Graphics CGI

Sure, your eyes aren’t tricking you. That clip looks better than the new trailer, and the reason has nothing to do with talent. The VFX supervisor on Amazing Spider-Man 2 in 2014? Jerome Chen. The VFX supervisor on Brand New Day? Also Jerome Chen. Same person. Completely different system around him. In 2014, Chen had 50 effects artists at Sony Imageworks, the largest VFX crew the studio had ever put on a single project. They handled about 1,000 of the film’s 1,600 VFX shots on a $255 million budget. The crew shot on real film (not digital), on location in actual New York City, scanned Times Square with 36,000 photographs of over 100 billboards, and built physical lighting rigs on set so the CGI would match the real world. Now look at how Marvel makes Spider-Man movies. No Way Home had 2,500 VFX shots spread across 12 studios and about 3,000 artists. The budget was $200 million, $55 million less than TASM2 despite having 56% more VFX shots. Digital Domain, one of the VFX vendors, was delivering final shots days before the December 17, 2021, release. They kept reworking shots into mid-January, after the movie was already in theaters. Zoom out, and the math gets worse. Marvel released 6 films between 2008 and 2012. From 2023 to 2025, they pushed out 7 films and 7 TV shows. The Hollywood union representing VFX workers reported that Marvel pays artists about 20% below industry average and staffs one person where other studios hire three. Artists described 64-hour weeks and breakdowns on the job. Then, in February 2025, Technicolor, the parent company of MPC (three-time Oscar winner for Life of Pi, The Jungle Book, and 1917), collapsed almost overnight. 4,500 jobs gone globally. The studio had been actively working on Disney and Paramount films when the lights went out. Brand New Day has four months before release, and trailers routinely show unfinished shots. But the gap between a 2014 Spider-Man and a 2026 Spider-Man has nothing to do with technology going backwards. The industry has been asked to do three times the work for less money per shot while its biggest studios are going under.

Minute-long story made w Grok Imagine

I changed my content strategy on Friday, March 13th to prove a point. And it works.... Can you guess what I've done?

Nikita has 757 subscribers at $6 a person. He’s making about $4500/month just from Subscribers. Good for him I guess! I’m not subscribing to him, the subscription perks don’t amuse me LOL.

This is why I’d never go full-time on X. You can build for 5 years and lose it in a second. There’s no warnings and no customer support to help you get back.

如果你是优质内容创作者，你唯一的选择是YouTube，而不是X，这两个应用的设计就决定了定位。 X不适合优质创作者，因为他缺乏SEO，分类，搜索，常青推送。 用大白话说就是，你在YouTube创作几年，你可以吃一辈子，比如李子七创作的东西，他不创作了，还能源源不断吃利息，而X无论你是大V还是小V，本质上都是老🐴的牛马，奴隶，一辈子都要被算法驱使，给他打工，要不然，你的红利和流量就断了，你压根不可能在X上休息一个星期。休息几天，算法就把你遗忘了。无论你多牛逼，他都不在乎你。 YouTube上前几天有一个消息，某人在前几年就上传了一个音乐视频，炉火旁的音乐，他就一个视频一直红利收入到现在，而X上面，你压根就不想做这种好事。永远都不可能躺平，你要有收入，就只能不断创作，但是人的精力和欲望是有限，你被榨干以后怎么办？ 对于X来说，一直都是垃圾集中营，每个人一旦内心的血和肉贡献完毕，残留的就只有大肠里面那点屎尿屁，大量的排泄物堆积在X上面，这是一个腐臭恶心的垃圾场。 我们不断吃着别人拉出来的产品，自己又很高兴的加工拉出来供给别人吃，还吃得不亦乐乎。 对于我来说，我是不在乎算法的，我会不断搞垃圾给他，随他玩吧，本质上，我也是吃别人垃圾长大的，你让我回馈你琼浆玉液。我TM做不到。我这种吃狗屎长大的货色，无法做到高大上，我只能回馈你，我拉出来屎尿屁，带着辣。