Reinaaa

[Reinaaa @ReReinayao]

@zhen_do_ob ？？！

[Reinaaa @ReReinayao]

@zhen_do_ob Hey this is my photo, and I didn’t give you permission to post it. Please take it down ASAP

[Reinaaa @ReReinayao]

@zhen_do_ob Hey this is my photo, and I didn’t give you permission to post it. Please take it down ASAP

[Karol Zdebel @karolzdeb]

Starting today you can replicate any video from TikTok and make it your own on https://t.co/CFAg7ozq3b.

This is NOT just one of those cheap AI replication tools that swaps out the person in the video and keeps everything else the same.

Here's how this works:

1) You select the videos you want to replicate and the AI avatars you want to do this with

2) You input what you want to be different about your version of the video, the duration, and whether you want us to automatically promote your product

3) We analyze the original video, scene by scene, to understand precisely what's happening

4) We take what you prompted to be different, the workspace media files you uploaded, and your business information

5) We translate all of that into a written creative concept for your new video (we do not reference the original video pixels past this stage)

6) The creative concept then goes through our video generation pipeline where we carefully produce the video scene by scene

7) Our editing agent runs over the video and polishes it

8) You get your video back ready to post to TikTok & Instagram through our iPhone farm, in minutes

We automatically incorporate demos of your product into the video, like screen recordings of your app, if that was the intent of the original video you referenced & the instructions you gave us.

I'm telling you guys nothing like this exists and you need to go try it for yourself because it's actual magic.

Available on https://t.co/CFAg7ozq3b today.

[Veee @vikktorrrre]

Sam Altman: coding is no longer the safest skill to bet your future on.

“Learn to program was so obviously the right thing over a recent period of time, and now it’s not.”

“Become high agency.”

“Get good at generating ideas.”

“Be very resilient. Be very adaptable to a rapidly changing world.”

“I think these are going to matter more than any specific skill.”

“And I think these are all learnable.”

[Mr.Iancu @Iancu_ai]

I made an ad for GPT Image 2.5, full prompt below.

It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it.

Seedance 2.5 on @higgsfield.

Seedance 2.5 Prompt:
[GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect.

[CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed.

[ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other.

[CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation.

[SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun.

0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet.

3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her.

7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts.

11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak.

15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers.

18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft.

21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles.

24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information.

27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her.

28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind.

[SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head.

[HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.

[こじひで @fyozz]

AIはこういうのを作るために存在していると言っても過言ではない

[boozie @soboozie]

THIS ROBOT DOES IN 20 MINUTES WHAT TAKES A CREW OF 3 AN ENTIRE DAY

A machine the size of a suitcase rolls across wet concrete. No one guiding it. No one checking it. It reads the room with lasers, calculates the level, and smooths the floor inch by inch. The crew that used to do this is standing outside watching through the window.

Construction was supposed to be robot-proof. Too messy. Too unpredictable. Every room is different, every surface is uneven, every job is a judgment call. That was the argument five years ago. The machine in this video doesn't care about that argument.

But construction is just the opening act. The household robot market is racing toward $32 billion by 2030 - and it's not about Roombas anymore. Machines that fold laundry, load dishwashers, mop floors, mow lawns. Samsung, Dyson, and a dozen Chinese startups are all racing to build the first robot that cleans your entire house while you sleep.

The pattern is always the same. First it replaces the job nobody wants. Then the job everyone thought was safe. Factory workers said it wouldn't happen to them. Cashiers said it wouldn't happen to them. Truck drivers are saying it right now.

The floor doesn't know who leveled it. Neither will your kitchen counter.

[Mahax @Mahaximus_]

Ex-Google Jeff Dean just released the best 1-hour lecture on AI engineering: from basics to Graphs

1:45 - LLM from scratch
17:22 - How to use AI models
30:03 - Prompt engineering
52:35 - One human coordinating 100 agents

27 years of building AI at Google, compressed into one hour.

Watch it, then read the full guide on Graph engineering below.

[Noah Smith 🐇🇺🇸🇺🇦🇹🇼 @Noahpinion]

A lot of people don't even question the idea that AI replaces human beings.

And yet the number of software engineers and radiologists is higher than ever, and the number of translators hasn't even gone down!

MAYBE AI DOESN'T DO WHAT YOU THINK IT DOES

https://t.co/UrjPkGksLh

[dominik kundel @dkundel]

GPT-6 Astra is now available to all Pro, Enterprise, and Business Premium users alongside the API.

I’ve been using it to build apps, LEGO models, and 3D scenes. Here are five things that changed how I use Codex 👇 https://t.co/JalblHWIUl