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Wood master

Ahmed

1,504 subscribers

679,462 просмотров • 5 дней назад •via X (Twitter)

Наука и технологии

Anya Rossi• Live Now

Private livecam show

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And this is not a mistake for sure." ----------------Partial transcription of clip--------------- Wood: "This is so deep at this point. I'm still kind of figuring out where all of these connections are. But we see John Don Jr. JD Vance, Charlie Kirk, Tucker Carlson." Howse: "Wait a minute. Charlie Kirk was at this meeting? Wood: "Not exactly, but he was one of the first investors in the 1789 capital firm." Howse: "Was he really?" Wood: "Yes, he was. [And] this basically kind of debunks the idea that, he had a brush-in with Peter Thiel when he was in college, or before he went to college." Howse: "And you're, talking about JD Vance now?" Wood: "No, I'm talking about Charlie Kirk. Okay. Ch— Charlie Kirk, applied for a grant from Peter Thiel. He didn't get it, but nevertheless he was there, okay? When he was under 20 years old. So I would have dismissed that. Okay, he did it, he lost, and he didn't get anywhere. 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So their idea was to invest in non-Woke companies and that included I guess, TCN, that was the first thing they put money into. But they've invested in other companies since. So it's been very profitable for the people who did this. And now we see that Omeed Malik. Malik Perhaps, he's the CEO of 1789 Capital." Howse: "Let me go back to the article. It says, the impact of Rockbridge and Super PACS on the 2024 election is not well understood. Rockbridge's affiliated Super PAC. Turnout for America was one of a handful of groups that canvassed swing states on behalf of the Trump campaign, including Charlie Kirk's Turning Point Action. Turnout for America spent 34.5 million on the 2024 cycle, according to FCC records. Far less than the 261 million from Elon Musk and America's PAC. So what you're seeing is they worked very hard to get Donald Trump elected. Is this why we're seeing Donald Trump go so big with the Tech Bros?" Wood: "Apparently so. It seems. You know, it seems like this whole— This whole thing was architected by Peter Thiel in the first place. We document this in our book the Final Betrayal. We write a lot about Peter Thiel and documenting exactly where he came from, how he's done all this stuff, how he strategized. He's a master strategist for sure. But he was. We see Peter Thiel in everything going back at least 25 years, starting with the PayPal mafia. And now he's just everywhere you look. And all of a sudden he shows up here in this story where, where he's with J.D. Vance and Tucker Carlson and Charlie Kirk, et cetera, et cetera, et cetera. He's everywhere, it seems like. And, this is not a mistake for sure." Howse: "So what do you think the goal and objective is of these folks? Is it just technocracy?" Wood: "Absolutely. Absolutely. So these people, they're. Well, they're one column for sure. There's other people who want to take over the country as well and take over the world. Like the old song says, everybody wants to take over the world." Howse: "Do you think it's possible that Charlie Kirk got into this and saw what was going on, was about to blow the whistle on any of this?" Wood: "This is a good possibility. I wouldn't say that outright, but I think I'm, I'm thinking it, Okay?"

MIND BLOWING 🤯 Patrick Wood connects J.D. Vance, Don Trump Jr., Charlie Kirk, and Peter Thiel via the 1789 capital firm. The firm's first investment? Tucker Carlson. Howse: "What do you think the goal and objective is of these folks? ...Technocracy?" Wood: "Absolutely." This clip of Patrick Wood (Patrick Wood), an economic and market forecaster, speaker, and author of Technocracy Rising: The Trojan Horse of Global Transformation and Technocracy: The Hard Road to World Order, is taken from an interview with Brannon Howse (Brannon Howse) posted to YouTube on November 7, 2025. Note that Wood says that "We see Peter Thiel in everything going back at least 25 years, starting with the PayPal mafia. And now he's just everywhere you look. And all of a sudden he shows up here in this story where he's with J.D. Vance and Tucker Carlson and Charlie Kirk, et cetera, et cetera, et cetera. He's everywhere, it seems like. And this is not a mistake for sure." ----------------Partial transcription of clip--------------- Wood: "This is so deep at this point. I'm still kind of figuring out where all of these connections are. But we see John Don Jr. JD Vance, Charlie Kirk, Tucker Carlson." Howse: "Wait a minute. Charlie Kirk was at this meeting? Wood: "Not exactly, but he was one of the first investors in the 1789 capital firm." Howse: "Was he really?" Wood: "Yes, he was. [And] this basically kind of debunks the idea that, he had a brush-in with Peter Thiel when he was in college, or before he went to college." Howse: "And you're, talking about JD Vance now?" Wood: "No, I'm talking about Charlie Kirk. Okay. Ch— Charlie Kirk, applied for a grant from Peter Thiel. He didn't get it, but nevertheless he was there, okay? When he was under 20 years old. So I would have dismissed that. Okay, he did it, he lost, and he didn't get anywhere. But now it comes out there was a relationship all along with Peter thiel because the 1789 capital fund included Peter Thiel as well. He's one of the architects of it, if you will. And he was a friend of all these people, including J.D. Vance. And of course J.D. Vance is his protege. But now it appears that Charlie Kirk knew exactly what he was doing with Peter Thiel and he dumped a lot of money into the 1789 capital fund." Howse: "And you have that documented?" Wood: "Yep. Well, it's in this doc. It's in this article. It said plainly, says he, he was one of the first investors." Howse: "And what was the— What is the goal of this organization that you say he and others were investing in?" Wood: "Well, this was, this is a venture capital company and you know, they invest in companies. Like the first investment they made was to fund What was Carlson's network? TCN, I think it was, right? ...That was their first investment. So their idea was to invest in non-Woke companies and that included I guess, TCN, that was the first thing they put money into. But they've invested in other companies since. So it's been very profitable for the people who did this. And now we see that Omeed Malik. Malik Perhaps, he's the CEO of 1789 Capital." Howse: "Let me go back to the article. It says, the impact of Rockbridge and Super PACS on the 2024 election is not well understood. Rockbridge's affiliated Super PAC. Turnout for America was one of a handful of groups that canvassed swing states on behalf of the Trump campaign, including Charlie Kirk's Turning Point Action. Turnout for America spent 34.5 million on the 2024 cycle, according to FCC records. Far less than the 261 million from Elon Musk and America's PAC. So what you're seeing is they worked very hard to get Donald Trump elected. Is this why we're seeing Donald Trump go so big with the Tech Bros?" Wood: "Apparently so. It seems. You know, it seems like this whole— This whole thing was architected by Peter Thiel in the first place. We document this in our book the Final Betrayal. We write a lot about Peter Thiel and documenting exactly where he came from, how he's done all this stuff, how he strategized. He's a master strategist for sure. But he was. We see Peter Thiel in everything going back at least 25 years, starting with the PayPal mafia. And now he's just everywhere you look. And all of a sudden he shows up here in this story where, where he's with J.D. Vance and Tucker Carlson and Charlie Kirk, et cetera, et cetera, et cetera. He's everywhere, it seems like. And, this is not a mistake for sure." Howse: "So what do you think the goal and objective is of these folks? Is it just technocracy?" Wood: "Absolutely. Absolutely. So these people, they're. Well, they're one column for sure. There's other people who want to take over the country as well and take over the world. 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🚨 Cathie Wood on Elon Musk and Tesla: "Elon Musk was talking about autonomous mobility and his master plan years ago, and here we are, finally, he launched this year. Autonomous mobility will be the biggest revenue generator. I can drive around in St Petersburg with my current Tesla full self driving, and not touch the wheel or the accelerator or the brake, and I can park. Because, of course, Tesla's data is worldwide. The roughly seven to 8 million robots that we all drive have been collecting data for years. I got my first Tesla Model 3 in 2018 and it has been collecting data every day and sending it back to Tesla. So Tesla knows the world's roads, from a data point of view, we think better than any other auto manufacturer or technology company out there."

🚨 Cathie Wood on Elon Musk and Tesla: "Elon Musk was talking about autonomous mobility and his master plan years ago, and here we are, finally, he launched this year. Autonomous mobility will be the biggest revenue generator. I can drive around in St Petersburg with my current Tesla full self driving, and not touch the wheel or the accelerator or the brake, and I can park. Because, of course, Tesla's data is worldwide. The roughly seven to 8 million robots that we all drive have been collecting data for years. I got my first Tesla Model 3 in 2018 and it has been collecting data every day and sending it back to Tesla. So Tesla knows the world's roads, from a data point of view, we think better than any other auto manufacturer or technology company out there."

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The Godslayer | Official Gameplay Reveal Full Video ▶️ ▪️Developed by Pathea Games, coming to PS5, Xbox and PC ▪️Steampunk action RPG that takes place in the Zhou Kingdom Celestials created the world and its inhabitants, energy known as "qi" passes to Celestials upon death ▪️Some humans discovered how to harness qi, called "Elemancers", punished by Celestials for 'misuse' of what was rightfully theirs by assassinating the king and hunting them down - event known as the "God Fall" ▪️You play as Cheng, whose family was brutally murdered during the God Fall ▪️Cheng joins the Star Fall Society, led by the "Master" and supported by other skilled Elemancers to take down the Celestials ▪️Steampunk world at its height in technology, airships, steamboats, monorails, steam vehicles etc ▪️Harness elemental powers that 'interact dynamically' in battle - fire consumes wood, water extinguishes fire, earth can obstruct ▪️Multiple factions "with their own interests at heart", cultivate allies, trade in favors, and "bribe the right officials" to get advantages against the Celestials

Shinobi602

162,984 просмотров • 8 месяцев назад

tell me this isn't real GoPro footage.. catch it, clean it, grill it, eat it, all 100% AI with Seedance 2.5 prompt👇 SCENE CONTEXT POV river-to-campfire sequence at a jade-green alpine river through birch/cedar forest, late-afternoon light. A trout is caught, cleaned, seasoned, grilled over an open fire, then eaten, with one sip from a glass bottle while it cooks. 30s, four continuous segments, three hard cuts, real chest-mounted action camera. ACTIVE REFERENCES Veranstaltungsräume: jade-green river, granite boulders, gravel bar, stone fire-ring, tree-stump table, birch/cedar tree line, faint peaks. 100% matches reference. Hannah Sykes: sun-tanned forearms, light-blond arm hair, olive sleeve rolled to elbow, braided wrist cord. Same fly rod, folding knife, wood board, wire grill basket, plain glass bottle, brown fizzy liquid, no label. 100% matches reference. LOCATION MAP Segment A: river foreground, tree line behind. Segments B-D: gravel bar foreground, fire-ring and stump table midground, tree line and peaks background. POV chest-to-eye height, moving only with the body. Key light low, behind camera-left. FIRST FRAME / BLOCKING Non-empty opening frame: already mid-cast, rod raised, line already peeling off the reel. Water fills the lower two-thirds, forest/sky the top third. FORMAT MODE Controlled multi-shot, three HARD CUTs, camera does not cut anywhere else: A (0-9s) river, one continuous take. HARD CUT. B (9-21s) board, one continuous take. HARD CUT. C (21-27s) fire, one continuous take. HARD CUT. D (27-30s) eating, one continuous take. OPTICS 84° in A easing to 63° through the fight. 63° easing to 18° across B. 63° opening to 29° in C. 29° held in D. No drift within any segment. CAMERA Chest-height POV, moving only with body motion — forward stroke on the cast, downward tilt on the knife and grate, forward lean when hands work close. Soft highlight roll-off on bright water and hot metal. ACTION A: rod arcs, line whistles; tip snaps down as the trout strikes; rod pumps, reel clicking, fish surfacing closer each pump; hand closes behind the gills, lifts the fish clear, holds it still one beat as water streams off. B: boots cross the gravel, fish set on the board, knife meets scales, scrapes tail to head; one clean line opens the belly, organs lift free; fish rinses in the shallows, pink cloud drifting off; salt, pepper, herbs scatter over the flesh; fish folds into the basket, latch clacks. C: kindling catches from a breath, flame licks up; basket lowers onto the grate, skin bubbles and browns, smoke lifts. D: bottle tips up for one swallow; fork pauses a half-second at the flesh before splitting it open, steam lifting as a piece rises toward camera, one quiet exhale closing the shot. PERFORMANCE Hands stay continuously busy with real working tasks, never idle. Pore-level realism: vellus arm hair in the breeze, capillary flush from cold water. Movements read practiced, unhurried, one deliberate pause at the fish-lift and one at the first bite, restrained and human, never cartoonish. PHYSICS No floating props. Correct contact shadows under every prop, every segment. Water carries real weight and splash. Fire holds true flicker, heat-shimmer, smoke on a light breeze. Mass and inertia carry through the rod bend, the fish's thrashing and the latch. LIGHTING WB locked 5600K, warm low sun behind camera-left as key, cool sky fill through A-B. From C onward, ember-orange fire light adds a low rim on hands and fish alongside the same key. COLOR GRADE Cool jade-green river/forest in A, warm honey wood and pale gravel in B, ember-orange fire glow and seared skin in C-D. Color tied to source and surface, not a flat list. AUDIO Warm acoustic guitar bed under everything, mixed low, sitting quietly beneath the natural sound. Diegetic: river current and line-whistle opening A, splash and reel-drag through the fight; gravel footsteps opening B, knife-on-wood, one clean cut sound, rinse-splash, hinge-click closing it; twig-snap opening C, crackle into sizzle; glass clink and swallow opening D, fork scrape, steam hiss, one quiet chuckle closing the shot. No subtitles. STYLE 8K photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Naturalistic master cinematography, fine film grain, true action-camera color science. OUTPUT SETTINGS Real-time throughout, no speed ramping, FOV holds exactly as stated per segment with no drift across any hard cut. POSITIVE LOCKS Same hands, sleeve and wrist cord across all four segments. Same rod, knife, board, basket and bottle, no substitutions across any cut. Same river, gravel bar and fire-ring geometry held across every segment. Fish skin and flesh stay anatomically real. Eyes stay natural — no eye glow. Contact shadows read clearly every segment. No logos, no UI, no subtitles anywhere in frame.

tell me this isn't real GoPro footage.. catch it, clean it, grill it, eat it, all 100% AI with Seedance 2.5 prompt👇 SCENE CONTEXT POV river-to-campfire sequence at a jade-green alpine river through birch/cedar forest, late-afternoon light. A trout is caught, cleaned, seasoned, grilled over an open fire, then eaten, with one sip from a glass bottle while it cooks. 30s, four continuous segments, three hard cuts, real chest-mounted action camera. ACTIVE REFERENCES Veranstaltungsräume: jade-green river, granite boulders, gravel bar, stone fire-ring, tree-stump table, birch/cedar tree line, faint peaks. 100% matches reference. Hannah Sykes: sun-tanned forearms, light-blond arm hair, olive sleeve rolled to elbow, braided wrist cord. Same fly rod, folding knife, wood board, wire grill basket, plain glass bottle, brown fizzy liquid, no label. 100% matches reference. LOCATION MAP Segment A: river foreground, tree line behind. Segments B-D: gravel bar foreground, fire-ring and stump table midground, tree line and peaks background. POV chest-to-eye height, moving only with the body. Key light low, behind camera-left. FIRST FRAME / BLOCKING Non-empty opening frame: already mid-cast, rod raised, line already peeling off the reel. Water fills the lower two-thirds, forest/sky the top third. FORMAT MODE Controlled multi-shot, three HARD CUTs, camera does not cut anywhere else: A (0-9s) river, one continuous take. HARD CUT. B (9-21s) board, one continuous take. HARD CUT. C (21-27s) fire, one continuous take. HARD CUT. D (27-30s) eating, one continuous take. OPTICS 84° in A easing to 63° through the fight. 63° easing to 18° across B. 63° opening to 29° in C. 29° held in D. No drift within any segment. CAMERA Chest-height POV, moving only with body motion — forward stroke on the cast, downward tilt on the knife and grate, forward lean when hands work close. Soft highlight roll-off on bright water and hot metal. ACTION A: rod arcs, line whistles; tip snaps down as the trout strikes; rod pumps, reel clicking, fish surfacing closer each pump; hand closes behind the gills, lifts the fish clear, holds it still one beat as water streams off. B: boots cross the gravel, fish set on the board, knife meets scales, scrapes tail to head; one clean line opens the belly, organs lift free; fish rinses in the shallows, pink cloud drifting off; salt, pepper, herbs scatter over the flesh; fish folds into the basket, latch clacks. C: kindling catches from a breath, flame licks up; basket lowers onto the grate, skin bubbles and browns, smoke lifts. D: bottle tips up for one swallow; fork pauses a half-second at the flesh before splitting it open, steam lifting as a piece rises toward camera, one quiet exhale closing the shot. PERFORMANCE Hands stay continuously busy with real working tasks, never idle. Pore-level realism: vellus arm hair in the breeze, capillary flush from cold water. Movements read practiced, unhurried, one deliberate pause at the fish-lift and one at the first bite, restrained and human, never cartoonish. PHYSICS No floating props. Correct contact shadows under every prop, every segment. Water carries real weight and splash. Fire holds true flicker, heat-shimmer, smoke on a light breeze. Mass and inertia carry through the rod bend, the fish's thrashing and the latch. LIGHTING WB locked 5600K, warm low sun behind camera-left as key, cool sky fill through A-B. From C onward, ember-orange fire light adds a low rim on hands and fish alongside the same key. COLOR GRADE Cool jade-green river/forest in A, warm honey wood and pale gravel in B, ember-orange fire glow and seared skin in C-D. Color tied to source and surface, not a flat list. AUDIO Warm acoustic guitar bed under everything, mixed low, sitting quietly beneath the natural sound. Diegetic: river current and line-whistle opening A, splash and reel-drag through the fight; gravel footsteps opening B, knife-on-wood, one clean cut sound, rinse-splash, hinge-click closing it; twig-snap opening C, crackle into sizzle; glass clink and swallow opening D, fork scrape, steam hiss, one quiet chuckle closing the shot. No subtitles. STYLE 8K photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Naturalistic master cinematography, fine film grain, true action-camera color science. OUTPUT SETTINGS Real-time throughout, no speed ramping, FOV holds exactly as stated per segment with no drift across any hard cut. POSITIVE LOCKS Same hands, sleeve and wrist cord across all four segments. Same rod, knife, board, basket and bottle, no substitutions across any cut. Same river, gravel bar and fire-ring geometry held across every segment. Fish skin and flesh stay anatomically real. Eyes stay natural — no eye glow. Contact shadows read clearly every segment. No logos, no UI, no subtitles anywhere in frame.

Abdul Șhakoor

55,994 просмотров • 3 дней назад