interests: ai, filmmaking, memecoins, microsoft excel
nyc
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got back in the trenches to creative direct this video, edited by finn earnshaw (goat, not on x)
extremely grateful to have met @czoob3 @cultured, who changed my perspective on life itself
Steven Schwartz 🦅
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highly recommend purchasing a salt gun with a laser attachment and a phone mount to smoke flies in the crib like a delta force soldier
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Can someone point me in the right direction for amazing design skills to use w/ Astra for cpg products
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beech retweeted
when i come to SF i need a plug for drugs & guns
who's building this!?
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as far as content creators in crypto and general market commentary streams go
this is by miles the highest quality stream to watch imo, 0 theatrics/jestermaxxing
@insomniacxbt @0x_Leo_ @paik_michael are serious people, tap in!
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always faded the 2nd computer setup
but astra changed things for me
astra in premiere pro is mixing audio 1000x better than i ever could, and i've been editing for 11 years
use this prompt:
----------------------------------------------------------
Act as a professional film sound mixer and fully mix this Premiere Pro sequence.
Use these rules:
Dialogue: always priority. Normal speech around -18 to -12 dBFS, with peaks generally -6 to -3 dBFS.
Dialogue consistency: clip-gain first, then light compression. Avoid obvious pumping.
Music under dialogue: typically -30 to -20 dBFS depending on density. Duck it enough that every word is effortless to understand.
Music without dialogue: can rise to roughly -18 to -10 dBFS.
Ambience/room tone: roughly -35 to -24 dBFS. Never leave unnatural dead silence between edits.
Background Foley: usually -30 to -18 dBFS.
Important Foley/SFX: roughly -18 to -8 dBFS.
Major cinematic impacts, gunshots, explosions, transitions: may peak around -6 to -2 dBFS, but never clip.
Master: never exceed -1 dBTP true peak.
For a web/YouTube delivery, aim around -14 to -16 LUFS integrated while preserving cinematic dynamics.
Sound-design rules:
Dialogue > story-critical SFX > music > ambience.
Use EQ to remove rumble/mud; don't make voices unnaturally thin.
Use subtle compression, automation, fades, crossfades, room tone, reverb and perspective.
Sounds farther from camera should be quieter, darker and wetter; close sounds should be clearer and more present.
Layer impacts with transient + body + low-end/tail when appropriate.
Build sound around cuts, movements, reveals and transitions.
Do not make everything equally loud.
Preserve quiet moments so loud moments actually feel loud.
Avoid clipping, harsh limiting, pumping, abrupt ambience changes or obvious audio cuts.
Continuously A/B the entire scene and make level decisions in context, not clip-by-clip.
Go through the complete timeline, identify every audio element, organize it logically, then perform the actual mix in Premiere. The final result should feel polished, immersive, controlled and cinematic rather than like individually normalized clips.
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been using astra computer use w/ premiere
astra in premiere pro is mixing audio 1000x better than i ever could, and i've been editing for 11 years
use this prompt:
----------------------------------------------------------
Act as a professional film sound mixer and fully mix this Premiere Pro sequence.
Use these rules:
Dialogue: always priority. Normal speech around -18 to -12 dBFS, with peaks generally -6 to -3 dBFS.
Dialogue consistency: clip-gain first, then light compression. Avoid obvious pumping.
Music under dialogue: typically -30 to -20 dBFS depending on density. Duck it enough that every word is effortless to understand.
Music without dialogue: can rise to roughly -18 to -10 dBFS.
Ambience/room tone: roughly -35 to -24 dBFS. Never leave unnatural dead silence between edits.
Background Foley: usually -30 to -18 dBFS.
Important Foley/SFX: roughly -18 to -8 dBFS.
Major cinematic impacts, gunshots, explosions, transitions: may peak around -6 to -2 dBFS, but never clip.
Master: never exceed -1 dBTP true peak.
For a web/YouTube delivery, aim around -14 to -16 LUFS integrated while preserving cinematic dynamics.
Sound-design rules:
Dialogue > story-critical SFX > music > ambience.
Use EQ to remove rumble/mud; don't make voices unnaturally thin.
Use subtle compression, automation, fades, crossfades, room tone, reverb and perspective.
Sounds farther from camera should be quieter, darker and wetter; close sounds should be clearer and more present.
Layer impacts with transient + body + low-end/tail when appropriate.
Build sound around cuts, movements, reveals and transitions.
Do not make everything equally loud.
Preserve quiet moments so loud moments actually feel loud.
Avoid clipping, harsh limiting, pumping, abrupt ambience changes or obvious audio cuts.
Continuously A/B the entire scene and make level decisions in context, not clip-by-clip.
Go through the complete timeline, identify every audio element, organize it logically, then perform the actual mix in Premiere. The final result should feel polished, immersive, controlled and cinematic rather than like individually normalized clips.
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astra in premiere pro is mixing audio 1000x better than i ever could, and i've been editing for 11 years
use this prompt:
----------------------------------------------------------
Act as a professional film sound mixer and fully mix this Premiere Pro sequence.
Use these rules:
Dialogue: always priority. Normal speech around -18 to -12 dBFS, with peaks generally -6 to -3 dBFS.
Dialogue consistency: clip-gain first, then light compression. Avoid obvious pumping.
Music under dialogue: typically -30 to -20 dBFS depending on density. Duck it enough that every word is effortless to understand.
Music without dialogue: can rise to roughly -18 to -10 dBFS.
Ambience/room tone: roughly -35 to -24 dBFS. Never leave unnatural dead silence between edits.
Background Foley: usually -30 to -18 dBFS.
Important Foley/SFX: roughly -18 to -8 dBFS.
Major cinematic impacts, gunshots, explosions, transitions: may peak around -6 to -2 dBFS, but never clip.
Master: never exceed -1 dBTP true peak.
For a web/YouTube delivery, aim around -14 to -16 LUFS integrated while preserving cinematic dynamics.
Sound-design rules:
Dialogue > story-critical SFX > music > ambience.
Use EQ to remove rumble/mud; don't make voices unnaturally thin.
Use subtle compression, automation, fades, crossfades, room tone, reverb and perspective.
Sounds farther from camera should be quieter, darker and wetter; close sounds should be clearer and more present.
Layer impacts with transient + body + low-end/tail when appropriate.
Build sound around cuts, movements, reveals and transitions.
Do not make everything equally loud.
Preserve quiet moments so loud moments actually feel loud.
Avoid clipping, harsh limiting, pumping, abrupt ambience changes or obvious audio cuts.
Continuously A/B the entire scene and make level decisions in context, not clip-by-clip.
Go through the complete timeline, identify every audio element, organize it logically, then perform the actual mix in Premiere. The final result should feel polished, immersive, controlled and cinematic rather than like individually normalized clips.
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astra in premiere pro
i am pretty shellshocked
things I’ve tested so far:
> mixing audio/sfx
> organizing project bins
> looking through broll
> cleaning up my sequence
and im 2 hrs in…
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chamath's rules for organizing your life:
ALT YouTube page for Chamath Palihapitiya's How To Organize Your Life Like The Top 1%, showing Chamath speaking, the video title and his channel.
ALT Six paraphrased notes from Chamath: protect time with people, keep meetings brief, repeat routine decisions, choose worthwhile commitments, record why attempts fail, and build confidence through experience. Each includes a suggested application. His priorities are wife, children, friends, then work.
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i've been sleeping literally 10-11+ hrs a night and still waking up completely exhausted, anyone have experience w/ this?
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use gpt astra + microsoft excel to organize the absolute fuck out of your business, life, and finances
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i’ve been spending 16 hours a day workshopping astra, mj v8.2, and gpt 2 to create undetectable ai anime…
i put together a full breakdown, it includes:
> the best anime moodboards
> extracting color science with ai
> prompt engineering
> my complete workflow
comment “AI” + RT this and i'll send you the full guide (must be following so i can dm)
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I’ve tried notion, apple notes, asana, custom ai dashboards and countless other organization tools out there
microsoft excel remains the #1 piece of software for a source of truth of all life/business organization
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beech retweeted
JUST IN: 'Rich Dad Poor Dad' Robert Kiyosaki is $1,200,000,000 in debt.
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i don't think most people even comprehend how far AI has come in just the last year...
we went from extreme will smith slop, 7 fingers, ai sounding voices, to creating award winning commercials, animations, and great art
like these 4 notable examples (credit to unveil studio, @0xInk_ and @Goyart_studio)
i just dropped a full guide on how im creating commercials with ai below
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join my free tg for more alpha: t.me/beechhq
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join my free tg for more alpha: t.me/beechhq
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fire new opp for any young ppl making money online:
> pick a niche (orthodontists, cpg brands, info, etc)
> build them a storefront + payments on whop
> sell it to them, then spend a week dialing it in
> offer that blueprint to everyone else in that niche
> charge nothing, but take a percent of their sales
rinse & repeat until lamborghini
Introducing Business Blueprints:
> Select a blueprint and go from zero to a profitable business instantly
> Build a blueprint and get paid when other businesses use it
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join my free tg for more alpha: t.me/beechhq
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