yapper Go to Create → Video ✅ Step 2: Choose your model Select Seedance 2.0 This model delivers smooth motion, dynamic camera angles, realistic lighting, and strong scene consistency. ✅ Step 3: Write a strong prompt Your prompt is your director. Be specific: Camera movement (pan, zoom, tracking shot) Lighting (golden hour, neon, soft shadows) Environment (city, desert, luxury interior) ✅ Step 4: Add a reference image (optional) Use this to guide style, composition, or subject for more control and consistency. ✅ Step 5: Hit Generate In seconds, your idea turns into a cinematic sequence. 🚀 Pro tip: If it’s not perfect, tweak your prompt — small changes = big difference. From idea → cinematic video in seconds.
1:00

🎬 Want to create cinematic AI videos in seconds? Here’s exactly how I do it using Seedance 2.0 on Yapper: Most people get this wrong… your results depend on how well you *direct* the AI. Here’s the workflow 👇 ✅ Step 1: Open Yapper Go to Create → Video ✅ Step 2: Choose your model Select Seedance 2.0 This model delivers smooth motion, dynamic camera angles, realistic lighting, and strong scene consistency. ✅ Step 3: Write a strong prompt Your prompt is your director. Be specific: Camera movement (pan, zoom, tracking shot) Lighting (golden hour, neon, soft shadows) Environment (city, desert, luxury interior) ✅ Step 4: Add a reference image (optional) Use this to guide style, composition, or subject for more control and consistency. ✅ Step 5: Hit Generate In seconds, your idea turns into a cinematic sequence. 🚀 Pro tip: If it’s not perfect, tweak your prompt — small changes = big difference. From idea → cinematic video in seconds.

Kuria | AI

43,685 görüntüleme • 3 ay önce

I tried Seedance Enterprise 2.5 on BytePlus Lumina for a new scene recently, and it was honestly a breath of fresh air. I used to waste so many credits on endless rerolls, but this time I got a usable shot on my second try. It just made the whole process feel way less stressful and way more fun. I was also really surprised by how natural the cinematography looked. The lighting and camera movements didn't feel like typical AI output at all, they had this intentional, deliberate feel, like a real photographer was behind the lens. It made me want to focus on telling the story instead of constantly fixing weird AI glitches. Native 30‑second generation handles complete story arcs in one go, no need to piece together short clips. It supports up to 50 multimodal references and localized editing, keeping characters, scenes, and details consistent across the whole video. That makes the workflow genuinely practical. Another thing I really liked was the workflow. I didn't have to jump between different tabs. I just dropped my references into Lumina and added the score with Seed Audio right there. It feels less like a tech demo and more like an actual toolkit for creators. Seedance 2.5 Official API is now live on BytePlus, and you can try it directly on Lumina.
0:30

I tried Seedance Enterprise 2.5 on BytePlus Lumina for a new scene recently, and it was honestly a breath of fresh air. I used to waste so many credits on endless rerolls, but this time I got a usable shot on my second try. It just made the whole process feel way less stressful and way more fun. I was also really surprised by how natural the cinematography looked. The lighting and camera movements didn't feel like typical AI output at all, they had this intentional, deliberate feel, like a real photographer was behind the lens. It made me want to focus on telling the story instead of constantly fixing weird AI glitches. Native 30‑second generation handles complete story arcs in one go, no need to piece together short clips. It supports up to 50 multimodal references and localized editing, keeping characters, scenes, and details consistent across the whole video. That makes the workflow genuinely practical. Another thing I really liked was the workflow. I didn't have to jump between different tabs. I just dropped my references into Lumina and added the score with Seed Audio right there. It feels less like a tech demo and more like an actual toolkit for creators. Seedance 2.5 Official API is now live on BytePlus, and you can try it directly on Lumina.

Gina Acosta

79,729 görüntüleme • 5 gün önce

Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]
7:50

Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]

DepressedBergman

39,125 görüntüleme • 1 yıl önce

🐱: Right now, I'm getting a lot of messages from people around me and also getting scolded quite a bit. About that moment when I put my hand inside my pants, I wanted to apologize and clarify things to MIDZY. 🐱: Let me sit up straight and be serious for a second 🐱: First of all, that jumpsuit was riding up way too high, and it was genuinely so uncomfortable and painful. I wasn't thinking straight at the moment, I just really needed to pull it down. But looking back at the footage myself, I agree it definitely looked like my hand went in a bit too deep. 🐱: I think I’ve gotten so comfortable around midzy lately that I completely let my guard down on stage and acted without thinking. I am so deeply sorry for that. 🐱: But seriously, it was absolutely the jumpsuit's fault! It was literally trying to split me in half, so I had no choice! Still, I know it was wrong of me to reach into my pants in public, especially on stage. That was my mistake. 🐱: Because of this, my friend made me promise to do some serious self-reflection and repeat this three times: I will never reach into my pants in public, especially on stage, ever again. 🐱: So yeah, that’s where I stand. I’m honestly so disappointed in myself for letting everyone who loves and supports me see me doing something like that. 🐱: But seriously... it really *was* the jumpsuit's fault! 😭 ...Okay, okay, but it was still my bad at the end of the day. 🐱: Next time I have to wear a jumpsuit, I’ll just bring a pair of scissors on stage with me. Just kidding… 🐱: Anyway, that’s the whole story and I just wanted to clarify things with you all.
2:22

Sensitive content

🐱: Right now, I'm getting a lot of messages from people around me and also getting scolded quite a bit. About that moment when I put my hand inside my pants, I wanted to apologize and clarify things to MIDZY. 🐱: Let me sit up straight and be serious for a second 🐱: First of all, that jumpsuit was riding up way too high, and it was genuinely so uncomfortable and painful. I wasn't thinking straight at the moment, I just really needed to pull it down. But looking back at the footage myself, I agree it definitely looked like my hand went in a bit too deep. 🐱: I think I’ve gotten so comfortable around midzy lately that I completely let my guard down on stage and acted without thinking. I am so deeply sorry for that. 🐱: But seriously, it was absolutely the jumpsuit's fault! It was literally trying to split me in half, so I had no choice! Still, I know it was wrong of me to reach into my pants in public, especially on stage. That was my mistake. 🐱: Because of this, my friend made me promise to do some serious self-reflection and repeat this three times: I will never reach into my pants in public, especially on stage, ever again. 🐱: So yeah, that’s where I stand. I’m honestly so disappointed in myself for letting everyone who loves and supports me see me doing something like that. 🐱: But seriously... it really *was* the jumpsuit's fault! 😭 ...Okay, okay, but it was still my bad at the end of the day. 🐱: Next time I have to wear a jumpsuit, I’ll just bring a pair of scissors on stage with me. Just kidding… 🐱: Anyway, that’s the whole story and I just wanted to clarify things with you all.

땡덩표류하다

4,173,827 görüntüleme • 29 gün önce

🤍: Don’t put your mole on the camera! ❤️‍🩹: There’s another one, see? 🤍: Don’t come close, it’ll feel like a couple talking. 🤍: Everyone, my tears are coming out a bit because it’s so funny. 🤍: Do you want me to tell you how I fell off the stage? 🤍: Yeah, before bed, before I send you all to sleep. 🤍: So, okay, I’ll make my face big (full screen). 🤍: So… please don’t laugh too much, just a little bit is enough. 🤍: We know each other’s secrets now. 🤍: Come on! The situation was like this… yeah… 🤍: It was when I was going to do the sound check. 🤍: And the stage… those who have been to this stage, Milk and Love have probably been there. 🤍: You already know, it’s a stage in a stadium. 🤍: Which was like, built up, set up, right? 🤍: And it was during rehearsal, they said, Okay, let’s try a real entrance. 🤍: Let’s try the timing and all that, right? 🤍: Normally we would come up from under the stage, but I walked from the back. 🤍: Suppose this is the stage, right? This is the stage, this is the chair. 🤍: I walked to the front, the side of the stage is right here. 🤍: So, we rehearsed once, then they said, “Okay, let’s try one more time.” 🤍: Okay, suppose… suppose this is the stage, facing the audience. 🤍: I’m on this side. ❤️‍🩹: Yeah, we enter from different sides. 🤍: And I was waiting, right here, by my watch, it was a black curtain, just a curtain. 🤍: I thought this side was also a curtain, and then they turned off the lights. 🤍: And I didn’t have any makeup on, so I was like, Hey, can I borrow your glasses? They’re going to take photos. 🤍: I was like, Let me wear sunglasses.Well, wearing sunglasses, it’s already dark. 🤍: And when the lights went out, I couldn’t see anything at all! 🤍: But I could sense there was a curtain next to me, and I felt like, Ooh, I’ll go hide behind the curtain. 🤍: So it would feel like a surprise entrance, and I would walk out like “Hey!” like that. 🤍: The song , “Hey!”, that used to sing, “Shall we start?”, the one from Girl Rules First EP 🤍: I was getting ready to “Hey!”, like “Hey, hey, hey” in there, practicing the “Hey”, because it takes a while for the music to hit “Hey!” 🤍: I stepped behind the curtain, and I went “Hey!” (screams/falls). 🤍: Everyone thought I was joking because it happened right at the same moment I said “Hey”. ❤️‍🩹: No, I didn’t think you were joking, but I didn’t know what happened. 🤍 I thought you were just warming up your voice, like “Hey!” 🩷 high note, high note. #GirlRulesSeriesEP5 #NamtanFilm #น้ำตาลฟิล์ม Trans (disc)
2:37

🤍: Don’t put your mole on the camera! ❤️‍🩹: There’s another one, see? 🤍: Don’t come close, it’ll feel like a couple talking. 🤍: Everyone, my tears are coming out a bit because it’s so funny. 🤍: Do you want me to tell you how I fell off the stage? 🤍: Yeah, before bed, before I send you all to sleep. 🤍: So, okay, I’ll make my face big (full screen). 🤍: So… please don’t laugh too much, just a little bit is enough. 🤍: We know each other’s secrets now. 🤍: Come on! The situation was like this… yeah… 🤍: It was when I was going to do the sound check. 🤍: And the stage… those who have been to this stage, Milk and Love have probably been there. 🤍: You already know, it’s a stage in a stadium. 🤍: Which was like, built up, set up, right? 🤍: And it was during rehearsal, they said, Okay, let’s try a real entrance. 🤍: Let’s try the timing and all that, right? 🤍: Normally we would come up from under the stage, but I walked from the back. 🤍: Suppose this is the stage, right? This is the stage, this is the chair. 🤍: I walked to the front, the side of the stage is right here. 🤍: So, we rehearsed once, then they said, “Okay, let’s try one more time.” 🤍: Okay, suppose… suppose this is the stage, facing the audience. 🤍: I’m on this side. ❤️‍🩹: Yeah, we enter from different sides. 🤍: And I was waiting, right here, by my watch, it was a black curtain, just a curtain. 🤍: I thought this side was also a curtain, and then they turned off the lights. 🤍: And I didn’t have any makeup on, so I was like, Hey, can I borrow your glasses? They’re going to take photos. 🤍: I was like, Let me wear sunglasses.Well, wearing sunglasses, it’s already dark. 🤍: And when the lights went out, I couldn’t see anything at all! 🤍: But I could sense there was a curtain next to me, and I felt like, Ooh, I’ll go hide behind the curtain. 🤍: So it would feel like a surprise entrance, and I would walk out like “Hey!” like that. 🤍: The song , “Hey!”, that used to sing, “Shall we start?”, the one from Girl Rules First EP 🤍: I was getting ready to “Hey!”, like “Hey, hey, hey” in there, practicing the “Hey”, because it takes a while for the music to hit “Hey!” 🤍: I stepped behind the curtain, and I went “Hey!” (screams/falls). 🤍: Everyone thought I was joking because it happened right at the same moment I said “Hey”. ❤️‍🩹: No, I didn’t think you were joking, but I didn’t know what happened. 🤍 I thought you were just warming up your voice, like “Hey!” 🩷 high note, high note. #GirlRulesSeriesEP5 #NamtanFilm #น้ำตาลฟิล์ม Trans (disc)

Belle

12,242 görüntüleme • 4 ay önce

🐹This was the song I originally had in mind as the title track tbh. It's great for performance and also a style that I like, so I was trying to push the song as the title track, but sadly DSYLM beated it out. But still this song will be so fun to sing at concerts. So I put this song as the 2nd track, hoping to express my love to this song. This song was actually the last one to be completed in this album's work. I think recording for the album concluded around early Feb, but even until the near end of recording the song before this one, I just couldn’t decide on the theme and kept on procrastinatingon this one. I wanted to write the lyrics and work on the theme myself too But on the last day of recording, I thought 'What thinking about performing it on stage'. So I wrote this while thinking about stage performances. When I sing, and the fans sing along with me, commonly called as a group chant/sing. I tried to capture that overwhelming, emotional feeling I get during those group singing moments. Our fans, Army, might relate to it, too but in truth, it’s a song that resonates most deeply with me. I’ve never actually had the chance to see Army from the stage. So I may not really know exactly how you'd fee, but maybe, our members or anyone who performs on stage may be able to feel related to what this song is about. DONT SAY YOU LOVE ME JIN ECHO BY JIN OUT NOW #Dont_Say_You_Love_Me #Jin_Echo #Jin #방탄소년단진 #진
2:09

🐹This was the song I originally had in mind as the title track tbh. It's great for performance and also a style that I like, so I was trying to push the song as the title track, but sadly DSYLM beated it out. But still this song will be so fun to sing at concerts. So I put this song as the 2nd track, hoping to express my love to this song. This song was actually the last one to be completed in this album's work. I think recording for the album concluded around early Feb, but even until the near end of recording the song before this one, I just couldn’t decide on the theme and kept on procrastinatingon this one. I wanted to write the lyrics and work on the theme myself too But on the last day of recording, I thought 'What thinking about performing it on stage'. So I wrote this while thinking about stage performances. When I sing, and the fans sing along with me, commonly called as a group chant/sing. I tried to capture that overwhelming, emotional feeling I get during those group singing moments. Our fans, Army, might relate to it, too but in truth, it’s a song that resonates most deeply with me. I’ve never actually had the chance to see Army from the stage. So I may not really know exactly how you'd fee, but maybe, our members or anyone who performs on stage may be able to feel related to what this song is about. DONT SAY YOU LOVE ME JIN ECHO BY JIN OUT NOW #Dont_Say_You_Love_Me #Jin_Echo #Jin #방탄소년단진 #진

Jiniya지니야_RunSeokjin

23,278 görüntüleme • 1 yıl önce

💬 Do any of you still remember RealPlayer™? Back in the 1990s, websites were just text, links and if you were very lucky some images, but definitely NOT video or audio Internet speeds were extremely slow (think 2.5kb/s, so about 10,000 times slower than an average connection now) so it was simply impossible or it'd take ages to load RealPlayer changed that, they made a heavy compression codec for video and audio where a video could be just a few kilobytes, and with that it instantly became the first app that let people play real audio and video inside websites, it integrated into browsers like Netscape or Internet Explorer so people could embed video and audio on sites, and they did! RealPlayer was so successful that by the year 2000 more than 85% of all audio or video content on the web was in the RealPlayer format The app itself was free for people to use, and they made money by charging for the server software that would stream the video and audio They IPO'd during the internet bubble of the late 90s and were valued at $550 million dollars, which would be $1B inflation-adjusted now, so they were a billion dollar company (That internet bubble by the way has endless parallels with the AI bubble we're probably in today) So why don't you hear about them these days anymore? Well, Microsoft started bundling Windows Media Player with Windows, just like they did bundling Internet Explorer, and they gave away the server software for streaming Windows Media content (like .wma and .wmv) for free This overnight nuked RealPlayer's business, so they sued Microsoft for unfair competition, they won in court in 2005, and Microsoft agreed to pay them $761 million to settle, so I think the founder still got rich from it That same year in 2005, YouTube started and around 2008 the HTML standard added the tag while making most video streaming tech open source, so it wasn't a business anymore RealPlayer stayed public as a company though until actually recently, 2022, when the original founder Rob Glaser bought it back and took it private for about $25 million Obviously nobody needs a video streaming app anymore, it's integrated in all platforms, software, and devices now, so now they seem to be focusing on "AI-powered facial recognition for security professionals" On my site I've installed RealPlayer for you go back into time and try and managed to the get streaming part working too, so you can listen to actual radio show from the 90s about UFOs at Roswell which I found on Jason Scott's Discmaster archives These days we all watch video on YouTube, Instagram, X and TikTok etc. but it all started with RealPlayer 😊
8:03

💬 Do any of you still remember RealPlayer™? Back in the 1990s, websites were just text, links and if you were very lucky some images, but definitely NOT video or audio Internet speeds were extremely slow (think 2.5kb/s, so about 10,000 times slower than an average connection now) so it was simply impossible or it'd take ages to load RealPlayer changed that, they made a heavy compression codec for video and audio where a video could be just a few kilobytes, and with that it instantly became the first app that let people play real audio and video inside websites, it integrated into browsers like Netscape or Internet Explorer so people could embed video and audio on sites, and they did! RealPlayer was so successful that by the year 2000 more than 85% of all audio or video content on the web was in the RealPlayer format The app itself was free for people to use, and they made money by charging for the server software that would stream the video and audio They IPO'd during the internet bubble of the late 90s and were valued at $550 million dollars, which would be $1B inflation-adjusted now, so they were a billion dollar company (That internet bubble by the way has endless parallels with the AI bubble we're probably in today) So why don't you hear about them these days anymore? Well, Microsoft started bundling Windows Media Player with Windows, just like they did bundling Internet Explorer, and they gave away the server software for streaming Windows Media content (like .wma and .wmv) for free This overnight nuked RealPlayer's business, so they sued Microsoft for unfair competition, they won in court in 2005, and Microsoft agreed to pay them $761 million to settle, so I think the founder still got rich from it That same year in 2005, YouTube started and around 2008 the HTML standard added the tag while making most video streaming tech open source, so it wasn't a business anymore RealPlayer stayed public as a company though until actually recently, 2022, when the original founder Rob Glaser bought it back and took it private for about $25 million Obviously nobody needs a video streaming app anymore, it's integrated in all platforms, software, and devices now, so now they seem to be focusing on "AI-powered facial recognition for security professionals" On my site I've installed RealPlayer for you go back into time and try and managed to the get streaming part working too, so you can listen to actual radio show from the 90s about UFOs at Roswell which I found on Jason Scott's Discmaster archives These days we all watch video on YouTube, Instagram, X and TikTok etc. but it all started with RealPlayer 😊

@levelsio

203,157 görüntüleme • 7 ay önce

Here’s how to ACTUALLY block blue light on your iPhone, most of the apps are actually just filtering a narrow spectrum. This method puts it into pure red light mode. This hack has helped my sleep immeasurably. Step 1: Settings > Accessibility > Display and Text Size > Color Filters Step 2: Turn on color filter > Check “Color Tint” Step 3: Slide the “Intensity” and “Hue” bars all the way to the right (this is maximum red and filters all blue light) Step 4: Go back two screens to “accessibility” then click “Accessibility Shortcut” Step 5: Check “Color Filters” - this turns on the “triple click” function that allows for easy On/Off for this setting How to use: Follow the sun - do not turn off the red light filter until you have consumed true natural red light from the sun in the AM for at least 10-15 mins. I usually wait well into the morning and after my morning outdoor walk before I triple click back to “normal view” Once dusk hits, so too should your red light filter return. So in the winter, that’s like 6p where I live… Ideally, you are not consuming screens at least 2 hours before bed for max circadian support. But if you must, make sure you are at least using this one quick easy technique. Our modern tech lives lead to an absolute decimation of our circadian rhythms, which subsequently leads to all sorts of detrimental impacts like low T, insulin resistance, fat gain, and thyroid dysfunction, amongst many others. Follow Zaid K. Dahhaj and Abud Bakri MD for much deeper analysis on these topics.
0:42

Here’s how to ACTUALLY block blue light on your iPhone, most of the apps are actually just filtering a narrow spectrum. This method puts it into pure red light mode. This hack has helped my sleep immeasurably. Step 1: Settings > Accessibility > Display and Text Size > Color Filters Step 2: Turn on color filter > Check “Color Tint” Step 3: Slide the “Intensity” and “Hue” bars all the way to the right (this is maximum red and filters all blue light) Step 4: Go back two screens to “accessibility” then click “Accessibility Shortcut” Step 5: Check “Color Filters” - this turns on the “triple click” function that allows for easy On/Off for this setting How to use: Follow the sun - do not turn off the red light filter until you have consumed true natural red light from the sun in the AM for at least 10-15 mins. I usually wait well into the morning and after my morning outdoor walk before I triple click back to “normal view” Once dusk hits, so too should your red light filter return. So in the winter, that’s like 6p where I live… Ideally, you are not consuming screens at least 2 hours before bed for max circadian support. But if you must, make sure you are at least using this one quick easy technique. Our modern tech lives lead to an absolute decimation of our circadian rhythms, which subsequently leads to all sorts of detrimental impacts like low T, insulin resistance, fat gain, and thyroid dysfunction, amongst many others. Follow Zaid K. Dahhaj and Abud Bakri MD for much deeper analysis on these topics.

Sandeep Palakodeti, MD MPH

207,083 görüntüleme • 2 yıl önce

🚨 “WOW!” Joe Rogan Was Absolutely Mind-Blown By This iPhone/iPad Addiction Hack 🔥 His guest, Chase Hughes, dropped the ultimate parental (and personal) life hack: “I did it on my 2-year-old’s iPad… and nothing is addictive anymore. She won’t sit there and stare at it for more than 3 or 4 minutes anymore.” Joe’s reaction? A shocked “Whoaa!” The trick? A simple red color tint filter in your device’s Accessibility settings. It strips away the bright, colorful, dopamine-spiking visuals that keep us (and kids) glued to screens, while also cutting blue light for better sleep. One quick change. Massive difference in screen time and focus. Try it yourself: 1Settings → Accessibility → Display & Text Size → Color Filters 2Turn on Color Filters → Color Tint 3Slide Hue all the way to red + max Intensity Works on iPhone and iPad. You can even set a triple-click shortcut to toggle it instantly.
0:58

🚨 “WOW!” Joe Rogan Was Absolutely Mind-Blown By This iPhone/iPad Addiction Hack 🔥 His guest, Chase Hughes, dropped the ultimate parental (and personal) life hack: “I did it on my 2-year-old’s iPad… and nothing is addictive anymore. She won’t sit there and stare at it for more than 3 or 4 minutes anymore.” Joe’s reaction? A shocked “Whoaa!” The trick? A simple red color tint filter in your device’s Accessibility settings. It strips away the bright, colorful, dopamine-spiking visuals that keep us (and kids) glued to screens, while also cutting blue light for better sleep. One quick change. Massive difference in screen time and focus. Try it yourself: 1Settings → Accessibility → Display & Text Size → Color Filters 2Turn on Color Filters → Color Tint 3Slide Hue all the way to red + max Intensity Works on iPhone and iPad. You can even set a triple-click shortcut to toggle it instantly.

Skint Eastwood

2,033,783 görüntüleme • 1 ay önce