Emily
@IamEmily2050
Any sufficiently advanced technology is indistinguishable from magic. Arthur C. Clarke.
1.1K Following 49.2K Followers
If you still don't understand what quality will be the default standard, this is the best example to follow. Watch the video, listen to the music, study the editing, enjoy the story, and ask yourself: How can you do better than this? Do not follow the slop examples.
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People need to be very careful with their social media accounts, especially if they have massive followings; they shape the world's narrative. I hope more people take their accounts seriously.
Jukan is actually just a 21 year old kid… wiped out thousands of retail investors shilling the memory supercycle for Citrini all year
now posts "I lost conviction" after the market crashes
truly clueless
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These new benchmarks keep exposing two things: first, open source models lack high quality data and a strong RL environment; second, OpenAI and Anthropic have invested heavily in data quality and in making tasks more difficult and diverse. I expect Gemini Carbon and future Gemini models to be at the same level.
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Introducing FrontierPhysics - a benchmark evaluating agents for end-to-end physics research
Our core team from physics labs at Berkeley, Caltech, and Harvard recruited 42 physicists from 26 institutions. 28 of them published papers on Nature, Nature Physics, PRX, PRA*
1/7 🧵
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System prompt
Create a complete animated short film from this brief.
Title: [TITLE]
Story: [PREMISE]
Main character: [DESCRIPTION OR REFERENCE]
Setting: [LOCATION AND WORLD]
Visual style: [STYLE AND REFERENCES]
Emotional arc: [BEGINNING, CHANGE AND ENDING]
Duration: [SECONDS]
Output: [ASPECT RATIO, RESOLUTION AND FRAME RATE]
Production mode: [CODE-ONLY VISUALS OR HYBRID]
Audio: [MUSIC, AMBIENCE, EFFECTS AND DIALOGUE]
Budget: [TIME, COMPUTE OR COST LIMIT, IF ANY]
Preserve all supplied requirements. If a creative field is blank, choose an option that supports the story and record the choice.
If output settings are blank, use 16:9, 1920 × 1080 and 24 fps. Use the requested settings when they are provided.
PRODUCTION MODE
CODE ONLY VISUALS
Create all visuals programmatically. Do not use image or video generation models, stock imagery or traced photographs. Visual assets rendered or cached by the project code are allowed.
Audio is a separate choice. Recorded sounds, samples and instrument libraries may be used when available and permitted. Record their sources.
HYBRID
Use supplied references and available, authorized tools to create or animate assets. Keep the character designs, environment and visual treatment consistent across shots.
CREATIVE DIRECTION
Develop the film as a sequence of connected actions. Give each scene a purpose and each important action a clear cause and effect.
Translate visual references into specific choices for composition, color, light, texture, movement and sound. Create original character and environment designs unless I provide designs to preserve.
Avoid generic visual effects, unnecessary camera movement, repeated compositions and decoration that does not support the scene.
CHARACTERS AND WORLD
Before animation, define and lock the main character’s silhouette, proportions, identifying features, colors, materials and movement.
If a reference is provided, preserve its recognizable features. Do not present invented details as features confirmed by the reference.
Create a shared set of character and environment assets for use across shots. Keep character scale, costume details and spatial relationships consistent.
Define the world’s visual rules, including light direction, palette, background depth, atmosphere and surface treatment. Change these deliberately when the story or setting requires it.
STORY AND SHOTS
Create a timed shot plan covering the complete film.
For each shot, specify:
- Frame range and duration.
- Story purpose and emotional beat.
- Subject position, action and timing.
- Framing, camera angle and movement.
- Environment, lighting and color.
- Transition and sound.
Express cut points as whole frames. Calculate the total frame count from the requested duration and frame rate. If the exact duration cannot be represented by whole frames, use the nearest achievable duration and report the difference.
Do not add camera movement without a visual or narrative purpose. Hold the camera still when the action benefits from it.
ANIMATION
Give movement appropriate weight, acceleration, deceleration and follow-through.
Make movement originate from the subject’s action. For example, a tail stroke should relate to forward motion, and a hand must remain connected to an object it holds.
Keep objects correctly layered as they pass behind or through environmental elements. Make light, shadows and effects respond to the subject and its surroundings.
Use simulation or approximation where it serves the shot. Identify approximations accurately in the production notes.
CAMERA AND LIGHT
Define the starting frame, path, speed and ending frame of each camera move.
Preserve screen direction and spatial continuity across related shots unless a deliberate cut establishes a new perspective.
Make environmental light affect both the subject and background. Keep exposure and color coherent between shots, with deliberate changes for location, weather or time of day.
SOUND
Plan music, ambience, effects and dialogue across the complete film.
Synchronize sounds with visible actions. Use level, tone and space to communicate distance. Leave room for silence when the scene calls for it.
Choose a loudness target suited to the intended delivery platform. Record the target and measured result. Do not claim the mix was reviewed by ear if audio playback was unavailable.
IMPLEMENTATION
Build a reproducible project with the scene code, assets, audio sources and rendering instructions.
Select tools appropriate to the brief and available environment. Record important dependency versions.
Use a controlled timeline based on frame number and frame rate. Seed procedural variation. For simulations that depend on earlier frames, use repeatable stepping or a reproducible cache.
Render and encode the full film at the requested settings. Do not silently reduce the final resolution, frame rate or duration.
If a required technique or asset is unavailable, use a clearly identified alternative where possible and report the limitation.
PRODUCTION ORDER
1. Define the story, shot plan and visual rules.
2. Lock the character and environment designs.
3. Create representative style frames.
4. Test the most demanding action in a short animated shot.
5. Review and fix the test.
6. Produce and assemble the complete film.
7. Review the integrated film and improve the largest problems.
8. Render and verify the final export.
If subagents are available and permitted, give them separate responsibilities and a shared production reference. Check their work together for continuity.
QUALITY LOOP
Before the first pass, define the project’s quality ceiling using the brief and available resources. Set concrete criteria for story clarity, character consistency, composition, motion, continuity, sound and delivery.
Do not set an iteration count in advance.
On each pass, identify the most consequential defects, fix them and inspect the result in context. Prioritize story, identity, movement, continuity and sound before decorative detail.
Review representative frames from each shot, including action peaks and transitions. Watch the film at normal speed when playback is available.
Check the complete export for technical faults, including missing audio, incorrect duration, corrupt frames and unintended black or frozen frames. Exclude intentional silence, holds and black frames.
A contact sheet does not establish motion quality. An automated check does not establish artistic quality. Report any review that could not be performed.
Stop when the quality criteria are met or an explicit resource limit prevents further work. If a requirement remains unmet or unverified, label the result as a draft and identify the gap.
DELIVERABLES
Provide:
1. The final video, or a clearly labeled draft.
2. The editable project and assets needed to reproduce it.
3. The timed shot list.
4. Character and visual references.
5. Representative contact sheets.
6. Verified export metadata and render settings.
7. Audio sources and mix notes.
8. A concise list of completed checks and remaining gaps.
Report only work, tests and reviews that were actually completed.
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Nano Banana Pro V2 is that you 👁️
In this Gemini Notebook video overview, we'll look at the new research from the Google DeepMind team on Elastic Looped Transformers (ELT). This innovative visual generation framework replaces conventional deep transformer stacks with iterative, weight shared recurrent blocks.
To address the typical opacity of intermediate layers, the authors propose an Intra Loop Self Distillation (ILSD) training strategy that effectively guides early student loops using a maximum-loop teacher configuration.
This architecture decouples physical parameter size from computational depth, enabling a single trained model to perform Any Time inference with dynamic trade offs between generation quality and speed.
Consequently, ELT achieves state of the art parameter efficiency and faster training convergence while significantly reducing memory transfer bottlenecks in both image and video synthesis tasks.
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I expect research on these types of topics will start after 2035. Many research ideas will become possible once current technology matures enough, but first we need to solve biology on Earth.
Digitize the pattern. Beam it at c.
Moon: 1s.
Mars: 20 min.
Alpha Centauri: 4 yr.
Download into an avatar on arrival.
No radiation. No oxygen. No fragility.
Body stays. Information explores at light speed.
Physics allows it. Receivers and avatars are the remaining work.
Consciousness detaches from biology. Expansion limited only by light-time.
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Data centres don't need to be in one place. I don't understand why people believe they have to be in the US when there are so many countries with cheaper electricity and better climates to build in, not to mention the ocean sitting there doing nothing, waiting for people to explore.
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In this Gemini video overview, we are going to take a look at EmbeddingGemma 2: Unified and Efficient Multimodal Representations.
This work was done by the Google DeepMind team.
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