BREAKING NEWS
LATEST POSTS
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Luca Rossi – How to Help Underperformers
https://hybridhacker.email/p/how-to-help-underperformers
- Understand Performance is Systemic: Recognize that culture, systems, management, and individual traits impact performance.
- Address Underperformance Early: Use consistent feedback and the accountability dial (mention, invitation, conversation, boundary, limit).
- Provide Balanced Feedback: Reinforce, acknowledge, and correct behaviors.
- Use an Underperformance Checklist: Evaluate issues related to culture, systems, management, and individual traits.
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Suite Platinum Medley cover by Diego Cebrián
Bonus: Mike Oldfield MEDLEY (Amarok|Ommadawn|TubularBells)
Diego Cebrián & Alejandro Sotomayor -
GoldmanSachs.com – GEN AI: TOO MUCH SPEND, TOO LITTLE BENEFIT?
Tech giants and beyond are set to spend over $1tn on AI capex in coming years, with so far little to show for it. So, will this large spend ever pay off? MIT’s Daron Acemoglu and GS’ Jim Covello are skeptical, with Acemoglu seeing only limited US economic upside from AI over the next decade and Covello arguing that the technology isn’t designed to solve the complex problems that would justify the costs, which may not decline as many expect. But GS’ Joseph Briggs, Kash Rangan, and Eric Sheridan remain more optimistic about AI’s economic potential and its ability to ultimately generate returns beyond the current “picks and shovels” phase, even if AI’s “killer application” has yet to emerge. And even if it does, we explore whether the current chips shortage (with GS’ Toshiya Hari) and looming power shortage (with Cloverleaf Infrastructure’s Brian Janous) will constrain AI growth. But despite these concerns and constraints, we still see room for the AI theme to run, either because AI starts to deliver on its promise, or because bubbles take a long time to burst.
Local copy below
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Pallaidium – a free and open source genAI movie studio integrated into the free Blender video editor
https://github.com/tin2tin/Pallaidium/
Features
Text to video Text to audio Text to speech Text to image Image to image Image to video Video to video Image to text ControlNet OpenPose ADetailer IP Adapter Face/Style Canny Illusion Multiple LoRAs Segmind distilled SDXL Seed Quality steps Frames Word power Style selector Strip power Batch conversion Batch refinement of images. Batch upscale & refinement of movies. Model card selector. Render-to-path selector. Render finished notification. Model Cards One-click install and uninstall dependencies. User-defined file path for generated files. Seed and prompt added to strip name. -
59 AI Filmmaking Tools For Your Workflow
https://curiousrefuge.com/blog/ai-filmmaking-tools-for-filmmakers
- Runway
- PikaLabs
- Pixverse (free)
- Haiper (free)
- Moonvalley (free)
- Morph Studio (free)
- SORA
- Google Veo
- Stable Video Diffusion (free)
- Leonardo
- Krea
- Kaiber
- Letz.AI
- Midjourney
- Ideogram
- DALL-E
- Firefly
- Stable Diffusion
- Google Imagen 3
- Polycam
- LTX Studio
- Simulon
- Elevenlabs
- Auphonic
- Adobe Enhance
- Adobe’s AI Rotoscoping
- Adobe Photoshop Generative Fill
- Canva Magic Brush
- Akool
- Topaz Labs
- Magnific.AI
- FreePik
- BigJPG
- LeiaPix
- Move AI
- Mootion
- Heygen
- Synthesia
- Chat GPT-4
- Claude 3
- Nolan AI
- Google Gemini
- Meta Llama 3
- Suno
- Udio
- Stable Audio
- Soundful
- Google MusicML
- Viggle
- SyncLabs
- Lalamu
- LensGo
- D-ID
- WonderStudio
- Cuebric
- Blockade Labs
- Chat GPT-4o
- Luma Dream Machine
- Pallaidium (free)
FEATURED POSTS
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Six Different Kinds of Light John Alcott
John Alcott, the great cinematographer who worked with Stanley Kubrick for some time, speaks at length about Kubrick and his additional work on 2001: A Space Odyssey
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What the Boeing 737 MAX’s crashes can teach us about production business – the effects of commoditisation
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.”
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Methods for creating motion blur in Stop motion
en.wikipedia.org/wiki/Go_motion
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.