farz

@shiri_shh We’re going from “there’s an app for that” to 'just tell the AI and it happens.' You’re the biggest dumb dumb on the internet.

The App Store won't die because everyone will build their own apps. It'll die because we won’t need most apps at all in the future Almost everything will be replaced with a single chat interface like ChatGPT/Claude where you just talk, and it handles everything your current apps do. People love simplicity and this chat-first way of getting things done feels natural. We’re going from “there’s an app for that” to 'just tell the AI and it happens.' The chat becomes everything.

@tysonhutchins_ RIP TOKENS / wallet

Hold up… Wait a minute 😳

Quarter of a million requests in the last 7 days. Excellent infrastructure by @supabase

@jorgiabays @brianshinsh What’s new about it btw ? Curious

ya know what? i LOVE seeing people do something they’ve never done before be curious about something new go out of their way to learn something new ACTION something new and walk away winning shoutout to @brianshinsh here absolutely smashing it for Once App paving the way for founders

Interesting... @opalelectronics

@elefarsee Will be joining !

One week! luma.com/n7w69gvu

The annoying thing about AI is that you see generalists tutorials everywhere. The space is riddled with mediocre solutions. There’s literally so much noise; internet feels completely ruined.

@AnishA_Moonka Stfu with the spoilers. Need to ban these ai grifters

You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild. Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real. The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later. Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him. Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman. Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact. 95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.

@mlperego How yall do the Siri border. The whole website is a work of art

ORYZO is finally out 😍 One of the most challenging projects I've worked on at Lusion. Every animation, shader, detail and optimization obsessively refined. Proud of the team and happy you can finally see it! 👉 oryzo.ai

need to see a @wesbos breakdown of this bad boy

@amanrsanger ‘It was a miss…’ looks like a script was sent internally to handle the backlash

We've evaluated a lot of base models on perplexity-based evals and Kimi k2.5 proved to be the strongest! After that, we do continued pre-training and high-compute RL (a 4x scale-up). The combination of the strong base, CPT and RL, and Fireworks' inference and RL samplers make Composer-2 frontier level. It was a miss to not mention the Kimi base in our blog from the start. We'll fix that for the next model.

@mitchellh Unfollowed

Excited to share that I've joined Vercel's Board of Directors. Vercel is made up of builders and tastemakers that continually ship things that deeply impact how developers work: Next.js, AI SDK, v0, etc. I can't think of a more exciting place to be. Let's fucking ship. ▲ My relationship with Vercel goes back to the earliest days. HashiCorp was an early adopter of NextJS and Vercel (~10 years ago!) and it remains my default tech stack and deployment platform to this day. Ghostty's website is all on Vercel, too! Beyond that, I've been continually impressed with the teams relentless focus on shipping meaningful software. And importantly, software that has incredible taste. Now we are in the age of agentic software development. Vercel is building agentic infrastructure that I think every app and agent will need (I certainly need it!) and I can't think of a more exciting place to be. Huge thanks to @rauchg , Jeanne, Marten, @cramforce, @tomocchino and the entire Vercel team for the warm welcome. Time to work.

@katedeyneka Like this concept. But generally all videos do follow a pre defined format. And wonder if chat ui is best way to solve this? Something like this could work in your favour:

what if Claude Code met CapCut? I’m building an agentic video editor where you just drop your photos and videos into the chat - and that’s it. your video is ready in a couple of minutes then you can manually tweak the result if you want blank-page problem for video creation solved!

@ZedNilm1 Both promoting the same software. Fake as f

we do this exact thing and it prints

@MickOKeeffe You’ve been on the dole for a decade you little scrote. Why don’t you get a job.

We need to remove all these tech companies from Ireland or we won't have a country anymore. 3 Amazon employees sharing a house for €4,000 per month. It's no wonder rental prices are through the roof when there's an unlimited supply of high paid tech workers flooding into Ireland. And don't even get me started on the influence these people have on Irish politics. They're all involved with NGOs and cultural groups, pushing their people's agenda, in our country. Get Amazon out of Ireland, before it's too late.

@bcherny Why is the opus performing so bad. You’ve definitely neutered the capability. Why does this happen after every major release ?

We doubled Claude usage on weekends, and outside 5–11am PT on weekdays for the next 2 weeks.

@SinaSinry One word will do. Kling

We made over 100M views on our TikTok account. Since last year, I gave myself one main goal: building a content army team. Hiring the right people was a big challenge. Finding them was hard, and funding them was even harder. So we used AI. But AI videos are still not good at making truly realistic UGC. We learned that simply prompting better and using the latest model is not enough. So we built a system that helps us create highly realistic videos that are hard to tell are AI. One major part of this system is using ourselves to record the acting and show exactly what we want the AI to do, in a simple way at home. That means my team’s content creators act in the videos and record themselves, and then we use motion control to change the entire character and environment. This way, instead of the slow and unnatural movement common in AI videos, we keep real human hand movements and natural gestures. Also, thanks to our dev team, the character creation and realistic environments are handled by code in the backend. Now our creators can simply plug and play. They see what is going viral on TikTok and clone the format without needing to hire influencers. I’m still not sure how we can let others test this yet, but if this is interesting, I’ll make a more in depth post about it.

Wanna move to USA?

@mil0theminer YC funding literally anything. This is using KLING and remotion. There’s literally 20 of these wrappers made every month.

This should just simply be illegal for most use cases. Most of civil society is built off you being you.

@moonsandhues YC funding anything at this stage