David Sandberg has responded and said “This was an internal promo video that was never supposed to be seen by the public. I feel bad because it contains a bunch of plot points and temp VFX,” Sandberg told Variety in a statement. “I hope at least people can see the passion that we poured into the movie, the world deserves to see it as it was meant to be seen. This movie has been held hostage for the past 5 years but I promise to keep fighting for it and make sure this film gets the chance it truly deserves.”
Immersive video offers a 6-Dof-free viewing experience, potentially playing a key role in future video technology. Recently, 4D Gaussian Splatting has gained attention as an effective approach for immersive video due to its high rendering efficiency and quality, though maintaining quality with manageable storage remains challenging. To address this, we introduce GIFStream, a novel 4D Gaussian representation using a canonical space and a deformation field enhanced with time-dependent feature streams. These feature streams enable complex motion modeling and allow efficient compression by leveraging their motion-awareness and temporal correspondence. Additionally, we incorporate both temporal and spatial compression networks for endto-end compression.
Experimental results show that GIFStream delivers high-quality immersive video at 30 Mbps, with real-time rendering and fast decoding on an RTX 4090.
DB Browser for SQLite (DB4S) is a high quality, visual, open source tool designed for people who want to create, search, and edit SQLite or SQLCipher database files. DB4S gives a familiar spreadsheet-like interface on the database in addition to providing a full SQL query facility. It works with Windows, macOS, and most versions of Linux and Unix. Documentation for the program is on the wiki.
If you’re serious about AI Agents, this is the guide you’ve been waiting for. It’s packed with everything you need to build powerful AI agents. It follows a very hands-on approach that cuts down your time and avoids the common mistakes most developers make.
Andreas Horn on AI Agents vs Agentic AI
1. 𝗔𝗜 𝗔𝗴𝗲𝗻𝘁𝘀: 𝗧𝗼𝗼𝗹𝘀 𝘄𝗶𝘁𝗵 𝗔𝘂𝘁𝗼𝗻𝗼𝗺𝘆, 𝗪𝗶𝘁𝗵𝗶𝗻 𝗟𝗶𝗺𝗶𝘁𝘀 ➜ AI agents are modular, goal-directed systems that operate within clearly defined boundaries. They’re built to: * Use tools (APIs, browsers, databases) * Execute specific, task-oriented workflows * React to prompts or real-time inputs * Plan short sequences and return actionable outputs
But even the most advanced are limited by scope. They don’t initiate. They don’t collaborate. They execute what we ask!
2. 𝗔𝗴𝗲𝗻𝘁𝗶𝗰 𝗔𝗜: 𝗔 𝗦𝘆𝘀𝘁𝗲𝗺 𝗼𝗳 𝗦𝘆𝘀𝘁𝗲𝗺𝘀 ➜ Agentic AI is an architectural leap. It’s not just one smarter agent — it’s multiple specialized agents working together toward shared goals. These systems exhibit: * Multi-agent collaboration * Goal decomposition and role assignment * Inter-agent communication via memory or messaging * Persistent context across time and tasks * Recursive planning and error recovery * Distributed orchestration and adaptive feedback
Agentic AI systems don’t just follow instructions. They coordinate. They adapt. They manage complexity.
“If you produce YouTube content or do any work with intellectual property or copyrighted material, then a thorough understanding of fair use copyright law may be absolutely vital.”
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Petroleum jelly
This crude but reasonably effective technique involves smearing petroleum jelly (“Vaseline”) on a plate of glass in front of the camera lens, also known as vaselensing, then cleaning and reapplying it after each shot — a time-consuming process, but one which creates a blur around the model. This technique was used for the endoskeleton in The Terminator. This process was also employed by Jim Danforth to blur the pterodactyl’s wings in Hammer Films’ When Dinosaurs Ruled the Earth, and by Randal William Cook on the terror dogs sequence in Ghostbusters.[citation needed]
Bumping the puppet
Gently bumping or flicking the puppet before taking the frame will produce a slight blur; however, care must be taken when doing this that the puppet does not move too much or that one does not bump or move props or set pieces.
Moving the table
Moving the table on which the model is standing while the film is being exposed creates a slight, realistic blur. This technique was developed by Ladislas Starevich: when the characters ran, he moved the set in the opposite direction. This is seen in The Little Parade when the ballerina is chased by the devil. Starevich also used this technique on his films The Eyes of the Dragon, The Magical Clock and The Mascot. Aardman Animations used this for the train chase in The Wrong Trousers and again during the lorry chase in A Close Shave. In both cases the cameras were moved physically during a 1-2 second exposure. The technique was revived for the full-length Wallace & Gromit: The Curse of the Were-Rabbit.
Go motion
The most sophisticated technique was originally developed for the film The Empire Strikes Back and used for some shots of the tauntauns and was later used on films like Dragonslayer and is quite different from traditional stop motion. The model is essentially a rod puppet. The rods are attached to motors which are linked to a computer that can record the movements as the model is traditionally animated. When enough movements have been made, the model is reset to its original position, the camera rolls and the model is moved across the table. Because the model is moving during shots, motion blur is created.
A variation of go motion was used in E.T. the Extra-Terrestrial to partially animate the children on their bicycles.
