Honestly, it was pretty weak; I didn't enjoy the movie at all.
It isn’t even the recast that gets under my skin—it’s just that, aside from the characters' names and their updated looks, I felt absolutely zero connection to what happened in the previous films.
It feels overly Americanized; she’s out there saving the entire world, hacking into every living thing just by using her phone, and so on. The soul of the original story has completely vanished.
Gill01 Asks: The second Mercedes-Benz and Hamilton aren't running a car that's two seconds faster than the rest of the field, suddenly everyone starts praying for some Christmas rain to come along and save Luja. 🤦
And here I was, under the impression that when the weather turns, it turns for everyone on the track. Seriously? Oh, right—it seems some people just don't have the slightest clue how to handle a car when it starts raining.
mellowbear49 said:Not really sure if this belongs here—mods, feel free to move this to the right sub if there even is one...
Honestly, I actually prefer the original Swedish trilogy over the Millennium Trilogy.
To me, they just feel more alive and have way fewer plot holes; plus, you don't really see one specific movie in the series blowing the others out of the water popularity-wise. I’m also just obsessed with how they handled the two lead characters.
But man, that second installment (The Girl Who Kicked the Hornet's Nest) absolutely blew my mind.
Truthfully, I have to agree; I recommend them too. Those two lead characters are top-tier—both in terms of their writing and how they were portrayed on screen.
It’s actually quite excellent, Fear of a Black Hat.
Sure, it’s a parody, but it’s done with such an intelligent touch—shot almost like a legitimate documentary. If you grew up listening to hip-hop back in the 90s, I cannot recommend this enough.
It’s really just a matter of hunting down the right parameters to nail that exact signature sound. Honestly, you can probably find everything you need in those videos I posted earlier. If those don't cut it, a quick search on YouTube for something like "T-Pain Auto-Tune settings" should point you in the right direction.
The effect you're looking for is called Auto-Tune. It’s pretty versatile—you can plug it into just about any DAW out there, whether you're running Ableton, Cubase, or whatever else you prefer. I think it might even run as a standalone application without needing an audio host at all, though I'd have to double-check my setup to be absolutely certain.
Its intended purpose, originally speaking, was to fix vocal pitch issues for singers who were hitting sour notes. However, if you look on YouTube, you'll easily find tutorials on how to dial in those specific settings to get that unmistakable, stylized sound. It's become such a staple that even incredibly talented vocalists use it as a creative effect rather than just a corrective tool. For instance, check these out:
mellowtiger83 said:I’m honestly about ready to stop following this sport entirely. After those ten seconds being handed out instead of a black flag, there's just no logic left. Intentionally ramming an opponent—DELIBERATELY—gets you slapped with a mere ten-second penalty? Now that German piece of trash is going to feel empowered to flip everyone off and do whatever he wants. Look, I'm not making excuses for Hamilton; if they decide he braked unnecessarily, then fine, take the penalty. But Vettel wtf? That's it for me. My departure from this forum is final. Disgusting.
He didn't brake; the telemetry proves it beyond a shadow of a doubt. So, the picture is crystal clear: Vettel intentionally played games by slowing down twice right in front of the guy ahead. And to top it all off, he did it under the safety car.
I’ve actually never seen anything quite like this before, but I have to say, I’m a fan.
If you’re a regular in the pool (and honestly, kudos to you for staying consistent)—I really think dropping $83 for a month is a smart move. It’s an investment, plain and simple. I’m convinced you’ll see a massive jump in your technique, which is the real game-changer. Once you fix those mechanics, you won't be fighting the water anymore; you'll be able to cover more distance and actually swim better without burning out halfway through the lap.
A month is plenty of time to soak up a ton of new information if you're paying attention. By the way, there's already a dedicated thread on swimming over in the forums where people have shared a mountain of advice and some killer YouTube tutorials on refining stroke technique. You should definitely go give that a read.
But looking at what you've posted here, I love the concept overall. These kinds of skills aren't just temporary fixes—once you master them, you own them for life.
I haven’t come across anything quite like this before, but I have to say, I’m actually a fan.
If you're a regular in the pool (and hey, props to you for staying consistent)—honestly, I think dropping $83 for a single month is a total steal. I'm convinced you'll see a massive jump in your technique, which is the real game-changer. Once you nail that, you won't be working twice as hard just to maintain your pace; you'll be covering more ground with way less effort.
In my experience, a month is plenty of time to really soak up the fundamentals and see some real progress. You should also check out our dedicated swimming thread; there’s a whole crowd of people over there sharing solid advice and helpful YouTube tutorials on refining your stroke, so definitely give that a look when you have a second.
But looking at the big picture, I love what you’ve started here. Skills like these aren't temporary—once you master them, you own them for life.
Jesse Sanders6 said:In this image, you can see those four 3/4 combinations, but I really don't want to type them out manually. I'd much rather solve this using one of the built-in functions or commands. Thanks for any help.
Sorry man, I'd love to lend a hand—but I’ve never stepped foot in a sports betting shop in my life, so these specific combinations mean absolutely nothing to me. If anyone else here knows their stuff, great—but for me, you’re going to have to put together a step-by-step guide. 🙂 Basically, a "for dummies" version. 🙂
I might even be able to whip up some VBA code to handle exactly what you need (if we can't nail it down with a standard formula, though I suspect we should be able to), but I'm going to need some very detailed instructions first.
Jesse Sanders6 said:I’m looking for some assistance regarding the calculation of full combinations within betting systems. Here’s the situation: I’ve set up a system in Excel involving 7 different games, and the specific combination looks like this... I’m looking at a 4-line parlay system—basically a 4/5 setup. What I need is a way to calculate the specific payout for every single individual combination within that slip. I want to see the exact amount for each combo, not just some vague total. I’m trying to figure out how to pull these specific wins, but I want to do it without having to manually type out all five separate combinations. It's just tedious. I’m honestly hoping I can just knock this out with a single Excel formula and be done with it, but frankly, I have no idea if such a thing even exists. It feels like I'm spinning my wheels here. Any help would be greatly appreciated.
Look, it’s definitely doable, but you can't just wing it. You need to actually get some momentum going first. Just take those pairs and drop them into the cells to get a baseline. Once you've got that set up, either throw the whole document my way or at least send over a screenshot so we can see what we're actually dealing with. Trying to figure this out blindly like this is just pure guesswork, and frankly, it's a waste of everyone's time.
silvertiger11 said:I've been messing around in Flash for a few months now. My style is pretty similar to South Park. And even though I went into this thinking it would save me a ton of work on the animation side, it turns out the whole thing is just a massive amount of damn work. Even if I had the cash and all the right tools, I’d still need to hire a handful of pros who actually know what they're doing just to help me out.
The guys behind South Park actually use Maya for their workflow. If they tried to animate everything in Flash, there's no way they could hit those insane turnaround times they manage. Maya has absolutely phenomenal animation tools
Yeah, I really think they need a full crew for this. Especially if they’re actually looking at turning this into a series rather than just a one-off project.
I mean, even a single 20-minute episode is a massive undertaking. Think about the math for a second—you've got 24 frames per second depending on the standard you're using, but let's stick with 24 for simplicity. That means you're looking at 1,440 individual frames just to get through one minute. By the time you hit the 20-minute mark, you're staring down the barrel of 28,800 frames.
Whether you're hand-drawing every single shot or running heavy renders through a farm, the sheer volume of work is staggering. It's an insane amount of labor.
I work with Aztec (3D software) myself, so I’m pretty much looking into the same stuff. Look, here’s the thing—those massive animated blockbusters? They’re sitting on multi-million dollar budgets.
Now, I'm just an amateur, so don't come for me if I don't get every technicality perfect, but a standard workflow generally looks something like this:
- Scriptwriting - Storyboarding (basically a comic book style layout of the script scenes to give the 3D modelers a roadmap) - Character creation (modeling, texturing, and rigging) - Environment modeling (building the sets and texturing them) - Voice acting and dialogue recording - Animation based on the storyboard (usually starting with low poly) - Directing - Scene lighting - Rendering everything out (in passes) - Compositing - Music and sound effects
With a TV series, once you've finished those characters, you reuse them constantly; you might just need to churn out some new backgrounds from time to time.
That's for 3D animation. For something like anime, the process is probably similar, except instead of all that computer-generated 3D crap, they're actually drawing things (though obviously, even that is done on computers nowadays).
The big studios have dedicated teams for every single one of those steps. We're talking separate crews for modeling, texturing, animation, drawing, compositing, and so on.
quietcobra21 said:Best regards, I was wondering if anyone could help me out with a formula for column H. I need to divide the lowest price by the initial starting price for whichever vendor ends up being the cheapest in that row. Basically, we have two vendors, Peter and Mark. Each one submits an initial quote and then a discounted price. In the first row, Mark is the winner because his bottom price is 6, while his starting price was 8. In the second row, Peter takes it (20 vs 8), and in the third, Mark wins again (35 vs 32). So, what would the formula look like for column H to calculate the ratio of the starting price to the discounted price for the cheapest vendor in each specific row? For column G, where we find the minimum price, I'm using =MIN(C5:F5), but what about H?
You can actually pull this off with a straightforward IF function. Just drop this into cell H5 and drag it down the rest of the way.
