@investrainer Siempre hacen esa movida, lo mejor es hacerse el loco y pasar, muchas veces se acaban olvidando. Eso sí, al loro a partir del año siguiente
Je lance l’initiative Exit Chat Control.
https://t.co/GCt0vLw7YF
Ce site est un guide complet qui vise à répertorier tous les outils nécessaires pour contourner tout système de surveillance de vos messageries privées.
Le site est open source et sera amélioré en continu.
a cute AI use case in a real production:
- used AI to generate the cut out assets
- crafted the CGI work for full accuracy and control
- generate alternate comps with AI for social media
saves us time & money, happy client > happy mind :-)
@pablo_lopezgil@traderepublic Hola Pablo, por sumarme a las quejas populares. Trato un poco feo con el cliente que lleva tiempo, que solo puede acceder a la ventaja haciendo de comercial para la banca y con límite de 12 meses. Espero que lo reviséis próximamente, gracias!
Yesterday, I interviewed a candidate for a Graphics Design role.
No fancy degree.
No big-name company on his CV.
But his portfolio? Clean. Intentional. Story-driven.
I asked him to redesign a basic flyer.
In 15 minutes, he didn’t just design…
He asked:
@LottieFiles Particle simulation just got easier 🚀
I always wanted lightweight, physics-based particles in our @noon app, without manually animating every keyframe.
So I built a tool for that using @claudeai & @antigravity
Try it: https://t.co/y40jL8dmON
Sure, your eyes aren’t tricking you. That clip looks better than the new trailer, and the reason has nothing to do with talent. The VFX supervisor on Amazing Spider-Man 2 in 2014? Jerome Chen. The VFX supervisor on Brand New Day? Also Jerome Chen. Same person. Completely different system around him.
In 2014, Chen had 50 effects artists at Sony Imageworks, the largest VFX crew the studio had ever put on a single project. They handled about 1,000 of the film’s 1,600 VFX shots on a $255 million budget. The crew shot on real film (not digital), on location in actual New York City, scanned Times Square with 36,000 photographs of over 100 billboards, and built physical lighting rigs on set so the CGI would match the real world.
Now look at how Marvel makes Spider-Man movies. No Way Home had 2,500 VFX shots spread across 12 studios and about 3,000 artists. The budget was $200 million, $55 million less than TASM2 despite having 56% more VFX shots. Digital Domain, one of the VFX vendors, was delivering final shots days before the December 17, 2021, release. They kept reworking shots into mid-January, after the movie was already in theaters.
Zoom out, and the math gets worse. Marvel released 6 films between 2008 and 2012. From 2023 to 2025, they pushed out 7 films and 7 TV shows. The Hollywood union representing VFX workers reported that Marvel pays artists about 20% below industry average and staffs one person where other studios hire three. Artists described 64-hour weeks and breakdowns on the job. Then, in February 2025, Technicolor, the parent company of MPC (three-time Oscar winner for Life of Pi, The Jungle Book, and 1917), collapsed almost overnight. 4,500 jobs gone globally. The studio had been actively working on Disney and Paramount films when the lights went out.
Brand New Day has four months before release, and trailers routinely show unfinished shots. But the gap between a 2014 Spider-Man and a 2026 Spider-Man has nothing to do with technology going backwards. The industry has been asked to do three times the work for less money per shot while its biggest studios are going under.
The first 10 pieces of the ‘Spider-Man: Brand New Day’ trailer have dropped, the 11th is incoming.
Follow @CoveredGeekly as we piece them all together!
The first six pieces of the ‘Spider-Man: Brand New Day’ trailer have dropped, the seventh is incoming.
Follow @CoveredGeekly as we piece them all together!