Samuel Andruszkiewicz

@CinemaTweets1 Ledge

Ken Leung is a brilliant actor. His work on HBO’s Industry is worthy of tremendous praise. If there’s one thing I wish #ProjectHailMary had more of, it’s this guy. He’s a lifetime actor who elevates every project he touches. More people should know this man’s name. Actor’s actor.

@AndrewHart 👀

me: can I save this as a PDF? mac: no me: no? mac: no. but I can... print 😉. would you like me to print 😉? me: ok 😉 mac: ok heres your pdf 😉

@AVARY The edge is sharp

“Cutting edge CGI” means AI, by the way.

@AVARY 👀

I held my breath in anticipation of this revelation while watching him pump his fist in the air like a PRI revolutionary.

@icreatelife What a time to be alive

How lucky we are to live now. When we can take any story and visualize it and share with the world. AI is truly wonderful and I wish it existed sooner in a way it exists now. I can only imagine what my amazing Grandmother would create with it and all our grandparents.

@nikitabier Bring it on it’s fun watching my timeline swing wildly

The full power of Grok on the algorithm launches next week. It will be the most important change we've done on X.

@BillyM2k Aww

only people i like can reply to this

@c_valenzuelab Say more

Trust is the new taste

@AnishA_Moonka Really great tech

Warm colors increase your heart rate. Cool, washed-out tones lower it. Every remake you’ve watched in the last decade has been deliberately color-graded to flatten that signal. It started in 2000. The Coen Brothers shot O Brother, Where Art Thou? in Mississippi during summer, when everything was, in Joel Coen’s words, “greener than Ireland.” They wanted a dusty Depression-era look. Cinematographer Roger Deakins tried every trick in the book: chemical treatments, lens filters, old darkroom techniques. Nothing worked. So they did something no one had done before: digitally scanned the entire film and recolored it frame by frame. Deakins spent 11 weeks turning lush greens into burnt yellows. No feature film had ever been entirely digitally color graded before. Every major studio adopted the technique within a few years. And then the problems started. Modern film cameras don’t capture what your eyes actually see. They intentionally record flat, grey, washed-out footage to capture as much detail as possible. The plan is for the color team to add vibrant color back in later. But the people doing that work stare at grey footage for weeks. Their eyes adjust. One filmmaker admitted he’d bring saturation up to 120% and feel satisfied, then realized the image still looked desaturated to everyone else. He had to crank it to 200% before it looked normal. That’s just eye fatigue. The color draining also happens on purpose. Muting colors hides bad CGI. If a computer-generated background doesn’t quite match the actors, draining the color smooths over the mismatch. The Lord of the Rings extended editions look flatter than the theatrical cuts for exactly this reason: the added scenes had less polished effects, so they were washed out to cover it. Then streaming made it permanent. Bright colors look messy when video gets compressed for phones and laptops. Dull colors look consistent whether you’re watching on a 75-inch TV or a 6-inch phone screen. So studios color their movies for the smallest screen in the room. Your brain registers the difference even if you can’t name it. Your eyes are wired to perceive warm, rich colors as closer and more immediate. Washed-out tones create emotional distance. When a studio drains color from a scene, they’re dampening the emotional signal the image sends to your brain. Old film stock didn’t have this problem. Kodak and Fuji films had rich, punchy color built into the physical chemistry of the film itself. Each brand had a distinct look you could recognize. Digital cameras capture flat, neutral data by default. Getting that warm, vivid “film look” from digital requires skilled work that costs time and money. Most productions don’t invest enough of either. Modern cameras can capture a wider range of colors than film ever could. The technology has never been better. The choices have never been lazier.

@pmarca Introslop

Evidently introspection also causes communism.

@c_valenzuelab I’ve been thinking about this also. It’s not gonna be like anything we’ve ever seen. If it follows human advertising, then we must know and understand the desires and fears of agents. Then we can create a new field of marketing and persuasion.

If agents will dominate a part of the economy and transactions will be done between agents on behalf of humans, I'm curious to see what agent-to-agent advertising will look like. One agent might want to attract the interest/influence of other agents. Who is the agent loyal to? If a vendor can "advertise" to your agent and influence its decisions, that might qualify as a corruption of the agent's purpose. So agent-to-agent advertising might be better framed as a security and alignment problem? which means winning on objective, verifiable metrics rather than persuasion. In some ways, that could make markets more efficient.

@AnishA_Moonka Why don’t we hear more about this?

Those wheels you’re looking at are 0.75 millimeters thick. That’s half the thickness of a US dime. Each one was carved from a single block of aluminum, and NASA sent six of them to Mars knowing they’d eventually shred. Curiosity was built for a 2-year mission. It landed in August 2012, and by December that year NASA had already extended the mission indefinitely. Thirteen years and 35.5 kilometers later, the rover is still going, but the wheels started cracking just 14 months in. The damage came faster than anyone at JPL predicted. Sharp embedded rocks were punching straight through the skin between the treads. So NASA assembled a Wheel Wear Tiger Team (a crisis problem-solving tradition that goes back to Apollo 13) and got to work. In 2017, they uploaded a traction control algorithm from Earth that adjusts each wheel’s speed in real time based on the terrain, reducing force on the front wheels by 20%. They rerouted the rover to softer ground and started driving backward when possible, because pulling wheels over rocks produces less force than pushing them into rocks. The wildest part: if enough treads snap off, Curiosity is designed to find a sharp rock on Mars and use it to deliberately rip out the damaged inner section of its own wheel. JPL tested this on a replica rover and found Curiosity can keep driving on just the outer third. They predict this won’t be needed until around 2034. Every 1,000 meters, the rover pulls over and uses the camera on its robotic arm to photograph its own wheels so engineers on Earth can count every crack. Each wheel also has tiny holes that spell “JPL” in Morse code, which Curiosity uses to measure distance by photographing its own tracks in the dirt. These photos directly changed the next rover. When NASA built Perseverance, engineers 3D-printed about 70 different tread designs before landing on 48 curved treads instead of Curiosity’s 24, with thicker skin. They tested the new wheels over 60 kilometers and got zero damage by Curiosity’s original failure definition. “A boring graph with no data on it,” as one JPL engineer put it. A $2.5 billion machine doing self-surgery with rocks on another planet because the mission outlasted its design by 6x.

@dustinhollywood Th ai gods will not be pleased

“SACRIFICES MUST BE MADE” 🤣🫣

@gabriel1 Well hello!

hello friends

@levelsio Apparently, I can.

Okay let's see who can reply to this

@HBCoop_ Yeah, it’s ability to edit and create a story. It was pretty unparalleled

@digitalAU Yeah, pre nerfed Sora was a beast and a bit more creative than Seedance 2.0

OpenAI casually killing Sora and Disney's $1B deal with it. Do we remember the hype a year ago? Things in AI move so fast now. Sora peaked at 3M+ downloads in November. By February: 1.1M. Six months, done. OpenAI is now pivoting the research team to robotics. The consumer video space moves on without them. How are we feeling about this?

@jon Let’s go

To all Sora Customers: xAI is open for business on image and video generation. Send X Chat or post a reply with contact info and we will get in touch.

@dustinhollywood 👀

The balls on this guy.. This is the second director we’ve seen be a straight liar shouting hate against AI to then find out they are all about it.. the anger and resentment is being used as a fake marketing tool. We need to shame these people, this is totally unacceptable. I’ve now lost all respect for Guillermo. You can trust literally no one. 🤦‍♂️ Via (instagram.com/p/DWSQb-xivAH/…)