o3-mini does not support vision capabilities, so developers should continue using OpenAI o1 for visual reasoning tasks.
ChatGPT Plus, Team, and Pro users can access OpenAI o3-mini starting today, with Enterprise access coming in February. o3-mini will replace OpenAI o1-mini in the model picker, offering higher rate limits and lower latency, making it a compelling choice for coding, STEM, and logical problem-solving tasks.
As part of this upgrade, we’re tripling the rate limit for Plus and Team users from 50 messages per day with o1-mini to 150 messages per day with o3-mini.
Starting today, free plan users can also try OpenAI o3-mini by selecting ‘Reason’ in the message composer or by regenerating a response. This marks the first time a reasoning model has been made available to free users in ChatGPT.
Benchmarks don’t capture real-world complexity like latency, domain-specific tasks, or edge cases. Enterprises often need more than raw performance, also needing reliability, ease of integration, and robust vendor support. Enterprise money will support the industries providing these services.
… it is also reasonable to assume that anything you put into the app or their website will be going to the Chinese government as well, so factor that in as well.
2019 – Roger Deakins, 1917
2018 – Alfonso Cuarón, Roma
2017 – Roger Deakins, Blade Runner 2049
2016 – Linus Sandgren, La La Land
2015 – Emmanuel Lubezki, The Revenant
2014 – Emmanuel Lubezki, Birdman or (The Unexpected Virtue of Ignorance)
2013 – Emmanuel Lubezki, Gravity
2012 – Claudio Miranda, Life of Pi
2011 – Robert Richardson, Hugo
2010 – Wally Pfister, Inception
2009 – Mauro Fiore, Avatar
2008 – Anthony Dod Mantle, Slumdog Millionaire
2007 – Robert Elswit, There Will Be Blood
2006 – Guillermo Navarro, Pan’s Labyrinth
2005 – Dion Beebe, Memoirs of a Geisha
2004 – Robert Richardson, The Aviator
2003 – Russell Boyd, Master and Commander: The Far Side of the World
2002 – Conrad L. Hall, Road to Perdition
2001 – Andrew Lesnie, The Lord of the Rings: The Fellowship of the Ring
2000 – Peter Pau, Crouching Tiger, Hidden Dragon
1999 – Conrad L. Hall, American Beauty
1998 – Janusz Kamiński, Saving Private Ryan
1997 – Russell Carpenter, Titanic
1996 – John Seale, The English Patient
1995 – John Toll, Braveheart
1994 – John Toll, Legends of the Fall
1993 – Janusz Kamiński, Schindler’s List
1992 – Phillipe Rousselot, A River Runs Through It
1991 – Robert Richardson, JFK
1990 – Dean Semler, Dances with Wolves
1989 – Freddie Francis, Glory
1988 – Peter Biziou, Mississippi Burning
1987 – Vittorio Storaro, The Last Emperor
1986 – Chris Menges, The Mission
1985 – David Watkin, Out of Africa
1984 – Chris Menges, The Killing Fields
1983 – Sven Nykvist, Fanny and Alexander
1982 – Billy Williams, Ronnie Taylor, Gandhi
1981 – Vittorio Storaro, Reds
1980 – Geoffrey Unsworth, Ghislain Cloquet, Tess
1979 – Vittorio Storaro, Apocalypse Now
1978 – Néstor Almendros, Days of Heaven
1977 – Vilmos Zsigmond, Close Encounters of the Third Kind
1976 – Haskell Wexler, Bound for Glory
1975 – John Alcott, Barry Lyndon
1974 – Fred J. Koenekamp, Joseph Biroc, The Towering Inferno
1973 – Sven Nykvist, Cries and Whispers
1972 – Geoffrey Unsworth, Cabaret
1971 – Oswald Morris, Fiddler on the Roof
1970 – Freddie Young, Ryan’s Daughter
1969 – Conrad Hall, Butch Cassidy and the Sundance Kid
1968 – Pasqualino De Santis, Romeo and Juliet
1967 – Burnett Guffey, Bonnie and Clyde
1966 – Ted Moore, (Color) A Man for All Seasons
Haskell Wexler, (B&W) Who’s Afraid of Virginia Woolf?
1965 – Freddie Young, (Color) Doctor Zhivago
(Ernest Laszlo), (B&W) Ship of Fools
1964 – Harry Stradling, (Color) My Fair Lady (
Walter Lassally, (B&W) Zorba the Greek
1963 – Leon Shamroy, (Color) Cleopatra
James Wong Howe, (B&W) Hud
1962 – Freddie Young, (Color) Lawrence of Arabia
Jean Bourgoin, Walter Wottitz, (B&W) The Longest Day
1961 – Daniel L. Fapp, (Color) West Side Story
Eugen Schüfftan, (B&W) The Hustler
1960 – Russell Metty, (Color) Spartacus
Freddie Francis, (B&W) Sons and Lovers
1959 – Robert Surtees, (Color) Ben-Hur
William C. Mellor, (B&W) The Diary of Anne Frank
1958 – Joseph Ruttenberg, (Color) Gigi
Sam Leavitt, (B&W) The Defiant Ones
1957 – Jack Hildyard, The Bridge on the River Kwai
1956 – Lionel Lindon, (Color) Around the World in 80 Days
Joseph Ruttenberg, (B&W) Somebody Up There Likes Me
1955 – Robert Burks, (Color) To Catch a Thief
James Wong Howe, (B&W) The Rose Tattoo
1954 – Milton Krasner, (Color) Three Coins in the Fountain
Boris Kaufman, (B&W) On the Waterfront
1953 – Loyal Griggs, (Color) Shane
Burnett Guffey, (B&W) From Here to Eternity
1952 – Winton C. Hoch, Archie Stout, (Color) The Quiet Man
Robert Surtees, (B&W) The Bad and the Beautiful
1951 – Alfred Gilks, John Alton, (Color) An American in Paris
William C. Mellor, (B&W) A Place in the Sun
1950 – Robert Surtees, (Color) King Solomon’s Mines
Robert Krasker, (B&W) The Third Man
1949 – Winton C. Hoch, (Color) She Wore a Yellow Ribbon
Paul C. Vogel, (B&W) Battleground
1948 – Joseph Valentine, William V. Skall, Winton C. Hoch, (Color) Joan of Arc
William Daniels, (B&W) The Naked City
1947 – Jack Cardiff, (Color) Black Narcissus
Guy Green, (B&W) Great Expectations
1946 – Charles Rosher, Leonard Smith, Arthur Arling, (Color) The Yearling
Arthur C. Miller, (B&W) Anna and the King of Siam
1945 – Leon Shamroy, (Color) Leave Her to Heaven
Harry Stradling, (B&W) The Picture of Dorian Gray
1944 – Leon Shamroy, (Color) Wilson
Joseph LaShelle, (B&W) Laura
1943 – Hal Mohr, W. Howard Greene, (Color) Phantom of the Opera
Arthur C. Miller, (B&W) The Song of Bernadette
1942 – Leon Shamroy, (Color) The Black Swan
Joseph Ruttenberg, (B&W) Mrs. Miniver
1941 – Ernest Haller, Ray Rennahan, (Color) Blood and Sand
Arthur C. Miller, (B&W) How Green Was My Valley
1940 – George Périnal, (Color) Thief of Bagdad
George Barnes, (B&W) Rebecca
1939 – Ernest Haller, Ray Rennahan, (Color) Gone with the Wind
Gregg Toland, (B&W) Wuthering Heights
1938 – Oliver T. Marsh, Allen Davey, (Color) Sweethearts
Joseph Ruttenberg, (B&W) The Great Waltz
1937 – W. Howard Greene, (Color) A Star is Born
Karl Freund, (B&W) The Good Earth
1936 – W. Howard Greene, Harold Rossen, (Color) The Garden of Allah
Tony Guadio, (B&W) Anthony Adverse
1935 – Hal Mohr, A Midsummer Night’s Dream
1934 – Victor Milner, Cleopatra
1933/32 – Charles Lang, A Farewell to Arms
1932/31 – Lee Garmes, Shanghai Express
1931/30 – Floyd Crosby, Tabu: A Story of the South Seas
1930/29 – Joseph T. Rucker, Willard Van der Veer, With Byrd at the South Pole
1929/28 – Clyde De Vinna, White Shadows in the South Seas
1928/27 – Charles Rosher, Karl Struss, Sunrise: A Song of Two Humans
Airplane manufacturing is no different from mortgage lending or insulin distribution or make-believe blood analyzing software (or VFX?) —another cash cow for the one percent, bound inexorably for the slaughterhouse.
The beginning of the end was “Boeing’s 1997 acquisition of McDonnell Douglas, a dysfunctional firm with a dilapidated aircraft plant in Long Beach and a CEO (Harry Stonecipher) who liked to use what he called the “Hollywood model” for dealing with engineers: Hire them for a few months when project deadlines are nigh, fire them when you need to make numbers.” And all that came with it. “Stonecipher’s team had driven the last nail in the coffin of McDonnell’s flailing commercial jet business by trying to outsource everything but design, final assembly, and flight testing and sales.”
It is understood, now more than ever, that capitalism does half-assed things like that, especially in concert with computer software and oblivious regulators.
There was something unsettlingly familiar when the world first learned of MCAS in November, about two weeks after the system’s unthinkable stupidity drove the two-month-old plane and all 189 people on it to a horrific death. It smacked of the sort of screwup a 23-year-old intern might have made—and indeed, much of the software on the MAX had been engineered by recent grads of Indian software-coding academies making as little as $9 an hour, part of Boeing management’s endless war on the unions that once represented more than half its employees.
Down in South Carolina, a nonunion Boeing assembly line that opened in 2011 had for years churned out scores of whistle-blower complaints and wrongful termination lawsuits packed with scenes wherein quality-control documents were regularly forged, employees who enforced standards were sabotaged, and planes were routinely delivered to airlines with loose screws, scratched windows, and random debris everywhere.
Shockingly, another piece of the quality failure is Boeing securing investments from all airliners, starting with SouthWest above all, to guarantee Boeing’s production lines support in exchange for fair market prices and favorite treatments. Basically giving Boeing financial stability independently on the quality of their product. “Those partnerships were but one numbers-smoothing mechanism in a diversified tool kit Boeing had assembled over the previous generation for making its complex and volatile business more palatable to Wall Street.”
The trigger phrase is “equirectangular 360 degree panorama”. I would avoid saying “spherical projection” since that tends to result in non-equirectangular spherical images.
Image resolution should always be a 2:1 aspect ratio. 1024 x 512 or 1408 x 704 work quite well and were used in the training data. 2048 x 1024 also works.
I suggest using a weight of 0.5 – 1.5. If you are having issues with the image generating too flat instead of having the necessary spherical distortion, try increasing the weight above 1, though this could negatively impact small details of the image. For Flux guidance, I recommend a value of about 2.5 for realistic scenes.
