Codex is the most accessible and best agents you can use right now. It’s basically one with ChatGPT now. You just give it access to tools you want it to have access to, then tell it to do things. I think it’s the Onboarding part that needs refinement. The “iPod commercial” for agents is needed.
@JulianUnlocked@dickiebush 100%. I become way more self aware, self conscious and think “what if someone reads this after I die? What would they think of me?” But for some reason it doesn’t translate to the infinite internet sea. Paper is just more tangible than 1’s and 0’s.
@joshm@_alexbrogan You would be shocked at how many people can barely send an email, let alone attach a file. Most will hear about AI agents and think it’s too complicated to learn. It only gets implemented when it’s stupidly simple to use and comes with training forced by upper management.
@sudoingX Can’t even imagine where things will be by Xmas this year let alone 12 months from now. We are definitely at the inflection point ladies and gents!
It’s a skill issue. But with enough dedication, anyone can learn the tools just like any skill. A drill is just a tool, but the person with more experience that has used it more and learned from their mistakes can use it better than someone who just started. Just like Filmmaker’s using the video models are producing much better work.
@editxshub@thsottiaux This is so accurate right now for all the vibe coding addicts like ourselves. I can’t even enjoy a friggin movie anymore without quietly building with codex on my phone.
A 15-second video that begins as a photorealistic cinematic dinosaur adventure and smoothly evolves through multiple visual styles without losing story continuity.
Scene begins in a misty prehistoric jungle at sunrise. A massive realistic Tyrannosaurus rex slowly steps into frame, its skin textured with scars, dust, and morning moisture. The camera tracks low beside its feet as the ground trembles with each step. Cinematic live-action style, natural lighting, realistic weight, realistic muscle movement.
[match cut transition]
The T. rex looks up. Its eye reflects the night sky, and the camera flies into the reflection, transitioning into outer space. The dinosaur is now floating beside a sleek silver spacecraft shaped like a fossilized bone. Earth is visible far behind it. Epic cinematic sci-fi style, dramatic lens flares, realistic stars, slow zero-gravity motion.
[liquid morph transition]
The scene transforms into a vibrant 2D animated style. The T. rex now wears a tiny astronaut helmet and comically pedals a rocket-powered bicycle across Saturn’s rings. Bright colors, expressive animation, smooth exaggerated motion, playful timing.
[paper rip transition]
The style changes into stop-motion clay animation. The dinosaur lands on a small asteroid, where tiny clay alien creatures offer it a glowing meteor sandwich. Tactile clay texture, handmade miniature sets, charming imperfect movement, visible stop-motion feel.
[glitch transition]
The style shifts into high-energy anime. The T. rex launches through a neon wormhole, roaring silently as planets streak past in colorful speed lines. Dynamic camera movement, intense anime lighting, dramatic perspective, cosmic scale.
[cinematic dissolve transition]
Final scene returns to photorealistic live-action cinema. The T. rex stands calmly on the moon in an astronaut helmet, looking at Earth. A small flag beside it clearly reads:
“HAILUO 3.0 TEST”
The camera slowly pushes in as the dinosaur blinks, exhales fog inside the helmet, and gently taps the moon dust with one claw.
Maintain the same dinosaur identity and recognizable silhouette across every style. Each transition should feel intentional, smooth, and visually creative. No random scene cuts. No disappearing dinosaur. No extra limbs. No unreadable text. No misspelled words. No chaotic camera shake. Make the final result feel like one connected mini-adventure through time, space, and animation styles.
Testing MiniMax Hailuo 3.0 in Runway with a harder prompt:
Dinosaurs, space, multiple transitions, and shifting visual styles — cinematic, 2D animation, claymation, anime, then back to photorealism.
This should expose how well it handles continuity across chaos.
A 15-second photorealistic cinematic video captured as one continuous unbroken shot on a rain-soaked downtown street at blue hour.
A woman in a bright yellow raincoat rides a red bicycle quickly toward the camera while carrying a sealed paper coffee cup in one hand. [low-angle tracking shot]
She brakes sharply beside a glass storefront. The rear tire throws a realistic arc of rainwater across the pavement. The coffee cup slips from her hand, rotates once in the air, and she catches it cleanly without spilling. She then dismounts from the bicycle in one smooth, physically believable movement.
[smooth 180-degree camera orbit]
Maintain exactly the same woman, face, hairstyle, yellow raincoat, red bicycle, and coffee cup throughout the entire shot. Her body must move with realistic weight, balance, momentum, and contact with the bicycle and ground.
Behind her, a bright neon storefront sign remains clearly readable and correctly spelled throughout the shot:
“HAILUO 3.0 — ONE TAKE”
[slow cinematic push-in]
She looks toward the camera, smiles slightly, and says naturally:
“Okay... that was impressive.”
Photorealistic skin, believable hands, accurate reflections in the wet pavement and storefront glass, natural rain physics, realistic cloth and hair movement, cinematic lighting, shallow depth of field, and detailed environmental motion.
Native stereo audio: steady rainfall, bicycle chain movement, tire skid through water, coffee cup catch, distant city traffic, and perfectly synchronized dialogue.
No cuts, no scene transitions, no morphing, no identity changes, no wardrobe changes, no extra limbs, no disappearing objects, no misspelled text, and no background music.
Testing the new MiniMax Hailuo 3.0 model inside Runway.
I gave it one prompt designed to stress motion, physics, camera control, character consistency, readable text and native audio—all in one continuous shot.
Here’s what it produced. 👀
This morning I realized something.
We like to think our choices are free, but many of them are quietly shaped by money and survival.
A lot of what we do every day runs on autopilot, and it made me wonder: how much of that autopilot has been programmed by financial stress?
This morning I debated going to the ER because I was in so much pain—not because my health doesn’t matter, but because missing work and paying that bill felt like a risk I couldn’t ignore.
That’s one reason I’ve spent so many nights teaching myself AI and building something on my own. I’m not chasing flashy cars or titles. I’m chasing ownership of my time—the freedom to decide when I work, who I work with, and how I spend my days.
Maybe entrepreneurship isn’t about being your own boss.
Maybe it’s about buying back your choices.
Maybe what so many of us are really chasing isn’t wealth.
Maybe we’re chasing freedom.