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Сегодня разбираем максимально хайповую неделю в ИИ: Amazon заходит к OpenAI с миллиардными деньгами, выходят GPT-5.2, Pro и Codex, ChatGPT внезапно получает Photoshop и редактирование PDF, а Disney добровольно отдаёт своих персонажей нейросетям. Google делает Gemini 3 Flash дефолтом для миллионов, Cursor начинает покупать компании, Grok рвёт всех в speech-to-speech, появляются «наркотики для AI», роботакси Tesla за $4.20, Waymo замирает на перекрёстках, а Пентагон официально начинает готовиться к AGI. Финал — слово года «slop» и ИИ-архитекторы как «Человек года». Лампово, тревожно и очень показательно.

Jonnie Allan is an illustrator with over three decades of experience, specializing in fun, fantastic, family-friendly artwork that evokes strong emotions—from laughter and amazement to heartfelt “Awww” moments of pure cuteness. His work captures a wide range of feelings and brings joy and wonder to audiences of all ages. Jonnie's art can be found in comic books, children's books, on T-shirts, websites, brochures, flyers, business cards, murals, and more. His creative focus lies in character design, cartooning, sequential art, and storytelling. He studied art at Saddleback Junior College in Mission Viejo, CA, and at the Art Center College of Design in Pasadena, CA. Since then, he has continued to expand his artistic knowledge through self-teaching, mastering both traditional and digital mediums such as Photoshop, Illustrator, Fresco, Procreate, Clip Studio, and Affinity Designer. A proud Navy veteran, Jonnie is a loving husband, and a dedicated father to a spirited child with an unstoppable passion for LEGO. Links https://Pixelsandpastels.com https://linkedin.com/jonnieallan https://facebook.com/stykman If you're enjoying Entrepreneur's Enigma, please give me a review on the podcast directory of your choice. The show is on all of them and these reviews really help others find the show. iTunes: https://gmwd.us/itunes Podchaser: https://gmwd.us/podchaser TrueFans: https://gmwd.us/truefans Also, if you're getting value from the show and want to buy me a coffee, go to the show notes to get the link to get me a coffee to keep me awake, while I work on bringing you more great episodes to your ears. →  https://ko-fi.com/entrepreneursenigma Support me on TrueFans.fm → https://gmwd.us/truefans. Support The Show & Get Merch: https://shop.entrepreneursenigma.com Want to learn from a 15 year veteran? Check out the Podcast Mastery Community: https://www.skool.com/podcast-mastery/about Follow Seth Online: Instagram: https://instagram.com/s3th.me LinkedIn: https://www.linkedin.com/in/sethmgoldstein/ Seth On Mastodon: https://indieweb.social/@phillycodehound The Marketing Junto Newsletter: https://MarketingJunto.com Leave The Show A Voicemail: https://podcastfeedback.com/entrepreneursenigma Learn more about your ad choices. Visit megaphone.fm/adchoices

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Ep 274Apple loses iPhone Air designer to unnamed AI startup - 9to5MacJapan App Store Gets Alternative Marketplaces, Third-Party Payments and More20 Years of Digital Life, Gone in an Instant, thanks to AppleM5 MacBook Pro Gets Easier Battery Replacement ProcessMeet FixBot Your AI Repair HelperThe iFixit App Is HerePowerBook 1400 csApple JUST Dropped a Game-ChangerApple didn't have to go this hard…Why Github Why?Adobe Photoshop Source CodePower BI ReportZahvalniceSnimano 20.12.2025.Uvodna muzika by Vladimir Tošić, stari sajt je ovde.Logotip by Aleksandra Ilić.Artwork epizode by Saša Montiljo, njegov kutak na Devianartu

In dieser besonderen Wild & Witchy Podcastfolge habe ich Bella wieder zu Gast – aber diesmal mit einem Twist! Diese Episode ist der erste Teil eines Podcast-Crossovers mit dem HKL-Podcast. Den zweiten Teil dieser spannenden Diskussion gibt es eine Woche später in Bellas Podcast zu hören!

"I think curiosity is very important. When you're curious about something, you listen." "You have to be at the forefront, not the back. You can't, hide behind and say, 'hey, you know, guys solve it', right?" "When they trust you, beautiful things happen."              "Ideas are welcome. You know, ideas are free. But it's got be data driven."  Tomo Kamiya is President Japan at PTC, a company known for parametric design and CAD-driven simulation that helps engineers model, test, and refine complex products digitally before manufacturing. He began his career in sales at Bosch, covering Kanagawa and Yamanashi with a highly autonomous, remote-work style that was ahead of its time, learning early that trust and relationship continuity—not brand alone—move outcomes in Japan. He later joined Dell during its disruptive growth era, moving from enterprise sales into marketing and broader regional responsibility, including supporting Korea marketing and later leading the server business, where his team hit number one market share in Japan. After a short consulting stint connected to Japan Telecom, he joined AMD to grow the business in Japan, then relocated to Singapore to run a broader South Asia remit and strategic customers. He subsequently led a wide Asia Pacific portfolio at D&M Holdings across multiple markets, navigating shifting consumer behaviour as subscription and streaming changed the fundamentals of product value. That experience led naturally into Adobe during its historic shift from perpetual software to subscription, where he led the Digital Media business in Japan (including Photoshop, Illustrator, and Acrobat) for almost a decade. Across this cross-industry arc, he has repeatedly adapted to business model change, regional cultural differences, and the practical realities of leading people in Japan—especially the need to listen deeply, build trust patiently, and step forward decisively when problems hit. Tomo Kamiya's leadership story is, at its core, a story about compressing complexity—first in products, then in organisations. At PTC, he sits at the intersection of engineering reality and digital abstraction: the ability to take something massive—a ship, an engine, an entire manufacturing system—and "frame" it into a screen so it can be simulated, stress-tested, and improved before any physical cost is incurred. That same instinct shows up in the way he talks about people and performance. In his earliest Bosch years, he learned that Japan's reliability culture does not eliminate the need for continuous trust-building; even a global brand can stall if the relationship energy disappears. His answer was to create value where the buyer's uncertainty lives—showing up, demonstrating, educating, and, as he put it, "sell myself," because credibility travels faster than product brochures. That bias for action stayed with him through Dell's high-velocity era, where "latest and the greatest" rewarded leaders who could anticipate market timing and organise teams around speed without losing discipline. Later, running regional remits outside Japan, he saw the contrast between Japan's "no defect" mindset and emerging markets that prioritised pace. Rather than treat one as right and the other as wrong, he learned to search for the productive middle ground: the discipline that prevents future failure, paired with the pragmatism that prevents paralysis. It is a useful lens for Japan, where uncertainty avoidance and consensus expectations can slow decisions unless the leader builds momentum through listening and clear intent. In his most practical leadership shift, an executive coach forced a hard look at his calendar: too much time on objectives, not enough time on people. The result was a deliberate reallocation toward one-on-ones, deeper listening, and clearer delegation—creating what amounts to a management operating system that improves decision speed because the leader knows what is really happening. He sees ideas as abundant but insists that investment requires decision intelligence: data points, ROI thinking, and a shared logic that gives teams confidence to commit. In Japan's consensus environment—where nemawashi and ringi-sho-style alignment often determine whether execution truly happens—his approach is to build trust through presence, make it safe for the "silent minority" to contribute, and then move decisively when critical moments arrive. Technology, including AI as a "co-pilot," can help leaders think through scenarios and prepare responses, but he remains clear that empathy and execution in the worst moments cannot be outsourced. The leadership standard, as he defines it, is simple and demanding: when things go south, step to the front. Q&A Summary What makes leadership in Japan unique? Leadership in Japan is shaped by trust-building, restraint, and the practical demands of consensus. Even when products are high quality and risk reduction is strong, outcomes often hinge on relationships and continuity. Japan's consensus culture—often expressed through nemawashi and ringi-sho-style alignment—means leaders must invest time in listening, building internal confidence, and demonstrating respect for the context that teams and customers protect. Why do global executives struggle? Global executives often arrive with a headquarters lens and try to "fix" what looks inefficient before understanding why it exists. When they change processes or people without learning the customer rationale, they trigger resistance and lose credibility. The gap is not intelligence; it is context. Japan requires deliberate time in the market and inside the organisation to decode what is really being optimised—often customer trust, stability, and long-term reliability. Is Japan truly risk-averse? Japan can appear risk-averse, but much of the behaviour is better described as uncertainty avoidance. The goal is to reduce surprises and protect relationships, not to avoid progress. Kamiya's early sales experience shows that buyers will pay for reliability when the cost of failure is high. The leadership challenge is to move forward while lowering uncertainty—through data, clear rationale, and predictable communication—rather than forcing speed without alignment. What leadership style actually works? The style that works is visible, empathetic, and action-oriented. Trust grows when leaders walk the floor, create everyday touchpoints, and listen in detail—especially because many Japanese employees will not speak up easily. At the same time, Kamiya argues that in critical moments—big decisions, business model shifts, major complaints—the leader must be "at the forefront," not hiding behind delegation. Delegation matters, but stepping forward in the hardest moments is what earns trust. How can technology help? Technology helps leaders compress complexity and make better decisions. In product terms, simulation and digital-twin style approaches reduce risk by testing before manufacturing. In leadership terms, data-driven thinking improves idea selection, investment confidence, and ROI clarity. AI can function as a co-pilot for scenario planning—offering options and framing responses—but it does not replace human judgement, empathy, or the social work of building consensus. Does language proficiency matter? Language matters because it shrinks distance. Full fluency may take years, but even small efforts signal respect and closeness, making it easier to build rapport and trust. Language is not just vocabulary; it is an everyday bridge that reduces friction with teams and increases the leader's ability to read nuance—critical in a culture where people may be reserved. What's the ultimate leadership lesson? The ultimate lesson is that trust is built through time, listening, and decisive presence. Leadership is revealed when trouble hits: the leader who listens, takes action, and stands in front earns durable commitment. Once trust is established, the organisation can move faster—because consensus forms more naturally, delegation improves, and decisions carry less uncertainty. Author Credentials Dr. Greg Story, Ph.D. in Japanese Decision-Making, is President of Dale Carnegie Tokyo Training and Adjunct Professor at Griffith University. He is a two-time winner of the Dale Carnegie "One Carnegie Award" (2018, 2021) and recipient of the Griffith University Business School Outstanding Alumnus Award (2012). As a Dale Carnegie Master Trainer, Greg is certified to deliver globally across all leadership, communication, sales, and presentation programs, including Leadership Training for Results. He has written several books, including three best-sellers — Japan Business Mastery, Japan Sales Mastery, and Japan Presentations Mastery — along with Japan Leadership Mastery and How to Stop Wasting Money on Training. His works have also been translated into Japanese, including Za Eigyō (ザ営業), Purezen no Tatsujin (プレゼンの達人), Torēningu de Okane o Muda ni Suru no wa Yamemashō (トレーニングでお金を無駄にするのはやめましょう), and Gendaiban "Hito o Ugokasu" Rīdā (現代版「人を動かす」リーダー). In addition to his books, Greg publishes daily blogs on LinkedIn, Facebook, and Twitter, offering practical insights on leadership, communication, and Japanese business culture. He is also the host of six weekly podcasts, including The Leadership Japan Series, The Sales Japan Series, The Presentations Japan Series, Japan Business Mastery, and Japan's Top Business Interviews. On YouTube, he produces three weekly shows — The Cutting Edge Japan Business Show, Japan Business Mastery, and Japan's Top Business Interviews — which have become leading resources for executives seeking strategies for success in Japan.

We're joined by Chunky T from the Utopia Project for a deep (and very funny) dive into creativity, music, art, and growing up bored in a small town. We talk about childhood therapy turning into creativity, early bands, terrible teenage lyrics, playing Seven Nation Army seven times in a living room, discovering Photoshop through LimeWire, pirated software, and why making anything is better than making nothing. We also get into Boston's creative scene, missed musical opportunities, DVDs as cultural artefacts, AI invading films, and how learning lots of different skills eventually pays off.-------------Thanks for listening make sure you follow us on our socials. Sign up to our Patreon where members get an exclusive extra monthly episode plus bonus content.-------------Patreon:https://www.patreon.com/depressedceospodcastLink Tree:https://linktr.ee/depressedceospodcast Hosted on Acast. See acast.com/privacy for more information.

OpenAIは、ChatGPT内に利用可能なアプリを閲覧可能なアプリディレクトリーを公開しました。

Australija uždraudė socialinius tinklus jaunesniems nei šešiolikos – ar mes turėtume pasekti jų pavyzdžiu? Operatyviosios atminties (RAM) kainos kyla ne procentais, o kartais. Socialiniam tinklui „X“ gavus didžiulę Europos Komisijos baudą, Elonas Muskas pasiūlė Europai subyrėti. Donaldas Trumpas leido pardavinėti galingus „Nvidia H200“ lustus Kinijai. O keliaujant į JAV gali tekti (privalomai) pateikti savo socialinių tinklų profilius. „Photoshop“ atkeliauja į „ChatGPT“ programą. Indijos valdžia nori, kad visuose šalies telefonuose būtų jos valdoma programėlė. JAV testuojami vaizdo skambučiai su greitosios pagalbos dispečeriais. „Google Translate“ su „Gemini“ žada realiu laiku versti pokalbius per bet kurias „Bluetooth“ ausines. O „Google Labs“ eksperimentas „Disco“ mėgis generuoti tavo naršyklės skirtuko turinį.

Voici les titres de la semaine :

Send us a textOn Friday, December 12, 2025, the Nederland Community Library hosted a reception for its current art exhibit, A Plague of Parody, with its artist, Brent Warren.Community members mingled and drank amongst the artwork in the library's community room, with the filmmaker, musician, magician, and multimedia artist providing guitar accompaniment.Warren also discussed the meanings of his artwork, digital graphic photos that he creates with the help of Photoshop. The photos, often accompanied by captions, poke fun at the “things we take for granted in our lives,” as Warren writes. Support the showThank you for listening to The Mountain-Ear Podcast, featuring news and culture from peak to peak! Additional pages are linked below.If you want to be involved in the podcast or paper, contact our editor at info@themountainear.com or our podcast hosts: Tyler Hickman, at tyler@themountainear.com Jamie Lammers, at media@themountainear.com Head to our website for all of the latest news. Subscribe online and use the coupon code PODCAST for a 10% discount for all new subscribers. Submit local events to promote them in the paper and on our website. Find us on Facebook @mtnear and Instagram @mtn.ear Listen and watch on YouTube today. Share this podcast by scrolling to the bottom of our website home page or by heading to our main hub on Buzzsprout.Thank you for listening!

En este episodio de Noticias Marketing, las noticias sobre Inteligencia Artificial y creatividad no dejan indiferentes. Adobe integra Photoshop, Express y Acrobat con ChatGPT, abriendo flujos de edición y diseño impulsados por IA que aceleran la creatividad de creadores y emprendedores. Mirelo levanta 41 millones para resolver el silencio en la creación de vídeos con IA, un desafío que limita el audio en las producciones. Además, Creative Commons evalúa apoyar un sistema de “pago por rastreo” para IA, buscando una compensación y derechos claros en un ecosistema abierto. ¿Qué implicaciones prácticas tendrán estas iniciativas para tu trabajo diario?En redes sociales, Instagram está avanzando con texto SEO amigable, con publicaciones que pueden aparecer en Google gracias a descripciones generadas automáticamente. YouTube expande las opciones de anuncios para Shorts, una oportunidad para monetizar y ampliar la audiencia en temporadas clave. WhatsApp lanza nueve funciones para mejorar la experiencia navideña en llamadas y chats, facilitando la conexión con clientes y comunidades. Si te interesa la visión radical del marketing, suscríbete a la newsletter de borjagiron.com y comparte este episodio con quien creas que le pueda interesar.Conviértete en un seguidor de este podcast: https://www.spreaker.com/podcast/noticias-marketing--5762806/support.Newsletter Marketing Radical: https://marketingradical.substack.com/welcomeNewsletter Negocios con IA: https://negociosconia.substack.com/welcomeMis Libros: https://borjagiron.com/librosSysteme Gratis: https://borjagiron.com/systemeSysteme 30% dto: https://borjagiron.com/systeme30Manychat Gratis: https://borjagiron.com/manychatMetricool 30 días Gratis Plan Premium (Usa cupón BORJA30): https://borjagiron.com/metricoolNoticias Redes Sociales: https://redessocialeshoy.comNoticias IA: https://inteligenciaartificialhoy.comClub: https://triunfers.com

Au programme :Deal Disney / OpenAI: tout comprendreVous pouvez parler à Photoshop dans ChatGPTEn Australie, l'interdiction des réseaux aux -16 ans devient une réalitéLe reste de l'actualité et le journal de l'IAInfos :Animé par Patrick Beja (Bluesky, Instagram, Twitter, TikTok).Co-animé par Guillaume Vendé (Bluesky).Produit par Patrick Beja (LinkedIn) et Fanny Cohen Moreau (LinkedIn).Musique libre de droit par Daniel BejaLe Rendez-vous Tech épisode épisode 645 - OpenAI et Disney: qui y gagne, qui y perd?---Liens :

FastLetter - Una fonte buona dalla quale aggiornarsia cura di Giorgio TavernitiN. 57 - 16 Dicembre 2025Di cosa parliamo* Il traffico di ChatGPT* La questione del positioning* Chatbot o Cosa?* È finita per ChatGPT?* Search Console: ma a chi parli?* YouTube nel 2026* Gli eventi Search On* SalutiPremessa: il 2025 volge al termine. Quest'anno mi ero promesso di fare molti più contenuti, ma il bilancio di questa FastLetter parla chiaro: con questa sono 10 edizioni.Anche i contenuti video orizzontali non sono stati poi molti: 45.Però sono soddisfatto: ho fatto ciò che potevo fare. Molte volte tendiamo a trovare una giustificazione “alta” a quello che facciamo, senza accettare ciò che ci accade. Invece è importante mantenere un dialogo onesto. Prima di tutto con sé stessi. Perché noi sui social siamo portati a dover dare delle lezioni di vita ad ogni singolo post. A spiegare sempre la vita a tutti.Ma i post di quel tipo hanno un sottile velo di menzogna, che raccontata poi pubblicamente diventa anche una propria menzogna.Quindi, niente pipponi Qualità vs Quantità. Niente “mi sono concentrato sulla Qualità”. Ho fatto ciò che potevo fare.Spero che il 2026 mi consenta di fare di più in questo campo. Mi mancano le live :)IL TRAFFICO DI CHATGPTC'è una statistica che sto seguendo mese dopo mese ed è quella di Similarweb. C'è stato un tempo dove ChatGPT dominava con oltre l'85% di mercato, quest'anno invece vede un Novembre con ChatGPT al 64% e Gemini al 15%. Nella classifica vediamo meglio sia gli andamenti, che altri dati da approfondire:Da questa classifica mancano Perplexity (189 milioni), Claude (181 milioni) e Copilot (105).Quello che risalta molto all'occhio è la crescita di Gemini e la discesa di ChatGPT. Inoltre c'è un dato che non deve passare inosservato: gli utenti unici.473 milioni sono quelli di ChatGPT contro i 219 di Gemini. Non sono numeri così distanti, tenendo conto che Gemini ha un uso molto diffuso anche nell'ecosistema Google (AI Mode in primis, ma anche Workspace).L'andamento degli ultimi tre mesi, quelli del “ritorno allo studio” dove ChatGPT è più forte, non ha avuto un grande incremento.Settembre: 5.9 miliardiOttobre: 6.1 miliardiNovembre: 5.8 miliardiGemini è l'unico che fa un progressivo:Settembre: 1.0 miliardiOttobre: 1.1 miliardiNovembre: 1.3 miliardiAl lancio di Gemini 3 abbiamo visto Google dare i suoi numeri:AI Overview conta ora 2 miliardi di utenti al mese. L'app Gemini supera i 650 milioni di utenti al mese, oltre il 70% dei nostri clienti Cloud utilizza la nostra AI, 13 milioni di sviluppatori hanno creato con i nostri modelli generativi e questo è solo un assaggio dell'impatto che stiamo riscontrando.Aldilà delle metodologie delle classifiche, qualsiasi dato prendi, dice una cosa: Gemini sta avanzando, ChatGPT meno. LA QUESTIONE DEL POSITIONINGOgni volta che si parla di questa grande sfida, ChatGPT contro Gemini, si parla del positioning. ChatGPT ha creato una nuova categoria di prodotto nella mente delle persone. Si è piazzata prima e il passaparola farà la differenza.Ed è così, con un però grande come una casa: non deve fare dei grandi passi falsi.La storia di Google che arriva seconda e poi si mangia tutto l'abbiamo già vista. Ma abbiamo visto anche quando Google arriva seconda e fallisce.Non c'è una regola. Una cosa è certa: se Google si mette davanti, si mette davanti punto.Non è stato il primo motore di ricerca della storia, ma è stato sicuramente quello che lo ha fatto meglio: ad un certo punto la qualità della ricerca era stratosferica rispetto agli altri.Questo è l'errore che non deve fare OpenAI. E devo dire che non sembra che stia facendo questo errore. Anche se le cose non si stanno mettendo benissimo: così come Google 3 anni fa ha emesso un codice rosso per ChatGPT, lo stesso è successo ad OpenAI. La versione 3 di Gemini fa paura per un motivo: di colpo, si è messo davanti a tutti in più di un campo. Non solo: i lanci continui di Google sia per le immagini che per i video stanno facendo clamore, così come le integrazioni che Google sta realizzando in tutto il suo ecosistema. È un continuo parlare di Google.Così OpenAI ha rilasciato il 5.2 per colmare il gap. Ma non è stata questa gran rivoluzione. La 5.1 high era stata superata da Gemini, Claude e Grok. Ora hanno due problemi:* OpenAI sta fronteggiando molti rivali che iniziano a essere forti anche solo in un ambito, come Claude Opus 4.5 nello sviluppo* Google ha forza economica, hardware, software, risorse umane tutte al suo interno. Il lancio di GPT-5.2 mette fine allo storytelling di ChatGPT. I Guri avevano detto che la 5 sarebbe stata una rivoluzione pazzesca, che avrebbe stravolto il mercato. Poi siccome non era così OpenAI l'ha chiamata 4.5. Ci hanno riprovato con la 5 e non è andata bene.Sulla 5.2 qualcuno ha riprovato con lo storytelling. Niente. Raga, hanno fatto dei passi in avanti, ovviamente, dopo la delusione della 5.1. Ma non si può parlare di rivoluzione, non si può parlare di un gap con gli altri. La rivoluzione più grande l'ha fatta Google con Gemini 3 andando a migliorare in un colpo solo tutto, non solo il testo. L'ha fatta Claude nello sviluppo. Non l'ha fatta OpenAI negli ultimi mesi.Che vi piaccia o no, oggi è così.La leadership è frammentata e lo sarà sempre di più. Ci saranno attività dove è più forte ChatGPT, altre Claude, altre Gemini e poi anche altri soggetti non USA.E qui veniamo al punto centrale: nella mente delle persone, dal mio personale punto di vista, la categoria Chatbot sta scricchiolando. E se ChatGPT resta forte in quella categoria, non è detto che lo resti per molto tempo ancora così come non è detto che riesca a inserirsi nelle altre.CHATBOT O COSA?Si sta aprendo uno spazio che ancora non vediamo. I Chatbot non sono più Chatbot. Non abbiamo vissuto molti anni per avere questa categoria così forte nella nostra mente. Secondo me sta per succedere qualcos'altro.Avete presente quando alla quarta volta che dite di aver usato un software con intelligenza artificiale vi siete stancati di nominare l'intelligenza artificiale perché oramai è ovunque? Ecco, stiamo passando oltre.E stiamo passando dal CHIEDERE a PRODURRE. E a breve alla sostituzione con l'AGIRE al posto nostro.Esempio. Oggi chiediamo all'AI: “Qual è il miglior hotel per New York in zona Manhattan?” o “Fammi un itinerario di viaggio per New York”. Domani diremo: “Prenotami il volo per New York, usa la mia carta solita e metti l'appuntamento in calendario”. Chiedere (qual è), Produrre (fammi), Agire (prenotami).L'uso che noi stiamo facendo di questi strumenti sta portando a rivalutare il tutto. Già oggi nei task che compiamo ci chiediamo quale strumento usare. ChatGPT? Gemini? Claude. Lo fanno anche persone non di questo settore.Google che attiva l'AI Mode e la spinge con popup ovunque è un cambio epocale.La partita qui si giocherà anche sulle tante cose che noi potremmo fare. Il fatto che Nano Banana e VEO (immagini e video) abbiano fatto dei passi in avanti clamorosi facendo muovere molte persone verso Gemini è un qualcosa da attenzionare.Google potrebbe uscirsene con qualche mossa a sorpresa.Se le cose resteranno così e resteremo nel mondo Chatbot allora la partita Google se la giocherà nell'adozione dei suoi sistemi rivaleggiando con OpenAI (dal canto suo dovrà restare al passo coi tempi, la situazione si è invertita).Ma c'è spazio per un'altra categoria secondo me che porterà ad una grande evoluzione. Potremmo sentire i Chatbot come qualcosa di superati intesi come solo testo e addirittura vecchi.È FINITA PER CHATGPT?Noi viviamo in una bolla. La bolla del Digital e dei Guri che per anni hanno fatto post in giro dicendo che Google sarebbe morta e che ChatGPT avrebbe mangiato tutto.Si è creato un hype esagerato che ha fatto vedere Internet con una lente distorta a molte persone.Sono passati 3 anni dal lancio di ChatGPT, ma Google è ancora lì, in una posizione di mercato nettamente salda. Le entrate, le azioni in borsa, il numero di utenti mostrano questo.Senza parlare delle infrastrutture che ha a disposizione che sono un asset strategico oggi. Se dovesse scoppiare una bolla sarebbe l'azienda più solida tra quelle che stanno facendo la partita.Quindi, c'è da fare un ridimensionamento su ChatGPT. Un ritorno alla realtà.Questo però non prescinde dal fatto che i risultati di ChatGPT siano straordinari: ha rivoluzionato un settore, è tra i siti più visitati al mondo, sta facendo cose molto importanti.La partita è aperta. Il futuro non è scritto. Il futuro è un po' più lento di quello che si poteva pensare: ovvero la leadership di Internet non cambierà così velocemente, se cambierà.OpenAI sta raggiungendo accordi importanti. Ma se non trovano un modo per svoltare da un punto di vista di business io non la vedo così salda. Questo perché ci sono in campo investimenti molto importanti e basta poco a ribaltare le questioni.Al di là del mercato, credo che OpenAI abbia in mano il proprio destino. Alcune mosse degli ultimi mesi sono state molto, molto, molto interessanti e intelligenti. Sta tirando fuori partnership interessanti da Photoshop a Walt Disney. Altre mosse invece hanno fatto perdere terreno in modo importante, mostrando le prime crepe.Questo 2025 ha decretato la fine del dilemma “ChatGPT ucciderà Google?”. No, non accadrà, ora lo hanno capito tutti gli scettici iniziali.Tolta questa patina anche per i non addetti ai lavori, inseriti tutti noi in un processo evolutivo dell'uso dell'AI, il 2026 ci darà delle risposte molto forti su dove potrà arrivare OpenAI.Perché ora che nella testa delle persone non c'è più questo Hype su ChatGPT, inizia la partita vera.Lo chiedo a voi: è finita per ChatGPT?SEARCH CONSOLE: MA A CHI PARLI?Ho letto un annuncio un po' strano di Google. Non mi piace molto questa nuova direzione della Search Console: all'appar

Weird week in AI.

Bruno Guglielminetti et Jérôme Colombain reviennent sur l'entrée en vigueur de la loi australienne interdisant les réseaux sociaux aux moins de 16 ans, une mesure déjà contournée par les adolescents via des plateformes non visées par le texte. Ils analysent ensuite le flou entourant un décret américain qui pourrait obliger les voyageurs à fournir l'historique de leurs comptes de réseaux sociaux lors d'une demande d'entrée aux États-Unis. Le duo s'attarde aussi au partenariat entre Adobe et OpenAI, qui permet désormais d'utiliser Photoshop, Acrobat et Adobe Express directement dans ChatGPT. Ils commentent la décision du magazine Time de désigner les grands patrons de l'IA comme personnalités de l'année 2025. Enfin, ils discutent des projets de centres de données dans l'espace, une idée autrefois théorique qui gagne désormais en crédibilité.

Ça y est, l'Australie a interdit les réseaux sociaux aux moins de 16 ans. Mais les jeunes rusent...Avec Bruno Guglielminetti (https://moncarnet.com/)L'Australie tente de bannir les jeunes des réseaux, mais...Depuis cette semaine, les jeunes Australiens de moins de 16 ans sont censés être exclus des réseaux sociaux. Une nouvelle loi impose aux plateformes de supprimer leurs comptes. Problème : seuls dix réseaux sont concernés par le texte. Résultat, les adolescents migrent en masse vers des applications comme Lemon8, Yoop ou Coverstar, qui échappent (pour l'instant) à la régulation. Lemon8, appartenant à ByteDance (maison mère de TikTok), est même devenue l'appli la plus téléchargée du pays en un jour. Le gouvernement promet d'adapter la loi, mais la réactivité des jeunes dépasse celle des législateurs.États-Unis : les visiteurs bientôt obligés de livrer 5 ans de vie numérique ?Un décret américain prévoit d'imposer à tout visiteur étranger de fournir un historique de cinq ans de ses activités numériques (réseaux sociaux, publications publiques). Ce projet, en discussion pour 60 jours, provoque un certain émoi, notamment en France. En réalité, la collecte d'informations est déjà partiellement en place via la demande ESTA, même si la saisie reste optionnelle. Le changement : l'application mobile deviendrait obligatoire, notamment pour capter de meilleures photos. Une extension de la surveillance ? Oui. Une nouveauté totale ? Pas vraiment.Adobe et OpenAI : création d'images et PDF intégrés dans ChatGPTAdobe intègre ses outils phares – Photoshop, Acrobat, Adobe Express – directement dans ChatGPT. Une nouveauté qui permet de générer une image avec l'IA, puis de la modifier dans Photoshop sans quitter l'interface. Idem pour les PDF. Ce partenariat vise à contrer Google et son IA Gemini, qui progresse rapidement. Pour les utilisateurs, le bénéfice est net : gain de temps et nouvelles possibilités créatives. C'est aussi une illustration concrète de la fusion croissante entre IA générative et outils métiers.-----------♥️ Soutien : https://mondenumerique.info/don

Dejamos Villarquemado con olor a chamusquina en la tapicería del 131 Supermirafiori y seguimos nuestra cruzada hacia el noroeste. Vamos a pegarnos un señor viaje de casi 200 kilómetros (192 para ser exactos). Cruzamos la frontera de Aragón para entrar en Castilla-La Mancha, pasamos Molina de Aragón (saludamos con la mano, pero no paramos, que ya fuimos) y nos adentramos en la Serranía de Guadalajara hasta llegar a la inexpugnable villa de Atienza. ​Atienza tiene hoy día unos 395 habitantes. Esto es barbaciado gourmet. Un pueblo que tiene más historia que habitantes. Si divides la historia por habitante, cada vecino te toca a dos guerras y tres reyes. Su gentilicio es atencino o atencina. ​El pueblo es tan medieval que si entras con un coche moderno te sientes culpable de romper el continuo espacio-tiempo. Está todo construido en cuesta. Pero no en una cuesta normal, no. En una cuesta de las que te hacen replantearte tu vida y tu estado físico. El urbanismo de Atienza lo diseñó un traumatólogo para forrarse poniendo prótesis de rodilla. ​La historia de Atienza empieza fuerte con los celtíberos, concretamente los arévacos, que llamaron al sitio Tithya. Se ve que tenían frenillo o hablaban con la boca llena. Como estaba en un cerro imposible, a los romanos les costó la vida conquistarla. De hecho, el cónsul Marco Claudio Marcelo tuvo que asediarla y sudar tinta china para que se rindieran. Siglos después llegaron los musulmanes y dijeron: "¡Qué sitio más bueno para poner un castillo y fastidiar a los cristianos!", y la convirtieron en una plaza fuerte inexpugnable. ​Durante la Reconquista, Atienza fue como la pelota en un partido de tenis: ahora es mía, ahora es tuya. Pasó de manos musulmanas a cristianas tantas veces que los vecinos ya no sabían si rezar mirando a la Meca o a Roma. Finalmente, Alfonso I de Aragón la reconquistó, pero fue Alfonso VII de Castilla quien le dio el fuero y la convirtió en una villa de realengo. ​Pero el momento estelar, el prime time de Atienza, es La Caballada. Resulta que en 1162, el rey Alfonso VIII era un niño, y su tío, el rey de León, quería "tutelarlo" (léase: secuestrarlo y quedarse con el reino, que las cenas de Navidad de la realeza eran muy tensas). Los habitantes de Atienza, que eran unos tipos listos y leales, sacaron al niño rey disfrazado en una caravana de arrieros, engañando a las tropas leonesas, y lo salvaron. Desde entonces, hace más de 850 años, celebran esta fiesta. Y ojo, que no todo fue bonito: en la Guerra de la Independencia, los franceses del general Hugo (el padre de Víctor Hugo, el de Los Miserables) llegaron aquí y destrozaron medio pueblo y parte del castillo. Se llevaron hasta los marcos de las puertas. Si Víctor Hugo escribió Los Miserables, seguro que se inspiró en lo que hizo su padre en Atienza. ​El gran hito visual de Atienza es su Castillo roquero. Está subido en una peña tan fina y tan alta que parece que lo pusieron ahí con Photoshop. Se dice que por aquí pasó el Cid, pero es que el Cid pasó por todos lados. El Cid era el repartidor de Amazon del siglo XI, estaba en todas las rutas. ​El patrimonio de Atienza es absurdo para 395 habitantes. Tienen cinco museos. ​Museo de la Santísima Trinidad. ​Museo de San Gil. ​Museo de San Bartolomé. ​Museo de San Francisco. ​Y el Castillo. Tienen más museos que bares, lo cual en España es una anomalía estadística que debería estudiar el CSIC. Tienes que elegir: o te culturizas o te emborrachas, no hay tiempo para todo. ​Y ojo a la gastronomía: aquí se comen asados. Cordero y cabrito. La dieta mediterránea aquí consiste en comerse un animal que ha pastado hierbas mediterráneas. Y de postre, huesos de santo, que es un dulce que te recuerda que vas a morir, pero con azúcar.

А вот и итоги недели в подкасте Telegram-канала ForGeeks. Расскажу про Photoshop внутри ChatGPT, зачем Мелодия восстанавливает производство пластинок, кто собрал 9 наград на The Game Awards и почему в Австралии решили запретить соцсети для детей.. Слушайте новый выпуск, читайте и подписывайтесь на ForGeeks в Telegram.

The massive new integration between OpenAI's ChatGPT and Adobe's popular apps: Photoshop, Adobe Express, and Acrobat. This integration allows users to perform professional work—from editing photos and creating social media graphics to organizing PDF documents—simply by asking ChatGPT to do the work. The apps are available for free to users via the web, iOS, and Android. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Apple Silicon's Johny Srouji says he's staying, Australia enforces a sweeping social media ban for kids, Netflix makes a massive $72 billion gamble against YouTube, ChatGPT can use Photoshop for you, and Meta gives you some control over its algorithm.Ad-Free + Bonus EpisodesShow Notes via EmailWatch on YouTube!Join the CommunityEmail Us: podcast@primarytech.fm@stephenrobles on Threads@jasonaten on ThreadsMusic by Breakmaster Cylinder------------------------------Sponsors:CleanMyMac - Get Tidy Today! Try 7 days free and use my code PRIMARYTECH for 20% off at clnmy.com/PrimaryTechnology1Password - Secure your small business with 1Password. Learn more at: 1password.com/primarytech------------------------------Links from the showIs Apple Cooked? - YouTubeStephen Lemay Bio - Cult of MacApple Rocked by Executive Departures, With Johny Srouji at Risk of Leaving Next - BloombergApple Silicon chief Johny Srouji reportedly commits to staying at Apple for now - 9to5MacMillions of children and teens lose access to accounts as Australia's world-first social media ban begins | Social media ban | The GuardianTim Cook meets lawmakers in effort to shift App Store age proposal - 9to5MacNetflix Just Made a $72 Billion Bet Against YouTubeNetflix is buying Warner Bros. for $83 billion | The VergeParamount Makes Hostile Bid for Warner Bros. Discovery - The New York TimesGoogle Project Aura hands-on: Android XR's biggest strength is in the apps | The VergeGoogle details Gemini in Chrome's agentic browsing securityInstagram gives you more control over your Reels algorithm | The VergeInspired by all of you who started "dear threads algo" requests, we're going to test a new feature where if you post "dear algo" it will actually put more of that content in your feed!Sam Altman's Sprint to Correct OpenAI's Direction and Fend Off Google - WSJHere are iPhone's most downloaded apps and games of 2025 - 9to5MacOpenAI hires Slack's CEO as its chief revenue officer | The VergeYou can buy your Instacart groceries without leaving ChatGPT | TechCrunchChatGPT can now use Adobe apps to edit your photos and PDFs for free | The VergeTrump could introduce ‘mandatory' social media reviews for travelers | The VergeSpaceX Said to Pursue 2026 IPO Raising Far Above $30 Billion - BloombergTIME Person of the Year 2025: How We Chose | TIMEWhat Amazon's New Flagship Kindle Scribe Colorsoft Gets Write ★ Support this podcast ★

In this episode of the Marketing Guides for Small Businesses Podcast, we welcome Stewart Cohen, award-winning photographer, filmmaker, and founder of SC Pictures. Stewart shares valuable insights from decades of working with major brands and agencies, highlighting the power of personal connection, relationship-building, and authentic storytelling in today's fast-moving marketing landscape. Stewart explains why first-time clients often hire based on work or price, but long-term clients return because of the connection you build. He describes how nurturing relationships over months or even years is essential in industries with long sales cycles. We discuss practical strategies for staying top-of-mind without overwhelming prospects, including personal outreach, industry visibility, and thoughtful content that positions you as a trusted authority. As the conversation expands, Stewart outlines how constant industry change—from mergers to shifting buyer roles—makes platforms like LinkedIn essential for staying informed and maintaining relationships. He also shares why he still reads print media and industry reports daily, and how surprising insights often lead to meaningful client touchpoints. Naturally, the discussion turns to AI. Stewart is candid about how AI tools are transforming creative work—from pre-production to content ideation—and why the genie isn't going back in the bottle. We explore the gray areas of AI-generated content, copyright concerns, and the global differences in how companies are already using AI at scale. Stewart emphasizes that creatives must evolve with technology, just as they did with digital cameras, Photoshop, and mobile photography. The episode also dives into branding lessons. Stewart shares why brands often get tired of their own identity long before customers even recognize it—meaning frequent rebrands often destroy hard-earned equity. We compare small-business identity to big-brand campaigns and discuss why evolution beats revolution in long-term brand building. Next, we explore how video production is changing. Stewart talks about the shift toward vertical formats, low-budget video options, and storytelling that works in today's fast-scroll environment. He explains how small businesses can use simple, authentic video to create meaningful engagement without massive production budgets. Other topics include: Staying authentic in a world full of overproduced brandingHow industry consolidation affects small service providersWhy clear expectations improve client satisfactionWhat consistency in deliverables means for production teamsThe importance of respecting clients' spaces and time during shootsThe rising cost of paid media and what small businesses must consider before investing in Google or LinkedIn adsHow to reverse-engineer advertising budgets based on customer acquisition costWhy licensing existing content can be a smart, cost-effective option Stewart closes the episode by sharing where listeners can explore his work—at stewartcohen.com, on LinkedIn, on Instagram @scpictures, or through his stock media platform superstock.com. This episode is packed with practical, real-world wisdom for marketers, creators, and small-business owners who want to level up their storytelling, build stronger relationships, and navigate the rapidly changing world of video and content creation.

In this episode, I spend some time looking into what is coming up in 2026. Historically, I have done a very long blog post or podcast that is both a retrospective on the current year (the year that was) and a look forward into the new year. This year, I have decided to break it up into two more bite-sized chunks and have two separate podcasts. This episode looks ahead to 2026, with some thoughts on travel, equipment, and photography in general.In other news, I was also appointed an Adobe Community Expert for both Lightroom and Photoshop this week. Which means I will now be on the Adobe community forums to answer Lightroom questions whenever I can. Feel free to PM me there if you have anything specific you want to ask.Arctic SurvivorsSupport the showWild Nature Photo TravelPhotography Workshops and Expeditions around the Worldwww.wildnaturephototravel.comSupport the Show and fellow Nature Photographer: https://www.buymeacoffee.com/JoshuaHolko/membershipFind us on Social MediaFacebook: https://www.facebook.com/Joshuaholko/Twitter: https://twitter.com/HolkoJoshuaInstagram: https://www.instagram.com/joshuaholko/Need to Contact us? info@jholko.com

El programa 2795 de Radiogeek, les habló de varios temas importantes. Reddit anuncia los perfiles verificados, con lo cual va brindar una capa de seriedad a la información que se publica en la plataforma, ademas tenemos que Instagram comienza a brindar en Estados Unidos la posibilidad de poder reestrenar el feed de relees para los usuarios, seguimos con que el departamento de justicia norteamericano, anuncio la eliminación de la Fuente calibri en los comunicados oficiales y por ultimo quizás la noticia más importante es que en ChatGPT ahora vamos a poder usar las herramientas más clásicas de adobe, como photoshop acrobat, etc. Toda esta información la pueden encontrar desde nuestra web www.infosertec.com.ar o bien desde el canal de Telegram/Whastapp, o Instagram. Esperamos sus comentarios.

Plus, EVs are not yet more dangerous than other cars, and Instagram lets you customize Reels.Starring Tom Merritt and Sarah Lane.Links to stories discussed in this episode can be found here. Hosted on Acast. See acast.com/privacy for more information.

Likefolio's Landon Swan calls it a “rough year” for Adobe (ADBE) ahead of its earnings report this afternoon. He thinks investors are worried about its position in AI competition, and says it “has to” jump on AI or its products will be outcompeted. He walks through some of their products and usage stats, but notes that its “bread and butter” Photoshop is easily replicated now.======== Schwab Network ========Empowering every investor and trader, every market day.Options involve risks and are not suitable for all investors. Before trading, read the Options Disclosure Document. http://bit.ly/2v9tH6DSubscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribeDownload the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watchWatch on Vizio - https://www.vizio.com/en/watchfreeplus-exploreWatch on DistroTV - https://www.distro.tv/live/schwab-network/Follow us on X – https://twitter.com/schwabnetworkFollow us on Facebook – https://www.facebook.com/schwabnetworkFollow us on LinkedIn - https://www.linkedin.com/company/schwab-network/About Schwab Network - https://schwabnetwork.com/about

Market update for December 10, 2025Follow us on Instagram (@TheRundownDaily) for bonus content and instant reactions.Today we break down:What to expect from the Fed meeting and Powell's press conferenceOracle's high-stakes earnings as debt worries pile upDeepSeek reportedly uses smuggled Nvidia chips to train its next modelOpenAI bringing Photoshop into ChatGPT plus a new CRO The day's biggest movers: silver's record run and GameStop's earnings slide

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

In this week's episode, we take a look at six software tools for indie authors to help them write and improve their workflow. This coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series, (as excellently narrated by Hollis McCarthy) at my Payhip store: BLADES2025 The coupon code is valid through December 15, 2025. So if you need a new audiobook this winter, we've got you covered! TRANSCRIPT [This episode's content is not sponsored. Jonathan has not received any compensation for these reviews and has not received any free products or services from the companies mentioned in this episode. He does not currently use affiliate links for the products mentioned.] 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 280 of The Pulp Writer Show. My name is Jonathan Moeller. Today is a very snowy December 5th, 2025, and today I'm discussing six software tools that are useful for indie authors. Before we get into that, we will have Coupon of the Week and then an update on my current writing, publishing, and audiobook projects. So first up, Coupon of the Week. This week's coupon code will get you 50% off the audiobook of Cloak of Blades, Book #4 in the Cloak Mage series (as excellently narrated by Hollis McCarthy), at my Payhip store. And that is BLADES2025. And as always, the coupon code and the link to my Payhip store will be available in the show notes for this episode. This coupon code will be valid through December the 15th, 2025. So if you need a new audiobook for this winter or for your Christmas travels, we have got you covered. And now for an update on my current writing and publishing projects. As I mentioned last week, Blade of Shadows is out and it's available at Amazon, Barnes and Noble, Kobo, Google Play, Apple Books, Smashwords, and my Payhip store, and it's been doing quite well and gotten a good response from everyone. So thank you for that and I am looking forward to continuing that series. Now that Blade of Shadows is done, my main project is the fifth book in the Half-Elven Thief series, which is Wizard-Assassin. I had originally planned to name it Elven-Assassin, but decided Wizard-Assassin sounded a bit punchier, so I went with that instead. I am 46,000 words into it, which puts me on chapter 10 of 16. The final draft will have more chapters because one of the chapters is 11,000 words. I'm going to have to cut it up. I've also noticed that readers in general these days seem to prefer shorter chapters, so I've been trying to lean more into doing that and having books with shorter chapters. I think the rough draft is going to be about 70 to 75,000 words, give or take. So I'm hoping I can finish that next week, and I am cautiously optimistic I can have the book published before Christmas. If I can't get it published before Christmas, it is going to slip to my first book of 2026. But at the moment, and of course, barring our old unwelcome friend unexpected developments, I am cautiously optimistic I can have it out by Christmas 2025. So watch my website and listen to this space for additional news. My secondary project is Blade of Storms, which will be the third book in the Blades of Ruin series and the direct sequel to Blade of Shadows. I am about 6,000 words into that, and once Wizard-Assassin is done, that will be my main project. I'm hoping to have that out at the end of January, but if Wizard-Assassin slips to January, then Blade of Storms will [of necessity] slip to February. In audiobook news, Blade of Flames, the audiobook of the first book in the Blades of Ruin series, is now out and you can get that at Audible, Amazon, Apple, Kobo, Google Play, my own Payhip store, Spotify, and all the other usual audiobook stores. So if you're looking for something else to listen to during your Christmas travels this year, I suggest checking out Blade of Flames (as excellently narrated by Brad Wills). Cloak of the Embers, the 10th book in the Cloak Mage series (as excellently narrated by Hollis McCarthy)…the recording of that is done and it is being proofed right now, so I am hopeful we can hopefully have that out before Christmas (if all goes well). In fact, after I record this podcast episode, I'm going to have to convert the ebook cover of Cloak of Embers into an audiobook cover for Cloak of Embers. So that is where I'm at with my current writing and publishing projects. There is definitely a lot going on. 00:03:40 Main Topic: 6 Helpful Writing Tools for Indie Authors in 2025 [All Prices referenced are USD.] Now we're going to move on to our main topic this week, which is six helpful writing tools for indie authors in 2025. Last year in 2024, I did a roundup of popular software tools for writers and I thought I would give a quick update for it. Some of these tools like Calibre and LibreOffice I use, while others like Scrivener and Notion just aren't great fit for my workflow, I still want to talk about them anyways since just because I don't use them doesn't mean that they're not good and a lot of writers do in fact use them. Many writers also have complex systems for organizing their files and would benefit from tools like that. Without further ado, here are six pieces of software used for writing and writing adjacent tasks. I should mention before we get going as well that none of these tools are explicitly generative AI tools because as you know, if you've listened to the podcast over the years is my opinion of generative AI remains mostly negative. I have and continue to do some marketing experiments with generative AI elements, but I remain overall unimpressed by the technology. So with that in mind, none of these software tools I'm going to mention are explicitly AI tools. Some of them do have AI elements that you can plug in and use if you want to, but they aren't part of the core functionality of the application unless you specifically seek it out. With that in mind, let's get to it. #1: The first one we will talk about is Scrivener. Scrivener is of course essentially a word processor and project management system specifically designed for creative or nonfiction writing, unlike a traditional word processor like Microsoft Word, LibreOffice Writer, or Apple Pages. It features tools for outlining, for breaking documents into chapters, tracking word count goals and et cetera. One of the major benefits of it is a one-time cost instead of as a subscription because it seems like everything is a subscription nowadays, but Scrivener is still $60 a pop. They also offer a free trial and student discount and occasionally [it will] go on sale during peak times like the holidays. The downside of this is that Scrivener has a sharp learning curve. For myself when I write, I write either in Microsoft Word or Libre Office and I just sit down and write. When I write an outline, it's one Word document and the rough draft is another document that I write until I'm done. Scrivener is definitely a more complex software application, which I have to admit is funny to say because Microsoft Word is ridiculously complicated and has, in my opinion, far more functionality stuffed into it than it really needs. But Scrivener is a different kind of functionality and therefore the learning curve could be quite high for that. Additionally, this may not be the right software tool to work with your style of writing or how you organize your files. A couple extra thoughts with that is it's important to know yourself. Will you actually use the extra features included with Scrivener or do they just look cool and shiny? Scrivener probably is best for those who take extensive notes on their work, especially if trying to organize research based on chapters where it's needed. So if you're a nonfiction writer or if you're a historical fiction writer or a thriller writer who is very concerned about accuracy in your books, this may be useful for you so you can put in notes about the proper way to address a duke in 19th century England or what caliber of ammunition your thriller hero's preferred firearm takes. It's maybe the best for the kind of people who enjoy curating their Notion and Trello accounts and are able to think about their book in a very visual way without letting that process be an excuse to keep them from writing. I'd also say it's good for people who extensively revise blocks of text within a chapter and move chapters around a lot. #2: Canva. Canva has been around for a long time and it is a platform that makes it easy to create visual content using a drag and drop interface that provides a variety of templates, fonts, and designs to use for things like social media posts. They currently have two tiers for individuals, a limited free option, and Canva Pro, which is $12.99 a month. Some of the pros for Canva are it is well-suited for using templates for writers to create images for social media posts and book marketing material. The learning curve is not very steep, especially compared with something like Photoshop. If you've used PowerPoint before, you can definitely handle Canva. The cons: although some people use it to create book covers, many books have been flagged by Kindle Direct Publishing (KDP) and some of the other publishing platforms for doing so. I would advise you to avoid Canva for creating book covers because of the potential for issues that could keep your book out of ebook stores. At the very least, read Canva's terms of use and the rules of KDP and the other ebook publishers very, very carefully before you would even begin to consider using Canva for this purpose. Many of the free features have been folded into the pro version such as sharing template links. The editing and design features are basic compared to something like Photoshop, though that may change as we're going to discuss a little bit here. Because Canva is so popular, there's a certain amount of snobbery out there about using its designs without significant modification. You may have encountered on social media or the Internet people who react very negatively to the presence of AI generated images and this exists to a lesser extent with Canva templates. "Looks like it was made in Canva" is sometimes used as an insult. If you want a unique style and look for your images, you'll have to work a little more to achieve that using Canva. Canva is quick for great one-time things like Facebook or BookBub ads, but I wouldn't recommend using it for book creation or book covers at this time because of the potential problems that can arise from that. For myself, I don't usually use Canva. I've had enough practice with Photoshop that I'm pretty confident in making whatever I want in terms of ad images or book covers in Photoshop, and I use Photoshop for that. However, since I organized the notes for this episode, there is a major caveat to that. Recently, Canva acquired a program called Affinity Photo Editor, which is essentially a much lower cost alternative to Photoshop. When this happened, there was a great deal of negativity around it because people thought Canva was going to jack up the price or make it into an overpriced subscription. But what Canva did surprised a great many people in that they made Affinity totally free and essentially are using a freemium model with it where you can use Affinity Photo Editor for free. It used to be, I believe like $79, possibly $69, and then any of the other features like downloading additional content from Canva would cost part of your Canva subscription. So I have to admit, I'm sufficiently curious about this, that when I write the tie in short story for Wizard-Assassin, I may use Affinity Photo Editor to assemble the cover for it just to see if it would work for that or not, because as I've said, I use Photoshop, but Photoshop is very expensive, Adobe frequently does business practices that are a bit shifty, and the idea of a freemium alternative to Photoshop is not necessarily a bad idea. So when I write a tie in short story for Wizard-Assassin later this month, I think I will attempt to make the cover in Affinity Photo Editor and see if that is something that would be good for my workflow or not, and I will report on that later. #3: Number three is Notion, which can be used to organize information, links, calendars, and reminders into one central dashboard. They have two plans for individuals, a free plan and a Plus plan, which is currently $10 to $12 per month (depending on whether you want a monthly or an annual plan). The Plus version offers unlimited file uploads, greater customizations, and integrations with Slack and Google Drive. The pros for using Notion is that it is popular with writers and content creators for being able to have project planning tools, notes, lists, links, trackers, and reminders all in one dashboard. If you enjoy customization and getting something set up exactly the way you want, you might enjoy setting up your lists, calendars, trackers, and notes through Notion. You can add images and adjust the layout and colors for a more "aesthetic" experience. It is easy to find customized templates [online], especially for writers and for things like storyboarding, word counts, and keeping tracks of sources for nonfiction writing. These Notion templates are shared by individuals, not the company and can be free or paid. Now, some of the cons with Notion. It didn't used to use very much AI, but the company is leaning increasingly heavy into AI, both as a company and in its features on the boards, if that is a concern. The amount of customization options and detail can be absolutely overwhelming. Someone who gets decision fatigue easily or doesn't want to customize a lot and might not enjoy using it. Some people are increasingly complaining that the software is getting too overloaded with features and is slow. For people who value being organized and love having complex and highly visual systems, Notion might be helpful. The downside is that maintaining your Notion boards can easily turn into what I call a "writing-adjacent activity" that gives you the illusion of productivity because of the time you spend managing and updating it aside from the business of getting actual writing done. So once again, this is a good example of "know thyself." If this is something that would be helpful for you, go ahead and pursue it. But if it's something that could turn into a tool for procrastination, it's probably better to avoid it. For myself, I am old enough that when I need to make lists and keep track of things, I have a yellow legal pad on my desk that I write things down on. #4: The next piece of software we're going to look at is LibreOffice. It is an open source piece of software that closely matches Microsoft Office, including Microsoft Word. Pros: It's free and open source. There's a minimal learning curve for those already familiar with Microsoft Word. The interface is a little different, but it's pretty easy to figure things out if you're familiar with Word or Excel. Some swear that that LibreOffice is faster than Word. It depends on the kind of document you're working on and the kind of computer you're using. So that's an area where your mileage may vary. It is also the best word processing option for privacy advocates, especially for those who are concerned about Microsoft and Google storing their work and possibly harvesting it for AI because by default, LibreOffice doesn't work with any AI elements. If you want it to work with any AI elements, plugins are available but they are not included. It's great for the writer who doesn't want to support Microsoft for any reason but still wants to be able to easily save documents in Microsoft file formats like .docx. It works. I've written entire books using it. I wrote all of Soul of Serpents and Soul of Dragons in it, and that was 13 years ago now, and the software has only improved since then. I wrote Silent Order: Eclipse Hand [using it] in 2017 and was very happy with the results, and I still use it for various projects every week, and I found a couple times if something was screwed up in the formatting of Microsoft Word, if I opened it up in LibreOffice, I could fix it pretty easily and much easier than I could in Word. It does have a few cons. The user interface compared to Word or something like Apple Pages does look a bit dated, but it's still navigable. It doesn't have any cloud storage functionality. You would need to piece it together with another storage option if you want to be able to backup stuff to the cloud. But overall, if you can't afford the Microsoft Office Suite, don't want to support Microsoft, and value your privacy, this is your best bet for word processing. Some people may not like its interface, but it's still an extremely solid piece of free software. #5: And now let's move on to our fifth software tool, which is Calibre. Calibre is a tool for ebook management. It can be used for file formatting, changing your books' metadata, or changing file formats. Many use it to create a custom ebook library. Pros include: the product is free and open source. It is easy to generate different file formats for book publication. Do you want to categorize and organize your books in a very specific way? Calibre works for that. The cons: some people find the interface a little clunky and it comes with a bit of a learning curve. To be honest, the interface does look like it came from Windows 2000 and some of the features rely on knowledge of HTML and CSS. Editing and formatting of the book itself is better done using other software. Final thoughts on that? The software is trustworthy, reliable, and has been maintained over the years. It does exactly what it says it does, without any real style but plenty of substance. And I've been a regular Calibre user for like 15 years now, and whenever I get a new computer Calibre is usually one of the very first things I install on it. #6: And now for our sixth and final tool, Inkarnate. Inkarnate is a very useful piece of software that is designed for creating maps. I believe it was originally intended to create maps for role-playing games like Dungeons and Dragons and Pathfinder and so forth. But it's also very useful for creating maps for fantasy novels. As I may have mentioned on the podcast a few times before, I really don't like making maps. I find it constraining and it makes the writing feel a bit crabbed at times. That said, I write primarily in the fantasy genre and people in the fantasy genre love maps, so I'm kind of on the hook for making maps. I used to draw the maps by hand and then import it into Photoshop and add all the locations and add colors and so forth. But that is a lot of work, I have to admit. Inkarnate makes it a lot easier, and I've used it for the last couple of maps I've made. The map of the city of Tar-Carmatheion in the Half-Elven Thief books came from Inkarnate. The map of Owyllain for Blades of Ruin came from Inkarnate, and the map of New Kyre and adjoining regions for Ghost Armor also came from Inkarnate. It's very affordable too. The subscription, I believe, is only $30 a year, and I've been using for a few years now and have never regretted it. So I'd say all the pros are all the ones I've already listed. The cons are that the learning curve is a little bit sharp, but there are excellent YouTube videos and tutorials for that. So, final thoughts. If you find yourself needing to make maps and don't enjoy the process of making maps, then Inkarnate is the software product for you. So those are six tools, software tools for indie authors that I hope will make you more productive and make your work easier. So that is it for this week. Thank you for listening to the Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the backup episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.  

Vincent Versace is an American photographer and a Nikon Ambassador. He is a recipient of the Computerworld Smithsonian Award in Media Arts & Entertainment. His work is part of the permanent collection of the Smithsonian Institution's National Museum of American History. At age seven, Vincent was introduced to photography and the darkroom by his uncle, a wedding photographer. Vincent saved his allowance to purchase a Nikon rangefinder at a garage sale and, at the age of nine, he sold his first photo to a local newspaper for $50. In high school, Vincent followed in his uncle's footsteps and photographed weddings. He has published three books on photography. His first book was Welcome to Oz: A Cinematic Approach to Digital Still Photography with Photoshop and named as one of the top digital books of 2007 by Shutterbug Magazine. The second book, Welcome to Oz 2.0, a complete rewrite of his first to include the science of focus and blur, and ExDR. His third book, From Oz to Kansas: Almost Every Black & White Technique Known to Mankind, was published in 2012.Check out his website www.versacephotography.comand instagram www.instagram.com/vincent_versace/?hl=en

In this episode, Conor and Bryce interview Sean Parent about the origin story of his career in software engineering!Link to Episode 263 on WebsiteDiscuss this episode, leave a comment, or ask a question (on GitHub)SocialsADSP: The Podcast: TwitterConor Hoekstra: Twitter | BlueSky | MastodonBryce Adelstein Lelbach: TwitterAbout the Guest:Sean Parent is a senior principal scientist and software architect managing Adobe's Software Technology Lab. Sean first joined Adobe in 1993 working on Photoshop and is one of the creators of Photoshop Mobile, Lightroom Mobile, and Lightroom Web. In 2009 Sean spent a year at Google working on Chrome OS before returning to Adobe. From 1988 through 1993 Sean worked at Apple, where he was part of the system software team that developed the technologies allowing Apple's successful transition to PowerPC.Show NotesDate Recorded: 2025-10-10Date Released: 2025-12-05Source CodeTRS80Ohio Scientific ChallengerExidy SorcererIntro Song InfoMiss You by Sarah Jansen https://soundcloud.com/sarahjansenmusicCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: http://bit.ly/l-miss-youMusic promoted by Audio Library https://youtu.be/iYYxnasvfx8

Welcome to episode 333 of The Cloud Pod, where the forecast is always cloudy! Justin, Ryan, and Matt are taking a quick break from re:Invent festivities. They bring you the latest and greatest in Cloud and AI news. This week, we discuss Norad and Anthropic teaming up to bring you Christmas cheer. Wait, is that right? Huh. We also have undersea cables, some Turkish region delight, and a LOT of Opus 4.5 news. Let's get into it! Titles we almost went with this week Boring Error Pages Not Found Claude Goes Native in Snowflake: Finally, AI That Stays Where Your Data Lives Cross-Cloud Romance: AWS and Google Make It Official with Interconnect Google Gemini Puts OpenAI in Code Red: The Tables Have Turned Azure NAT Gateway V2: Now With More Zones Than a Parking Lot From ChatGPT to Chat-Uh-Oh: OpenAI Sounds the Alarm as Gemini Steals 200 Million Users Scheduled Actions: Because Your VMs Need a Work-Life Balance Too Finally, Your 500 Errors Can Look as Good as Your Homepage Foundry Model Router: Because Choosing Between 47 AI Models is Nobody’s Idea of Fun Google Takes the Scenic Route: New Cable Avoids the Sunda Strait Traffic Jam Azure Application Gateway Gets Its TCP/IP Diploma Google Cloud Gets Its Türkiye Dinner: 2 Billion Dollar Cloud Feast Coming Soon Microsoft Foundry: Turning AI Chaos into Compliance Gold AI Is Going Great, or How ML Makes Money  02:59 Nano Banana Pro available for enterprise Google launches Nano Banana Pro (Gemini 3 Pro Image) in general availability on Vertex AI and Google Workspace, with Gemini Enterprise support coming soon. The model supports up to 14 reference images for style consistency and generates 4K resolution outputs with multilingual text rendering capabilities. The model includes Google Search grounding for factual accuracy in generated infographics and diagrams, plus built-in SynthID watermarking for transparency. Copyright indemnification will be available at general availability under Google’s shared responsibility framework. Enterprise integrations are live with Adobe Firefly, Photoshop, Canva, and Figma, enabling production-grade creative workflows. Major retailers, including Klarna, Shopify, and Wayfair, report using the model for product visualization and marketing asset generation at scale. Developers can access Nano Banana Pro through Vertex AI with Provis

Co-hosts Mark Thompson and Steve Little examine Google's groundbreaking Gemini 3 release, which delivers state-of-the-art multimodal reasoning and sets a new benchmark for AI capabilities. They also explore ChatGPT's upgrade to version 5.1 with improved instruction following and better handling of longer conversation.The hosts discuss Canva's new Creative Operating System, which now generates AI-powered designs directly within the platform.This week's Tip of the Week demonstrates how Gemini 3 can use the context you provide it to greatly improve the accuracy of your hand written transcription.In RapidFire, they cover NotebookLM's new deep research mode, Nano Banana's integration into Photoshop, Anthropic's privacy policy changes regarding training data, and how Claude's new usage monitoring feature can reduce your stress level.Timestamps:In the News:04:17 Google Gemini 3's Multimodal AI Reaches New Heights13:47 ChatGPT 5.1 upgrade is now better at following your Instructions22:39 Canva Creative Operating System: AI-Powered Design GenerationTip of the Week:26:21 Adding Reasoning to Your Transcriptions Improves AccuracyRapidFire:36:40 NotebookLM Becomes a Fully Featured Research Tool43:40 Nano Banana is Now Available in Photoshop47:20 Anthropic Announces Claude Chats Will Be Used for Training Data54:13 View Your Claude Usage in SettingsResource Links:Intro to Family History AI by the Family History AI Show Academyhttps://tixoom.app/fhaishowGoogle Gemini 3Introducing Gemini 3: A New Era of Intelligencehttps://blog.google/products/gemini/gemini-3/ChatGPT 5.1A smarter, more conversationalhttps://openai.com/index/gpt-5-1/GPT-5.1 New Features Explainedhttps://scalevise.com/resources/gpt-5-1-new-features/Canva Creative Operating SystemIntroducing Canva's Creative Operating Systemhttps://www.canva.com/newsroom/news/creative-operating-system/NotebookLM Deep ResearchNotebookLM adds Deep Research and support for more source typeshttps://blog.google/technology/google-labs/notebooklm-deep-research-file-types/Nano Banana in PhotoshopCreate with unlimited generations using Google Gemini 3 (Nano Banana Pro) in Adobe Fireflyhttps://blog.adobe.com/en/publish/2025/11/20/google-gemini-3-nano-banana-pro-firefly-photoshopAnthropic Privacy Policy UpdateAnthropic Will Use Claude Chats for Training Data: How to Opt Outhttps://www.wired.com/story/anthropic-using-claude-chats-for-training-how-to-opt-out/Updates to Consumer Terms and Privacy Policyhttps://www.anthropic.com/news/updates-to-our-consumer-termsClaude Usage MonitoringUsage Limit Best Practiceshttps://support.claude.com/en/articles/9797557-usage-limit-best-practicesTags:Artificial Intelligence, Genealogy, Family History, Google Gemini, ChatGPT, Canva, NotebookLM, Nano Banana, Anthropic Claude, Photo Restoration

With so many AI tools flying around, it feels overwhelming for any creative team to choose the ones that will make a difference. This is why last week, we decided to have a conversation with Charles Migos, Chief Product Officer, Founder of Intangible.ai, Design Leaders faculty member and one of the most exciting voices in design today. He is a design executive who has spent 30 years building tools for creatives, working alongside the industry's brightest minds like Steve Jobs and in companies like Apple, Microsoft, and Unity.What we got is a powerful conversation with Charles about how designers play an important role in the age of AI, from problem-solving and aligning teams to improving collaboration. Timecodes:00:00 Introduction to design and AI with Charles Moberly (ex Apple, Microsoft, Unity)03:04 How the AI shift compares to the internet, Photoshop, and touchscreens06:12 The fundamentals of design that stay the same in the AI era08:23 How to choose AI tools for designers without feeling overwhelmed14:07 How to test and adopt AI tools in a design team16:36 Why creativity still works best as a team sport19:49 What design leaders should focus on in the AI era25:51 Balancing design and engineering cultures at scale32:20 Building Intangible AI and rethinking generative 3D workflows38:46 Copyright, IP, and ethical risks in generative AI45:08 Trust, privacy, and data choices when using AI tools45:26 A realistic look at the future of AI for creatives46:42 How designers can actively shape the future with AI50:19 New opportunities for designers using AI tools well54:09 Practical Figma Make tips for faster high fidelity prototyping01:02:04 Gender bias in AI and what design leaders can do01:22:22 Empathy and pragmatism as core design leadership skills54:09 Practical Figma Make tips Prototyping faster in high fidelity01:02:04 Gender bias in AI How design leaders respond01:22:22 Empathy and pragmatism in design leadership

In this episode, Conor and Bryce interview Sean Parent about generic programming and there is much chaos!Link to Episode 262 on WebsiteDiscuss this episode, leave a comment, or ask a question (on GitHub)SocialsADSP: The Podcast: TwitterConor Hoekstra: Twitter | BlueSky | MastodonBryce Adelstein Lelbach: TwitterAbout the Guest:Sean Parent is a senior principal scientist and software architect managing Adobe's Software Technology Lab. Sean first joined Adobe in 1993 working on Photoshop and is one of the creators of Photoshop Mobile, Lightroom Mobile, and Lightroom Web. In 2009 Sean spent a year at Google working on Chrome OS before returning to Adobe. From 1988 through 1993 Sean worked at Apple, where he was part of the system software team that developed the technologies allowing Apple's successful transition to PowerPC.Show NotesDate Recorded: 2025-10-10Date Released: 2025-11-28Koala bear cryingabscond DefintionSean's C++ Under the Sea KeynotePacific++ 2018: Sean Parent "Generic Programming"From Mathematics to Generic Programming (FM2GP)ParrotParrot on GitHubIntro Song InfoMiss You by Sarah Jansen https://soundcloud.com/sarahjansenmusicCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: http://bit.ly/l-miss-youMusic promoted by Audio Library https://youtu.be/iYYxnasvfx8

A Black Friday se tornou o maior teste de estresse para qualquer operação digital e, cada vez mais, a diferença entre perder clientes e aproveitar o pico está na capacidade de escalar, analisar dados em tempo real e oferecer um atendimento realmente humano. No novo episódio do Podcast Canaltech, produzido em parceria com a AWS, conversamos com Alexandre Nardi, Solutions Architect Manager da empresa, sobre como IA generativa, computação em nuvem e análise de dados estão redefinindo o varejo e orientando decisões mais rápidas e eficientes. Ao longo da entrevista, Nardi explica como a AWS ajuda negócios a: Delegar o “trabalho pesado” para a nuvem Escalar ambientes sem risco de queda em picos como a Black Friday Personalizar o atendimento com agentes de IA que usam o tom de voz da marca Transformar dados de estoque, vendas e comportamento do cliente em ações práticas Reduzir custos e aumentar margem usando IA de forma estratégica Utilizar soluções como Amazon Bedrock e Amazon Q Developer no dia a dia O episódio também traz o case da IEL GO, que usou o Amazon Bedrock para acelerar entrevistas e melhorar processos de avaliação de candidatos com apoio de IA generativa, mantendo o especialista humano no centro da decisão. Clique aqui e acesse um E-book com as melhores práticas para a Black Friday e fale diretamente com um especialista da AWS para aplicar essas estratégias no seu negócio. Você também vai conferir: Nova picape elétrica da Ford quer peitar a BYD, Intel revela primeiros detalhes do Wi-Fi 8, companhias aéreas proíbem uso de power banks a bordo, Crianças viram alvo de apps-espiões e Photoshop chega ao Chrome com extensão oficial. Este podcast foi roteirizado por Fernada Santos e apresentado por Fernanda Santos e Adriano Ponte e contou com reportagens de Danielle Cassita, Raphael Giannotti,Jaqueline Sousa e Viviane França, sob coordenação de Anaísa Catucci. A trilha sonora é de Guilherme Zomer, a edição de Jully Cruz e a arte da capa é de Erick Teixeira.See omnystudio.com/listener for privacy information.

Click here to Shop Affirmation Decks, Oracle Decks, and more! Use Promo code: RCPODCAST20 for 20% off your first order!   Today's Power Affirmation: I decorate my life with quality relationships, experiences, and purpose.   Today's Oracle of Motivation: The world influences our desires to crave higher quantities! More money. More sex. More friends. More followers. More cars. More undies! Sadly, higher quantities only create shallow satisfaction in the moment. To be truly happy, try befriending quality, not quantity. How can you take what is already part of your life to the next level? Instead of the job you hate that pays the most, how about one you love that pays enough? Instead of 20 Tinder dates a week with the world's best Photoshop con artists, how about 1 really strong, transparent, and beneficial relationship? The anchors of your happiness are already part of your life. How can you crack open the magic within? It's time to put on the silk undies and ditch the rest!   Designed to Motivate Your Creative Maniac Mind The 60-Second Power Affirmations Podcast is designed to help you focus, affirm your visions, and harness the power within your creative maniac mind! Join us daily for a new 60-second power affirmation followed by a blast of oracle motivation from the Universe (+ a quick breathing meditation). It's time to take off your procrastination diaper and share your musings with the world!   For more musings, visit RageCreate.com     Leave a Review & Share! Apple Podcast reviews are one of THE most important factors for podcasts. If you enjoy the show, please take a second to leave the show a review on Apple Podcasts! Click this link: Leave a review on Apple Podcasts Hit “Listen on Apple Podcasts” on the left-hand side under the picture. Scroll down under “Ratings & Reviews” & click “Write A Review” Leave an honest review. You're awesome!  

durée : 00:10:13 - Le Point culture - par : Marie Sorbier - Alors que notre époque a généralisé via Photoshop la retouche de photographies, retour sur la pratique du photomontage avant l'ère du numérique, lorsque trafiquer une image se faisait avec des ciseaux, un pot de colle et une imprimante. - réalisation : Laurence Malonda - invités : Max Bonhomme Maître de conférences en design à l'Université de Strasbourg

If you've ever stared at a “competition worthy” image and thought, “Is this actually any good, or am I just emotionally attached and mildly delusional?” then this episode is for you. In this one, I'm lifting the lid on what really happens inside a judge's head when your prints hit the panel: the mindset you need, the mistakes we see over and over again, and the tiny details that can quietly kill an otherwise beautiful image. We'll talk blown highlights, grubby greys, over sharpening, dodgy mounts, vignettes turned up to eleven, and why blindly following the latest photo trend might actually sink your chances. We'll also get into mentors, titles, paper choice, time pressure (my personal kryptonite), and why the only real failure in competitions is not to enter at all. If you're thinking about qualifications, print comps or you just want to finish your images to a higher standard, grab a drink, have a listen, and then go and do something brave with your work. Links from this episode Workshops & mentoring: Come and spend a day (or more) with us at the studio, learning lighting, posing, dogs, families, workflow and everything in between.

If reputation is your selfie, then character is the unfiltered security cam footage. In this eye-opening (and occasionally eye-watering) episode, Josh C. Jones cracks open the deep stuff—character. And no, we're not talking about your quirky sitcom persona or that D&D rogue you played in college. We're talking about who you really are… when no one's watching and the Wi-Fi is down. Through chilling historical examples, laugh-worthy self-checks, and practical advice backed by both science and Scripture, this episode will challenge you to stop curating your life like a highlight reel and start building one worth living. Spoiler alert: You can't Photoshop your way to integrity. But you can choose character, one decision at a time. Bonus: you'll get to hear what happens when an actor builds backstory for a minor film role—and accidentally unlocks destiny. Don't miss it.     This 7-part series is brought to you by the book DESTINY: Rich or Poor, Life or Death, Choose Your Destiny.                   NOTES: Intro/Outro Bumper Music: Evening Melodrama Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/   This podcast uses these sounds from freesound: sounds by deleted_user_96253 (https://freesound.org/s/351304/)

Klik je týždenný komentovaný prehľad technologických správ, o udalostiach, ktoré sa udiali vo svete IT, médií a sociálnych sietí. Moderátori: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ondrej Podstupka⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Martin Hodás Discord diskusný server nájdete tu: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/eqeqBcw2V8⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Linky: Najväčšia konkurencia Photoshopu je zadarmo https://www.techmeme.com/251030/p35#a251030p35 Google sa dohodol s Epicom https://www.theverge.com/policy/813991/epic-google-proposed-settlement Valve majú vlastnú konzolu https://www.techmeme.com/251112/p32#a251112p32 Slovenský superpočítač https://www.sme.sk/domov/c/prace-na-spusteni-superpocitaca-perun-sa-blizia-do-finale Spravili sme chybu, máte pripomienku? Napíšte nám na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠klik@sme.sk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Kapitoly 00:00 Úvod00:55 Photoshop, ale zadarmo17:44 Google sa dohodol s Epicom22:56 Slovenský Superpočítač32:44 Valve majú vlastnú konzolu44:41 GTA VI bude meškať1:09:48 Záver a tipySee omnystudio.com/listener for privacy information.

Jeffrey Epstein's own words have now obliterated the last surviving excuse of the people who spent years swearing the photo of Prince Andrew with Virginia Roberts was fake. In his newly revealed emails, Epstein makes it clear—flat-out, unequivocally—that the photo is real. No hedging, no “maybe,” no conspiratorial tap-dancing. The man at the center of the entire operation confirmed its authenticity himself. And with that single admission, he torpedoed every hack, every opportunist, every palace-adjacent clown who built their entire reputations around insisting that the image was doctored, fabricated, or some kind of elaborate smear.Epstein's admission doesn't just undercut the “fake picture” crowd—it vaporizes their entire narrative. Every pundit, PR lackey, and self-styled “expert” who pushed that nonsense wasn't just wrong; they were pushing a lie that the trafficker himself never believed for a second. For years, these people tried to gaslight the public and smear a trafficking survivor to protect a disgraced royal. Now, with Epstein's own confirmation standing in black and white, their talking points have collapsed. There's no Photoshop mystery, no deepfake theory, no palace spin-cycle left. The picture is real. It always was. And the truth just came from the one man they never expected to hear it from.to contact me:bobbycapucci@protonmail.comto contact me:source:Epstein said Andrew did have photo taken with Virginia Giuffre, emails show | US News | Sky News

Adobe Generative Credits were introduced as a way to offset the larger amount of costs incurred by using AI in Photoshop and other Adobe products. Essentially it's a way to charge people that use more expensive features the most, rather than pass the costs on to everyone - no matter what tools they use. Well, it's getting out of hand a bit and Matt Blake take this episode to talk about some of the problems the industry has with it.

Jeffrey Epstein's own words have now obliterated the last surviving excuse of the people who spent years swearing the photo of Prince Andrew with Virginia Roberts was fake. In his newly revealed emails, Epstein makes it clear—flat-out, unequivocally—that the photo is real. No hedging, no “maybe,” no conspiratorial tap-dancing. The man at the center of the entire operation confirmed its authenticity himself. And with that single admission, he torpedoed every hack, every opportunist, every palace-adjacent clown who built their entire reputations around insisting that the image was doctored, fabricated, or some kind of elaborate smear.Epstein's admission doesn't just undercut the “fake picture” crowd—it vaporizes their entire narrative. Every pundit, PR lackey, and self-styled “expert” who pushed that nonsense wasn't just wrong; they were pushing a lie that the trafficker himself never believed for a second. For years, these people tried to gaslight the public and smear a trafficking survivor to protect a disgraced royal. Now, with Epstein's own confirmation standing in black and white, their talking points have collapsed. There's no Photoshop mystery, no deepfake theory, no palace spin-cycle left. The picture is real. It always was. And the truth just came from the one man they never expected to hear it from.to contact me:bobbycapucci@protonmail.comto contact me:source:Epstein said Andrew did have photo taken with Virginia Giuffre, emails show | US News | Sky NewsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Fast X your seatbelts! The only graphic designer in Los Angeles, Andrei Dominiq (better known as James Junk), sits down with Sean to talk about his design mistakes… as well as inspirational Photoshop tools, getting trapped in a box of your own creation, and Los Angeles' angels and demons.You can find Andrei's work all over Instagram, where the James Junk account originated, at @jamesjunk.co. The James Junk account started with writing about mental health, and I was particularly taken with Andrei's recent visual essay from early September, “Is It Too Late to Reclaim the Internet?”—give it a read here if you want to read more about the complications of making stuff that doesn't happen to have the algorithm in mind. You can also see his larger portfolio of work, and get linked out to some of the other stuff he does online, from his website jamesjunk.co!If you want to follow Westin Luca, you can follow them on Instagram as @westinthemascot. Though the Meatball Man is always seeking out followers, it is imperative that you resist his siren call.This episode was recorded in Los Angeles, California, during AIGA Design Conference 2025. Special thanks to Lee-Sean Huang and AIGA for inviting me to attend, and to all the new folks I met there. An even more special thanks to Andrei for being generous enough to host me at his home for this recording—this literally wouldn't have been possible without you! Hosted on Acast. See acast.com/privacy for more information.

DxO is offering PetaPixel Podcast listeners 20% off any DxO software, including Nik Collection 8, by using the code ‘PetaPixel' at checkout. If you're a Photoshop user looking to elevate your color grading and creative editing, Nik Collection 8's redesigned UXP panel, enhanced masking capabilities, and non-destructive Smart Object workflow make it a game-changer. Create your own non-destructive workflow in Photoshop, Lightroom Classic and DxO's own powerful PhotoLab 9, that will transform simple captures into compelling, professional-grade photographs.Head over to dxo.com and check out Nik Collection 8. Use code ‘PetaPixel' to save 20%!Now saving when you shop for your favorite gear at B&H Photo is even easier with the B&H Payboo Credit Card which lets you Save the Tax — you pay the tax, and B&H pays you back instantly! (Save the Tax on eligible purchases shipped to eligible states.) OR you can pay over time with our 6 & 12 month financing (on minimum purchases of $199 for 6 months, and $599 for 12 months). Terms apply, learn more at bhphoto.com/payboo. Credit card offers are subject to credit approval. Payboo Credit Card Accounts are issued by Comenity Capital Bank.This week on The PetaPixel Podcast, the team is joined by photographer David Imel and PetaPixel's Jeremy Gray for a unique challenge: who can draft the best fantasy camera team? Based loosely on fantasy football rules, all five must create a dream team based on eight categories. We use Riverside to record The PetaPixel Podcast in our online recording studio.In This Episode00:00 - Intro 11:55 - Affinity went the DaVinci Resolve route, and is now free13:50 - Lightroom Classic's updates are an example of what AI should be doing17:08 - Sony is the first company to authenticate video files19:35 - The LemurStrap is an innovative approach to camera carry21:50 - A photographer has decided to make anamorphic M-mount lenses24:44- Moment's new line of ultra-light camera bags have some innovative design elements29:07 - Feel good story of the week32:49 - The Fantasy Camera Draft, feat. David Imel and Jeremy Gray

I had the opportunity to sit with down with Nick McWhirter or SHM Architects to explore the nuances of transitional design, the delicate dance between modern and traditional elements, and the intentionality behind every architectural choice. From furniture-driven layouts to aspirational lighting strategies, Nick shares the thought process, research, and we discuss philosophy that transform houses into harmonious, living machines. Listeners will gain insight into how design, balance, and playfulness converge to create both beauty and functionality in contemporary residential architecture. Designer Resources Pacific Sales Kitchen and Home. Where excellence meets expertise. Design Hardware - A stunning and vast collection of jewelry for the home! TimberTech - Real wood beauty without the upkeep LOME-AI.com, simple, inexpensive, text to video harnessing the power of AI to grow your firm, beautifully. What makes a home truly exceptional isn't just the materials or the finishes—it's the careful orchestration of space, light, and style. In this episode, Nick breaks down his approach to transitional design, revealing how subtle choices like shutter placement, dormer adjustments, or color balance can shift a home's aesthetic from modern to traditional. The conversation spans everything from lighting plans and hidden technology to furniture-first design principles and the philosophy behind architecture as a living, breathing machine.  Of course, that idea comes from Le Corbusier and his thoughts on this very subject.  We also discuss the role of photography, the tension between realism and aspirational imagery, and the evolving vernacular of form and function in modern homes. This episode is a masterclass in thoughtful, intentional, and style-agnostic design. Topics and Ideas Introduction & Context Welcome and setup: Exploring transitional design Nick's philosophy: Style agnostic but deeply researched Transitional Design: Modern vs. Traditional Subtle moves: Shutters, dormers, cut stone, and symmetry Playfulness in design: How small details create balance Color palette: Black-and-white schemes as intentional high-contrast statements Design Process & Interior Layouts Inside-out approach: Furniture-driven architecture Achieving balanced asymmetry Experimentation and editing: Knowing when less is more Lighting as a Core Component Invisible vs. visible fixtures: Philosophy of recessed lighting Lighting as both function and art Integration with technology: Wi-Fi, AV, and smart home systems Photography, Aspirational Design & Reality Balancing reality and idealized imagery in marketing Photoshop as a tool to highlight design intent How photography conveys quality of light, space, and atmosphere Form Follows Function & Architectural Philosophy Homes as “machines for living” The role of beauty and human experience in architecture Historical perspective: Corbusier, Frank Lloyd Wright, and modern vernacular Outdoor Spaces & Technology Integration Creative solutions: Two TVs on a patio LED walls and emerging tech as part of design storytelling Closing Thoughts & Personal Insights The freedom in design: Few right or wrong answers Nick's passion for music, smoked meats, and lifestyle influence Preview of future conversations and projects Thank you, Nick for the time and conversation. Thank you for listening. If you liked this episode, share it with a friend or colleague who loves design and architecture like you do, subscribe to Convo By Design wherever you get your podcasts. And continue the conversation on Instagram @convo x design with an “x”. Keep those emails coming with guest suggestions, show ideas and locations where you'd like to see the show. Convo by design at outlook.com.

Want Matt's favorite AI tools + playbook? Get it here: https://clickhubspot.com/vgb Episode 83: Are Adobe's new AI tools the future of creative work, or could generative models spell the end for legacy platforms like Photoshop? Matt Wolfe (https://x.com/mreflow) is joined by Matthew Berman (https://x.com/MatthewBerman), creator of Forward Future and a leading voice covering the front lines of artificial intelligence, from major tech events like Dreamforce to hands-on interviews with the innovators shaping tomorrow. In this episode, Matt and Matthew break down the biggest headlines from the week in AI: Adobe's conversational assistant and existential business challenges, Nvidia's mind-bending new investments and political maneuvering, OpenAI's bold timeline to build a self-improving AI researcher, and the viral Neo Humanoid robot—are we ready to trust a home robot with our privacy? Packed with fresh takes, inside scoops, and speculative predictions, this fast-moving conversation is your front row seat to the unfolding era of AI and robotics. Check out The Next Wave YouTube Channel if you want to see Matt and Nathan on screen: https://lnk.to/thenextwavepd — Show Notes: (00:00) AI Insights and Future Predictions (03:41) Photoshop Adds AI Chat Assistant (08:08) Adobe, AI, and Creative Future (10:26) Adobe's AI Future Concerns (15:53) Nvidia GTC Highlights (17:23) Nvidia's Investment Cycle Explained (20:23) AI Investment: Over-Investing Now (26:06) Automated AI Researcher Timeline (29:00) AGI vs Self-Improving AI (30:47) AGI Verification Panel Announced (36:04) First US Humanoid Robot Launch (39:18) Robot Tasks: Autonomy vs. Operators (41:50) Affordable Car with Practical Benefits (44:07) Future Live Streams Enthusiasm — Mentions: Matthew Berman: https://www.linkedin.com/in/matthewberman Forward Future: https://www.forwardfuture.ai/ TechCrunch Disrupt: https://techcrunch.com/events/tc-disrupt-2025/ Nano Banana: https://nanobanana.ai/ Nvidia GTC: https://www.nvidia.com/gtc/ Neo Humanoid Robot: https://www.1x.tech/order Get the guide to build your own Custom GPT: https://clickhubspot.com/tnw — Check Out Matt's Stuff: • Future Tools - https://futuretools.beehiiv.com/ • Blog - https://www.mattwolfe.com/ • YouTube- https://www.youtube.com/@mreflow — Check Out Nathan's Stuff: Newsletter: https://news.lore.com/ Blog - https://lore.com/ The Next Wave is a HubSpot Original Podcast // Brought to you by Hubspot Media // Production by Darren Clarke // Editing by Ezra Bakker Trupiano

 If you want to understand the full spectrum of AI software, from "straightforward problem-solving tool" to "never-ending slop machine," all you need to do is pay attention to everything Adobe launched at its conference this week. David and Nilay run through the news, which will change how people use Photoshop but also maybe change our social feeds forever. After that, they talk about OpenAI's conversion to a for-profit business, and specifically the truly wild way OpenAI and Microsoft talk about the future of AGI. Finally, in the lightning round, they discuss Brendan Carr, Cybertrucks, the Trump Phone, Ghost Posts, and more. Help us improve The Verge: Take our quick survey at theverge.com/survey. Further reading: ⁠Photoshop and Premiere Pro's new AI tools can instantly edit your work ⁠ ⁠You can tell Adobe Express's new AI assistant to edit designs for you⁠ ⁠Adobe's AI social media admin is here with ‘Project Moonlight' ⁠ ⁠Mark Zuckerberg is excited to add more AI content to all your social feeds⁠ ⁠Meta CEO Mark Zuckerberg defends AI spend: 'We're seeing the returns'⁠ ⁠OpenAI completed its for-profit restructuring — and struck a new deal with Microsoft ⁠  ⁠The next chapter of the Microsoft–OpenAI partnership⁠ ⁠OpenAI lays groundwork for juggernaut IPO at up to $1 trillion valuation | Reuters⁠ ⁠OpenAI has an AGI problem — and Microsoft just made it worse ⁠ ⁠OpenAI made ChatGPT better at sifting through your work information ⁠ ⁠Sam, Jakub, and Wojciech on the future of OpenAI with audience Q&A⁠ ⁠The Kingmaker | WIRED⁠ ⁠Congratulations to the Tesla Cybertruck on its 10th recall.⁠ ⁠Trump℠ Mobile | All-American Performance. Everyday Price. $47.45/Month⁠ ⁠Threads is getting disappearing posts ⁠ ⁠Ads will arrive on Samsung Family Hub smart fridges next month. ⁠ ⁠The FCC is going after broadband nutrition labels. ⁠ ⁠Brendan Carr is a Dummy⁠ ⁠Bending Spoons is buying AOL for some reason ⁠ Subscribe to The Verge for unlimited access to theverge.com, subscriber-exclusive newsletters, and our ad-free podcast feed.We love hearing from you! Email your questions and thoughts to vergecast@theverge.com or call us at 866-VERGE11. Learn more about your ad choices. Visit podcastchoices.com/adchoices