RANDOM POSTs
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NoPoSplat – Surprisingly Simple 3D Gaussian Splats from Sparse Unposed Images
Read more: NoPoSplat – Surprisingly Simple 3D Gaussian Splats from Sparse Unposed ImagesA feed-forward model capable of reconstructing 3D scenes parameterized by 3D Gaussians from unposed sparse multi-view images.
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Scanning electron microscope macro images
Read more: Scanning electron microscope macro imagesA scanning electron microscope image of spider silk glands making a thread originally from Dennis Kunkel Microscopy.
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Mars Lewis on the Brandolini’s Law
Read more: Mars Lewis on the Brandolini’s LawBrandolini’s law (or the bullshit asymmetry principle) is an internet adage coined in 2013 by Italian programmer Alberto Brandolini. It compares the considerable effort of debunking misinformation to the relative ease of creating it in the first place.
The law states: “The amount of energy needed to refute bullshit is an order of magnitude bigger than to produce it.”
https://en.wikipedia.org/wiki/Brandolini%27s_law
This is why every time you kill a lie, it feels like nothing changed. It’s why no matter how many facts you post, how many sources you cite, how many receipts you show—the swarm just keeps coming. Because while you’re out in the open doing surgery, the machine is behind the curtain spraying aerosol deceit into every vent.
The lie takes ten seconds. The truth takes ten paragraphs. And by the time you’ve written the tenth, the people you’re trying to reach have already scrolled past.
Every viral deception—the fake quote, the rigged video, the synthetic outrage—takes almost nothing to create. And once it’s out there, you’re not just correcting a fact—you’re prying it out of someone’s identity. Because people don’t adopt lies just for information. They adopt them for belonging. The lie becomes part of who they are, and your correction becomes an attack.
And still—you must correct it. Still, you must fight.
Because even if truth doesn’t spread as fast, it roots deeper. Even if it doesn’t go viral, it endures. And eventually, it makes people bulletproof to the next wave of narrative sewage.
You’re not here to win a one-day war. You’re here to outlast a never-ending invasion.
The lies are roaches. You kill one, and a hundred more scramble behind the drywall.The lies are Hydra heads. You cut one off, and two grow back. But you keep swinging anyway.
Because this isn’t about instant wins. It’s about making the cost of lying higher. It’s about being the resistance that doesn’t fold. You don’t fight because it’s easy. You fight because it’s right.
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Curiosity’s Seven Minutes of Terror
Read more: Curiosity’s Seven Minutes of Terrorhttps://www.youtube.com/watch?v=ISmWAyQxqqs
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IM3 Stained glass
Read more: IM3 Stained glass
http://imgur.com/a/GXUun#hO6wzrs
Some people are asking how… here is a brief explanation on how I did it with photos….
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How to Lead Your Team when the House Is on Fire
Read more: How to Lead Your Team when the House Is on Firehttps://peterszasz.com/how-to-lead-your-team-when-the-house-is-on-fire/
The three focus areas of an Engineering Manager
- Ensuring delivery that’s aligned with company goals;
- Building and sustaining a high-performing engineering team;
- Supporting the success and personal growth of the individuals on the team.
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Methods for creating motion blur in Stop motion
Read more: Methods for creating motion blur in Stop motionen.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.
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Michio Kaku on Predicting the future
Read more: Michio Kaku on Predicting the future
The human brain always lives in the past. Averaging 80 milliseconds after an event has happened.
In sport, athletes prove their brain allows them to see/react to events closer to real time, almost perceiving things in slow motion, given their higher perception rate, which puts them at the cutting edge of physical activities.
A mix of training and natural perception talent.
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