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🎤: We really were expecting the unexpected tomorrow from that kind of starting position because he's not gonna disappear off into the distance. What are you takes? You were hoping the tow from max today as well.. GR: Yeah, I mean it was a subtle hint to the Red...

74,234 次观看 • 8 个月前 •via X (Twitter)

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Sergey Brin on AI and Jeff Dean back in December when Gemini peaked: “I would say in some ways we for sure messed up in that we underinvested and sort of didn't take it as seriously as we should have, say, eight years ago when we published the Transformer paper. We actually didn't take it all that seriously and didn't necessarily invest in scaling the compute. And also we were too scared to bring it to people because chatbots say dumb things. And, you know, OpenAI ran with it, which is good for them. It was a super smart insight, and it was also our people like Ilya who went there to do that. But I do think we still have benefited from that long history. So we had a lot of the research and development of neural networks kind of going back to Google Brain. That was also kind of lucky. It wasn't luck that we hired Jeff Dean. I mean, we were lucky to get him. But we were in this sort of mindset that deep technical things matter. And so we hired him. We hired a lot of people from DEC, honestly, because they had the top research labs at the time. But he [Jeff Dean] was passionate about neural networks. And it stemmed, I think, from actually his college experiment. I don't know. He was like, whatever, curing third world disease and figuring out neural networks when he was like 16. He's done crazy things. But he was passionate about it. He built up a whole effort. And actually in my division at the time in Google X. We had him but I didn't I was like okay Jeff you do whatever you want. He's like oh we can tell cats from dogs. I'm like oh okay cool. But you know, you also trust your technical people and soon enough they were developing all these algorithms these neural nets that were doing some of our search. And then, you know, Noam came up with a transformer and we were able to do more and more. But yeah, I mean, so we had the underpinnings, we had the R&D. We did underinvest for a number of years and didn't take it as seriously as we should have.” Both Jeff Dean and Noam Shazeer left Google in the past two months.

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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.'

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23,149 次观看 • 7 个月前