Every once in a while I think about how the Oakley Sunglasses guy sold his company for billions, but then instead of going into politics or whatevs, he did the irrational but utterly awesome thing of starting his own digital cinema camera company from scratch, which was RED.

Olisi ollut kiva tämäkin koeajaa kesällä. 7X:ssä on huippunopea 450kW/800V lataus, mutta rangessa jää yllättävän paljon Eurooppalaisista verrokeista (Volvo EX60, Mercedes GLC ja BMW iX3). Tosi hyvä varustelu ja premium sisustus ja verrokkeja halvempi hinta.

I am open-sourcing DeckWerk, a multi-platform slide editor with stellar video support, real-time collaboration, and Agent support. I used to be on Linux but had to switch to Mac b/c there was no good enough slide editor - @OmarchyLinux & @dhh inspired me to vibe-code my own, so I'm finally back on Linux! Install from source via GitHub (installers coming soon!): github.com/vsitzmann/deckwer…

fellow phoenix area friends rejoice

Sometimes it takes 20+ years in software to learn this: In the end, the hardware always wins.

still the king btw

🧩 Order of the Sinking Star x Animal Well 🐾 Our second special bundle for the launch of Order of the Sinking Star includes the magnificent @Animal_Well! 🤗 Save 10% on both games when Order of the Sinking Star launches October 8!

ai is already transforming global markets just by its direct demand. eg try to buy some RAM

Nice. Brad Smith (Microsoft president) is one of the many long tenured Good Guys of computing there, alongside Dave Cutler (Windows NT architect and savior of x64) and many others.

I’m crying of laughter - please let this be the model that solved Navier-Stokes (this guy’s name is hayZee, we need to get him on here!)

Heyyyy here's some good new info... fans of cat sciencing or egg collection rooms will automatically get a discount on Steam.

too good not to retweet

100 gram VR glasses intrigue me. Move all the heavy stuff to your pocket. I will test wearing them when they arrive to local stores. I've not been a big VR far so far.

This graph is 100% BS. GPT-4 and o1 were not better than a human. I used them, they sucked. o3 was the first usable one, but it required lots of babysitting from the developer. But "AI alone" was still at zero at that point. AI alone is finally a thing with Astra/Fable.

Working on a new side project.

nowhere perfect but pretty neet for one prompt

Now that's some good shading

PLOT TWIST

How do you print a blank line? std::cout << '\n'; // C++11 std::println(""); // C++23 std::println(); // C++26 C++23 added println but forgot to let you call it with no arguments

Xcode 27 (latest) doesn't support all Metal 4 features yet. Fortunately disabling counters is easy. Let's see if anything else is missing.

Codex remote controlling Blender with the MCP interface. Seems to work very well. Just a quick test to make it model all my bots according to concept art images. I have it tight triangle budgets: boss=100k, medium=10k, swarm=64 per part (x6) = 384. Mesh shader = 64 tri clusters.

these are great. lovely style.

Let's try updating Xcode... which likely requires updating MacOS. On Mac you are often forced to update the OS to install latest dev tools or latest web browser :(

Has anyone tried to build a path tracer from scratch with minimal guidance using one of the latest LLMs? Curious how far they can go when it comes to more complex rendering algorithms.

No EVF is a huge mistake with this one. If it had a rangefinder-style corner EVF, this would have been an instant-buy for me. Instead, it has both no EVF and a worse LCD than the regular Z5II. For me it's back to thinking about either the Fuji X-E5 or the Sony a7C II again.

The World is Changing: AI For Creativity By Jeffrey Katzenberg A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe. Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.” I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both. In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious. There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love. People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft. Is History Repeating Itself? The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul." Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work. A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept. They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded. This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix. What I Learned From Walt Disney In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell. We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not. That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create. A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did. Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.” A Distinction With a Difference I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . . Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new. Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out. Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new. One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable. Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground. A Path Forward In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . . Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human. At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling. The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it. There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us. The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires. What I Learned From Steve Jobs Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities. What I See Coming Soon As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process. Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.

Breaking math news: The first-ever 3D Einstein tile, an object that tiles space in a never-repeating pattern, has been found by independent researcher Ioannis Tsiokos using GPT Astra. Resembles a chair. Mathematicians have de-slopped the proof. @kkakaes: quantamagazine.org/updates/t…

Keeping the LPV around across frames now.

Old scene from @andreintg running in the browser with GI. He set a lot of things to minimally emissive for style back then and I did not change anything :-)

Runway is now in DaVinci Resolve Access the world's best models directly inside your timeline to generate, edit and upscale without leaving your project. Get started at the link below.

Almost there on iOS. The current issues are that M1/M2 iPads (and the same architecture iPhones) don't support indirect mesh shaders (with indirect args) in Metal 4. And there's no support for BC6H/BC7 textures. Need ASTC/ASTC-HDR. Mac also supports BC, but iOS doesn't.

[encrypted in Finnish] Sensofusion suunnittelee listautumista Helsingin pörssiin. Tervetuloa 1.10.2026 klo 18 yhtiön järjestämään webcastiin ja vetämälleni virtuaaliselle tehdaskierrokselle. Kaikki suunniteltuun listautumiseen liittyvä täältä: ipo.sensofusion.com

Auto SR is expanding to Intel Core Ultra Series 3 processors, now with support for 1080p input resolutions! 🎮 Learn more about Auto SR and how to get the most out of it in our latest DirectX Developer Blog: devblogs.microsoft.com/direc…

Life imitating art…

It's important to stay carbohydrated

Whether you're on controller or mouse and keyboard, console or PC, you're on even ground - even on the same team. The Crossplay Beta is live September 25–27. Queue up with your friends across platforms and climb Endless Spires around the clock!

Packed particle layout using 16-bit int/fp struct fields. Borrowed my old ideas/code from Claybook's clay/fluid simulators. Particle pool VRAM usage: 64MB->32MB Performance: 12% faster sim/sort, 7% faster draw Math on GPU is still pure fp32/int32. Not yet fp16/int16.

The Swedish language unfortunately has the same word for "gaming" and "gambling". Social media recommendation algorithms are commonly referred to as just "the algorithm" in media. Working on new algorithms for the games industry used to bear some credibility, but nowadays...

Codex authored PETAFAB logos originally as tiny cubes. Super bad for SDF presentation. New ones have significantly less shapes and look massively better. And generate faster too.

500km range Renault 5 will be a much more useful car. Many families have just a single car, and it must also be useful for long Christmas/Eastern trips to meet family. 500km WLTP = 350km on highway. That's a big improvement. Hopefully charging speed also improves.

Fast level load: 1. Don't alloc (couple of big pool allocs are fine). 2. Have good data layout. 3. Bulk load data directly to RAM. 4. If you MUST do data transform/expansion (decompress, SDF volume gen, etc) optimize that code (AVX2, MT, etc). 5. Hide waiting with something else.