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Banyue Demo had some really insane 2D animation tbh Studio Lan (Link Click) KeyAniamtor : Zehua Su #zzzero

HoYoverse Animation Info

20,315 subscribers

63,370 次观看 • 6 个月前 •via X (Twitter)

游戏艺术科学技术 #zzzero

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DonghuaStuff

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🚨 FREE MAYA RIG ALERT!🚨 Unleash your creativity with our brand new rig inspired by the Hulk, brought to you by my good friends Firelight Animation Studio! I had the pleasure of contributing to this amazing educational project to do an in-depth Pose Library/Pickerr just for the animation community. But that’s not all! We're teaming up with Lupin House for an exciting animation contest using this rig! 🎉 Don’t miss out! Click the link below for more information. And to watch the amazing short film “The Interview” Grab the free rig! 🔗👇

ikhandle

13,765 次观看 • 1 年前

Cobie lists the top Crypto traders of all time Su Zhu: "Had a hero run in 2021. He even sold the top and then for some reason bought back way too early with loads of leverage and got liquidated on the way down” GCR: "Obviously” Actual Advice BTC: "He would get super wealthy and then lose it. Kind of like Su Zhu. He passed away in 2020” Light: "More active in Crypto than he's ever been. 2025 was probably his best performing year ever, based on what I know. Light is up there” CL: "Sometimes seems really smart… and then sometimes you're like, is this guy the biggest moron on planet earth? I genuinely can't tell. He'll do the smartest thing you've ever seen in your life and then something insane right after” Shoku: "A multi-generational talent. Super successful at several different things at the same time. He annoys me quite a lot because he's just better than me at everything”

Cobie lists the top Crypto traders of all time Su Zhu: "Had a hero run in 2021. He even sold the top and then for some reason bought back way too early with loads of leverage and got liquidated on the way down” GCR: "Obviously” Actual Advice BTC: "He would get super wealthy and then lose it. Kind of like Su Zhu. He passed away in 2020” Light: "More active in Crypto than he's ever been. 2025 was probably his best performing year ever, based on what I know. Light is up there” CL: "Sometimes seems really smart… and then sometimes you're like, is this guy the biggest moron on planet earth? I genuinely can't tell. He'll do the smartest thing you've ever seen in your life and then something insane right after” Shoku: "A multi-generational talent. Super successful at several different things at the same time. He annoys me quite a lot because he's just better than me at everything”

Jack

222,730 次观看 • 5 个月前

FORGET MY PREVIOUS POST, LET ME BLOW YOUR MINDS! 🤯NEW METHOD! AI 2D SPRITES ARE SOLVED. PERIOD. Day 50 of building a webGL game engine using Cursor 🔽🔽🔽 I was wrong. The previous system had flaws. It wasn't the best. If you use it on VFX heavy sprites, it would start falling apart - either via grain/artifacts, or displacement. But I just couldn't give up. I knew I needed something more. This was the limit the models could give me. So I consulted science: Zheng et al., "Bilateral Reference for High-Resolution Dichotomous Image Segmentation" (CAAI AIR 2024, arXiv:2401.03407) - BiRefNet If any of the brilliant minds who wrote this paper read this post, I'm extremely thankful for your research. It made me solve a really big problem with 2D sprites, and I'm extremely grateful! Thank you! Please reach out if you see this! Now, how does this solution work: 1⃣ Generate your Kling animation (still king for anime 2D style). 2⃣ Run BiRefNet (HR-matting variant rocks) → get solid character alpha. 3⃣ Compute simple brightness/luminance alpha (luma → alpha curve, easy in any tool). 4⃣ Final alpha = max(BiRefNet_alpha, brightness_alpha) — that's it. No fancy weights needed. 5⃣ Feed to your engine / Comfy / whatever. Dynamic lights now play nice with zero artifacts. Mind you, this solution requires an nVidia GPU to run local inference. Alternatively, you can get it done on Colab likely with the free tier! You can try CPU, but no guarantees. Try a lighter model like BiRefNet_lite-2K. Demo is purposely in 30 fps even though I wouldn't run an anime 2D game above 12 fps - for both style and performance. Just wanted to show you the absolute results. Please bookmark this! ☑️ If you love 2D and sprite work, this is truly the best way, the best method I could find. Use it, steal it. Enjoy it! Repost if it saves your workflows too! I think I need a break... almost 40 hours straight solving this. Next are dynamic shadows, and I'm not looking forward to that...

FORGET MY PREVIOUS POST, LET ME BLOW YOUR MINDS! 🤯NEW METHOD! AI 2D SPRITES ARE SOLVED. PERIOD. Day 50 of building a webGL game engine using Cursor 🔽🔽🔽 I was wrong. The previous system had flaws. It wasn't the best. If you use it on VFX heavy sprites, it would start falling apart - either via grain/artifacts, or displacement. But I just couldn't give up. I knew I needed something more. This was the limit the models could give me. So I consulted science: Zheng et al., "Bilateral Reference for High-Resolution Dichotomous Image Segmentation" (CAAI AIR 2024, arXiv:2401.03407) - BiRefNet If any of the brilliant minds who wrote this paper read this post, I'm extremely thankful for your research. It made me solve a really big problem with 2D sprites, and I'm extremely grateful! Thank you! Please reach out if you see this! Now, how does this solution work: 1⃣ Generate your Kling animation (still king for anime 2D style). 2⃣ Run BiRefNet (HR-matting variant rocks) → get solid character alpha. 3⃣ Compute simple brightness/luminance alpha (luma → alpha curve, easy in any tool). 4⃣ Final alpha = max(BiRefNet_alpha, brightness_alpha) — that's it. No fancy weights needed. 5⃣ Feed to your engine / Comfy / whatever. Dynamic lights now play nice with zero artifacts. Mind you, this solution requires an nVidia GPU to run local inference. Alternatively, you can get it done on Colab likely with the free tier! You can try CPU, but no guarantees. Try a lighter model like BiRefNet_lite-2K. Demo is purposely in 30 fps even though I wouldn't run an anime 2D game above 12 fps - for both style and performance. Just wanted to show you the absolute results. Please bookmark this! ☑️ If you love 2D and sprite work, this is truly the best way, the best method I could find. Use it, steal it. Enjoy it! Repost if it saves your workflows too! I think I need a break... almost 40 hours straight solving this. Next are dynamic shadows, and I'm not looking forward to that...

Startracker 🔺

71,439 次观看 • 7 个月前

Last week I saw the future of how we'll all work with AI. Logan (Google's AI Studio lead) was showing me Gemini's new“real time streaming” feature. He had his code editor open, and casually said via voice 'hey, should I change this function?' The clip below is wild - you have to see it to believe it. The AI was watching his screen. Like literally watching - seeing his cursor move, understanding his code, giving real-time feedback. Like pair programming with an AI that never gets tired. I've been playing with Claude, ChatGPT, building with v0/Bolt. They're all powerful but this was different. This was like having an AI co-pilot actually seeing your screen, understanding context, and helping in real-time. Different use-case but really bent my mind. Think what this means: • Coding – Ask about any line you're looking at • Debugging – It sees the error in real-time • Learning new tools – It watches you struggle and helps • Writing – It sees what you're typing and suggests edits The tech behind it is really cool: • Processes entire screen in real-time • Understands spatial context • Can handle 500K+ tokens (like reading a book in seconds) • Remembers your entire session Google's giving this away free in AI Studio. Yes, they're competing with OpenAI. But for makers, this is massive. Thanks to Logan Kilpatrick for the time and the demo. It really blew my mind. This is a clip from the full episode of the Startup Ideas Pod which I’ll link below. In that episode he gives 2 more demos so it's worth watching. Happy building.

Last week I saw the future of how we'll all work with AI. Logan (Google's AI Studio lead) was showing me Gemini's new“real time streaming” feature. He had his code editor open, and casually said via voice 'hey, should I change this function?' The clip below is wild - you have to see it to believe it. The AI was watching his screen. Like literally watching - seeing his cursor move, understanding his code, giving real-time feedback. Like pair programming with an AI that never gets tired. I've been playing with Claude, ChatGPT, building with v0/Bolt. They're all powerful but this was different. This was like having an AI co-pilot actually seeing your screen, understanding context, and helping in real-time. Different use-case but really bent my mind. Think what this means: • Coding – Ask about any line you're looking at • Debugging – It sees the error in real-time • Learning new tools – It watches you struggle and helps • Writing – It sees what you're typing and suggests edits The tech behind it is really cool: • Processes entire screen in real-time • Understands spatial context • Can handle 500K+ tokens (like reading a book in seconds) • Remembers your entire session Google's giving this away free in AI Studio. Yes, they're competing with OpenAI. But for makers, this is massive. Thanks to Logan Kilpatrick for the time and the demo. It really blew my mind. This is a clip from the full episode of the Startup Ideas Pod which I’ll link below. In that episode he gives 2 more demos so it's worth watching. Happy building.

GREG ISENBERG

284,070 次观看 • 1 年前

Really happy to see the interest around our “Hands-on with Gemini” video. In our developer blog yesterday, we broke down how Gemini was used to create it. We gave Gemini sequences of different modalities — image and text in this case — and had it respond by predicting what might come next. Devs can try similar things when access to Pro opens on 12/13 🚀. The knitting demo used Ultra⚡ All the user prompts and outputs in the video are real, shortened for brevity. The video illustrates what the multimodal user experiences built with Gemini could look like. We made it to inspire developers. When you’re building an app, you can get similar results (there’s always some variability with LLMs) by prompting Gemini with an instruction that allows the user to "configure" the behavior of the model, like inputting “you are an expert in science …” before a user can engage in the same kind of back and forth dialogue. Here’s a clip of what this looks like in AI Studio with Gemini Pro. We’ve come a long way since Flamingo 🦩 & PALI, looking forward to seeing what people build with it!

Really happy to see the interest around our “Hands-on with Gemini” video. In our developer blog yesterday, we broke down how Gemini was used to create it. We gave Gemini sequences of different modalities — image and text in this case — and had it respond by predicting what might come next. Devs can try similar things when access to Pro opens on 12/13 🚀. The knitting demo used Ultra⚡ All the user prompts and outputs in the video are real, shortened for brevity. The video illustrates what the multimodal user experiences built with Gemini could look like. We made it to inspire developers. When you’re building an app, you can get similar results (there’s always some variability with LLMs) by prompting Gemini with an instruction that allows the user to "configure" the behavior of the model, like inputting “you are an expert in science …” before a user can engage in the same kind of back and forth dialogue. Here’s a clip of what this looks like in AI Studio with Gemini Pro. We’ve come a long way since Flamingo 🦩 & PALI, looking forward to seeing what people build with it!

Oriol Vinyals

180,996 次观看 • 2 年前

New Tools for a New Era. Coding agents like Claude and Cursor have dramatically reduced the time it takes to go from idea to functional software. But the experience of designing and refining with them sucks. One reason for this is that while the terminal is an incredible tool for communicating direction with language, it is a terrible tool for defining and exploring visual and interactive objects. Here is one idea for how we might fix a small part of that. In the old world, when you wanted to create a transition or animation in your app, you would type some code, refresh your local server, and click to run your animation. It probably wasn't right, because after all no one can know what 'cubic-bezier(0.3, 0.05, 0.45, 1)' really feels like when you read it. You need to see it. Feel it. Interact with it in a real world context. So you'd edit some values, save, refresh, and keep guessing and checking until it felt right. Today, you can write a quick, single-use tool that's a visual studio for designing animations. You can then configure some components and containers common in all apps, and explore different animations in real time, adjusting key properties, and getting it just right. Then, you can copy a highly detailed prompt (or export a skill containing all your animations) that captures your intent and direction with perfect clarity. Paste this into your terminal and your agent instantly implements it everywhere. To me, this is an improvement over the old world, and a better way to work in today's. I'm extremely excited to see the ways in which our ability to rapidly create software will shape how we design software tomorrow. Feedback, ideas, and critiques welcome!

New Tools for a New Era. Coding agents like Claude and Cursor have dramatically reduced the time it takes to go from idea to functional software. But the experience of designing and refining with them sucks. One reason for this is that while the terminal is an incredible tool for communicating direction with language, it is a terrible tool for defining and exploring visual and interactive objects. Here is one idea for how we might fix a small part of that. In the old world, when you wanted to create a transition or animation in your app, you would type some code, refresh your local server, and click to run your animation. It probably wasn't right, because after all no one can know what 'cubic-bezier(0.3, 0.05, 0.45, 1)' really feels like when you read it. You need to see it. Feel it. Interact with it in a real world context. So you'd edit some values, save, refresh, and keep guessing and checking until it felt right. Today, you can write a quick, single-use tool that's a visual studio for designing animations. You can then configure some components and containers common in all apps, and explore different animations in real time, adjusting key properties, and getting it just right. Then, you can copy a highly detailed prompt (or export a skill containing all your animations) that captures your intent and direction with perfect clarity. Paste this into your terminal and your agent instantly implements it everywhere. To me, this is an improvement over the old world, and a better way to work in today's. I'm extremely excited to see the ways in which our ability to rapidly create software will shape how we design software tomorrow. Feedback, ideas, and critiques welcome!

joshpuckett

82,659 次观看 • 8 个月前

I’m passing the phone to…YOU! Yes, that’s right. Have you ever wanted to meet any or all of these Challenge staples?! Now is your chance. We are setting sail on January 15th for a four day cruise. Think of it as a floating four day long Challenge Mania. It will have all the things you would expect on a cruise, plus us! We’ll be doing daily events such as panels, Q&A’s, and meet and greets. Some of the more in shape challengers will be doing hosted workouts. The more fun challengers will be hosting drinking games. The next steps are easy. Head to our link in bios and click the link for “Showroom Reality Cruise”. There you should read over basic info and then click the “book now” button to hold your spot, or “inquire now” to meet with a rep to get more details. There’s also a link to a private FB group to meet with other cruisers and learn more. There’s a really basic payment plan that is as simple as a $500 deposit to secure one of these limited spots. Think about how much more fun it will be to watch The Challenge moving forward knowing you’ve had this experience under your belt. All for the price that you would go on a cruise for anyway. January 2026 you is going to be thanking Spring 2025 you. Devin Walker Rachel Robinson Tina Barta Brad Fiorenza Nehemiah Clark Mark Long Scott Yager Kyle Christie

I’m passing the phone to…YOU! Yes, that’s right. Have you ever wanted to meet any or all of these Challenge staples?! Now is your chance. We are setting sail on January 15th for a four day cruise. Think of it as a floating four day long Challenge Mania. It will have all the things you would expect on a cruise, plus us! We’ll be doing daily events such as panels, Q&A’s, and meet and greets. Some of the more in shape challengers will be doing hosted workouts. The more fun challengers will be hosting drinking games. The next steps are easy. Head to our link in bios and click the link for “Showroom Reality Cruise”. There you should read over basic info and then click the “book now” button to hold your spot, or “inquire now” to meet with a rep to get more details. There’s also a link to a private FB group to meet with other cruisers and learn more. There’s a really basic payment plan that is as simple as a $500 deposit to secure one of these limited spots. Think about how much more fun it will be to watch The Challenge moving forward knowing you’ve had this experience under your belt. All for the price that you would go on a cruise for anyway. January 2026 you is going to be thanking Spring 2025 you. Devin Walker Rachel Robinson Tina Barta Brad Fiorenza Nehemiah Clark Mark Long Scott Yager Kyle Christie

Wes Bergmann 🌋

75,157 次观看 • 1 年前

So finally “HUSN” is out ! 🌟🌈⚡️Click the link below to watch fully video ! Some thoughts behind the work. “HUSN" is more than just a song to me; it encapsulates my spiritual journey to grasp the very essence of what we call LOVE. The melody first whispered to me nearly a decade ago just before my performance at Jahan-e-Khusrau, when the esteemed Muzaffar Ali Sahab presented me with these exquisite couplets by Hazrat Amir Khusrau. However, it took four more years for the arrangement and recording to manifest in the studio, as it resided deep within my soul. Even then, I faced years of struggle in conceptualizing and visually portraying such a profound theme. Yet, a few weeks ago, while en route to Turkey, I made a decision to follow my intuition and capture what unfolded as a spontaneous improvisation. I felt that the song, which had been brewing within me for years, had to be brought to life. For me, the most powerful form of art is one that takes you on a transformative journey of both pain and pleasure throughout its creation, and remains open to individual interpretation upon completion. My utmost desire is for "HUSN" to enable you to transcend and discover your own personal understanding of LOVE through a profound experience of listening and viewing. I eagerly await your thoughts once you have immersed yourself in the song. With love, AZ" Video link: Stream the HQ Audio here: #husn #alizafar #AZ #AliZafarmusic

So finally “HUSN” is out ! 🌟🌈⚡️Click the link below to watch fully video ! Some thoughts behind the work. “HUSN" is more than just a song to me; it encapsulates my spiritual journey to grasp the very essence of what we call LOVE. The melody first whispered to me nearly a decade ago just before my performance at Jahan-e-Khusrau, when the esteemed Muzaffar Ali Sahab presented me with these exquisite couplets by Hazrat Amir Khusrau. However, it took four more years for the arrangement and recording to manifest in the studio, as it resided deep within my soul. Even then, I faced years of struggle in conceptualizing and visually portraying such a profound theme. Yet, a few weeks ago, while en route to Turkey, I made a decision to follow my intuition and capture what unfolded as a spontaneous improvisation. I felt that the song, which had been brewing within me for years, had to be brought to life. For me, the most powerful form of art is one that takes you on a transformative journey of both pain and pleasure throughout its creation, and remains open to individual interpretation upon completion. My utmost desire is for "HUSN" to enable you to transcend and discover your own personal understanding of LOVE through a profound experience of listening and viewing. I eagerly await your thoughts once you have immersed yourself in the song. With love, AZ" Video link: Stream the HQ Audio here: #husn #alizafar #AZ #AliZafarmusic

Ali Zafar

24,209 次观看 • 3 年前

Billy Strange and I started a publishing company in the late ‘60s called B-n-B Music, which stood for Boots and Billy Music. Billy introduced me to a songwriter whom he had been collaborating with named Mac Davis. Billy thought he was exceptionally talented and that we should sign him. While Mac was with us at B-n-B, I did everything I could to support him, including—recording his material, putting him in my stage show, and placing some of his songs with artists like Elvis and Kenny Rogers. When his singing career took off and he signed with Columbia Records, the label wanted the publishing rights to the songs we had published. Mac asked to be released from his contract, and we agreed, because refusing would have hurt his career. Letting him go was the right thing to do for him, but B-n-B never really recovered. To hear more about my time with Mac, watch Hunter Lea’s short film The Story of Nancy, premiering on my YouTube channel this Sunday, November 30, at 5pm PST / 8pm EST. Click the link in my below to turn on notifications so you don’t miss this and other exciting uploads. 👉

Billy Strange and I started a publishing company in the late ‘60s called B-n-B Music, which stood for Boots and Billy Music. Billy introduced me to a songwriter whom he had been collaborating with named Mac Davis. Billy thought he was exceptionally talented and that we should sign him. While Mac was with us at B-n-B, I did everything I could to support him, including—recording his material, putting him in my stage show, and placing some of his songs with artists like Elvis and Kenny Rogers. When his singing career took off and he signed with Columbia Records, the label wanted the publishing rights to the songs we had published. Mac asked to be released from his contract, and we agreed, because refusing would have hurt his career. Letting him go was the right thing to do for him, but B-n-B never really recovered. To hear more about my time with Mac, watch Hunter Lea’s short film The Story of Nancy, premiering on my YouTube channel this Sunday, November 30, at 5pm PST / 8pm EST. Click the link in my below to turn on notifications so you don’t miss this and other exciting uploads. 👉

Nancy Sinatra

25,587 次观看 • 9 个月前

The Slice75 HE is what I would say the first proper premium enthusiast stock board to release globally, and it's USD $149 MSRP. With their silica gel mount, cork plate dampening, ball catch system for quick disassembly, super high quality 1.5 mm thick double shot PBT caps and Jade Pros, this board really hits the spot for people like me who've been in the keyboard hobby for many years and mainly care about sound and feel. In terms of HE features, this covers everything including RT/SOCD/ModTap and even custom dead zones and actuation points all the way down to 0.005 mm. How useful that is, is for you to decide. Thing is, most HE switches won't have enough magnetic flux to accommodate for such crazy low movements, and that's why they released the Wuque Studio Flux switches. Web-Driver-wise, they still have some work to do regarding certain key binds and translations, but the main features that people will care about (actuation and RT setting) have been working flawlessly on my end. Stabs are a bit overlubed in the stock config, but at least they don't rattle. You could always remove some of the lube yourself if you really wanted them to feel less sluggish. Since this is the Wuque Studio umbrella corp. we're talking about, I'm stoked to say that this is everything the Boog wanted to be and much more. It's like they took all the feedback we gave them regarding the many issues the Boog had, and turned it into a nearly flawless physical product with much better and more detailed software. If you're asking me, at USD $149 MSRP, nothing can compete with this on the global market in terms of being a complete package with several features inspired by the premium MX enthusiast hobby. Obviously, Wooting will (probably) forever have the upper hand regarding their 2-year warranty and INSANE software/web-driver, but I think that the Slice75 HE is simply the best complete package for the price at this moment in the global HE market.

The Slice75 HE is what I would say the first proper premium enthusiast stock board to release globally, and it's USD $149 MSRP. With their silica gel mount, cork plate dampening, ball catch system for quick disassembly, super high quality 1.5 mm thick double shot PBT caps and Jade Pros, this board really hits the spot for people like me who've been in the keyboard hobby for many years and mainly care about sound and feel. In terms of HE features, this covers everything including RT/SOCD/ModTap and even custom dead zones and actuation points all the way down to 0.005 mm. How useful that is, is for you to decide. Thing is, most HE switches won't have enough magnetic flux to accommodate for such crazy low movements, and that's why they released the Wuque Studio Flux switches. Web-Driver-wise, they still have some work to do regarding certain key binds and translations, but the main features that people will care about (actuation and RT setting) have been working flawlessly on my end. Stabs are a bit overlubed in the stock config, but at least they don't rattle. You could always remove some of the lube yourself if you really wanted them to feel less sluggish. Since this is the Wuque Studio umbrella corp. we're talking about, I'm stoked to say that this is everything the Boog wanted to be and much more. It's like they took all the feedback we gave them regarding the many issues the Boog had, and turned it into a nearly flawless physical product with much better and more detailed software. If you're asking me, at USD $149 MSRP, nothing can compete with this on the global market in terms of being a complete package with several features inspired by the premium MX enthusiast hobby. Obviously, Wooting will (probably) forever have the upper hand regarding their 2-year warranty and INSANE software/web-driver, but I think that the Slice75 HE is simply the best complete package for the price at this moment in the global HE market.

jakeu+

30,648 次观看 • 1 年前

The character we spent by far the longest creating for #Transformers ROTB was Air Razor. We spent over a year working on just her and her variants. The reason she took so long was because there was no unified vision for what she was supposed to look like. We had initial concepts but the leadership team from the studio wasn't happy with how she looked when we matched to them so we had to iterate and develop different styles until they were happy. Our asset supervisor did a mockup redesign of her head to look more like a golden eagle which they liked a lot, this is what the final head shape was decided to be. We opted to match her styling to a peregrine falcon as the animation director really liked the breakup and contrast that provided. She is the only hero character in the film without an alt mode. She only has her bird form. It was decided during the concepting stages of the film that she would not have a robot form. To make her talk, it was decided by the animation director early on that her beak would semi transform to enable some more expressive talking animations as opposed to her just opening and closing her beak. We spent a very long time on her feathers, in modelling, look development, and rigging, ensuring that we matched to the directors vision and that they looked good in shots. She had over 9 variants, each for a different part of the film. She had a battle mode, damage states, and a "virus" infected mode for when she was infected by Scourge. Each of these also had different variants, totalling the final 9 seen in the film. We added a lot of engraving details to her, each being in the official Maximal language, translated from English. For example, the engraving on her chest says "In the absence of light, darkness prevails" Air Razor was a big creative and technical challenge and a massive team effort to get right. We had plenty of sleepless nights while trying to figure her out. CREDITS: Video by Paramount, MPC, and WetaFX I was responsible for her primary texturing and look development and also served as the asset Lead alongside Tom Goodchild. Primary modeling by Simone Porchedda Final texturing & lookdev by Vipin Kabadi Primary rigging by Tom Goodchild Various other artists supported the modeling, texturing, and rigging of Air Razor, I unfortunately do not recall everyone's names - she was a big team effort.

The character we spent by far the longest creating for #Transformers ROTB was Air Razor. We spent over a year working on just her and her variants. The reason she took so long was because there was no unified vision for what she was supposed to look like. We had initial concepts but the leadership team from the studio wasn't happy with how she looked when we matched to them so we had to iterate and develop different styles until they were happy. Our asset supervisor did a mockup redesign of her head to look more like a golden eagle which they liked a lot, this is what the final head shape was decided to be. We opted to match her styling to a peregrine falcon as the animation director really liked the breakup and contrast that provided. She is the only hero character in the film without an alt mode. She only has her bird form. It was decided during the concepting stages of the film that she would not have a robot form. To make her talk, it was decided by the animation director early on that her beak would semi transform to enable some more expressive talking animations as opposed to her just opening and closing her beak. We spent a very long time on her feathers, in modelling, look development, and rigging, ensuring that we matched to the directors vision and that they looked good in shots. She had over 9 variants, each for a different part of the film. She had a battle mode, damage states, and a "virus" infected mode for when she was infected by Scourge. Each of these also had different variants, totalling the final 9 seen in the film. We added a lot of engraving details to her, each being in the official Maximal language, translated from English. For example, the engraving on her chest says "In the absence of light, darkness prevails" Air Razor was a big creative and technical challenge and a massive team effort to get right. We had plenty of sleepless nights while trying to figure her out. CREDITS: Video by Paramount, MPC, and WetaFX I was responsible for her primary texturing and look development and also served as the asset Lead alongside Tom Goodchild. Primary modeling by Simone Porchedda Final texturing & lookdev by Vipin Kabadi Primary rigging by Tom Goodchild Various other artists supported the modeling, texturing, and rigging of Air Razor, I unfortunately do not recall everyone's names - she was a big team effort.

Rassoul Edji

83,554 次观看 • 1 年前

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,894 次观看 • 1 年前

We’ve had some incredible people passing through the studio in El Zonte lately, but this one is a bit different. Our guest today built one of the most influential brands in the space while remaining totally anonymous. He’s managed a whopping 1.8 million followers on X, he recently decided to dox his identity, and he’s currently in El Zonte on a total reset living on a true Bitcoin Standard! Can you guess who finally joined us on the ground? 🇸🇻 It’s my friend Archie from Bitcoin Archive, and this conversation went much deeper than I expected. We spent a lot of time discussing the real-world experience of healing in El Salvador. For Archie, spending time in El Salvador in 2026 was a survival strategy for his mental health. He gets incredibly honest about the "neurological price" of managing a massive brand and why he’s choosing a more authentic path now. It’s a rare look at the man behind the archive, and how he’s using the El Salvador experience to literally retrain his brain and find his focus again. Archie also shared a perspective on President Nayib Bukele that I haven't heard anywhere else, comparing him to the Founding Fathers in the way he’s changing the entire direction of this nation. Absolute fire! We give you a real status report on what is going on in El Salvador today. If you've been thinking about your own exit strategy or checking out El Salvador yourself, Archie’s insights on the country are pure gold. Really grateful to have Bitcoin Archive in the El Zonte community and to share this one with you. Watch the full sit-down at the link below 👇

Bitcoin Beach

24,750 次观看 • 5 个月前

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +

DANCING IN THE STREET - 40th ANNIVERSARY WHITE VINYL 12” - JAGGER SPEAKS “When people stared in Jagger’s eyes and scored, Like the video films we saw...” The headline says it all but keep reading for the press release and a few words from Sir Michael Philip Jagger himself, along with a link to the upgraded 4k video. #BowieLiveAid #BowieJaggerDancing #BowieJaggerDITS + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE & MICK JAGGER - DANCING IN THE STREET 40th ANNIVERSARY - LIMITED EDITION REMASTERED WHITE VINYL 12” AVAILABLE 29th AUGUST 2025 ON PARLOPHONE: (Link will update throughout the day) WATCH THE UPGRADED 4K VIDEO NOW: ‘’We had such a laugh doing Dancing in the Street with both the song recorded in the studio and the video done in one day. Remarkable how we pulled it off really. The video is hilarious to watch now. We enjoyed camping it up and trying to impersonate each other’s moves, making it up as we went along. It was the only time David and myself collaborated on anything, which is a real shame.” Mick Jagger, June 2025 LONDON, 10TH JUNE 2025 - 40 years ago today, Live Aid, the benefit concert organised by Bob Geldof and Midge Ure to raise further funds for relief of the famine in Ethiopia, was announced with a press conference on the pitch at Wembley Stadium. The show was held simultaneously on Saturday, 13th July 1985, at Wembley and John F. Kennedy Stadium in Philadelphia. One of the day's highlights was the surprise duet of the Motown classic, 'Dancing In The Street', between David Bowie and Mick Jagger. The video for the track, which, like the song, had only been recorded and filmed in thirteen hours, only fourteen days earlier, was shown at 7 pm in the UK (2 pm in Philadelphia), just before Bowie took to the stage at Wembley Stadium. The single version of the song was released on 27th August, with all the proceeds benefiting famine relief. It topped the UK Singles Chart for four weeks and reached No. 7 in the United States on the Billboard Hot 100 chart. To celebrate the 40th anniversary of the track, a limited edition white vinyl 12" will be released on 29th August, 2 days after its anniversary, bringing together all of the song's mixes for the first time. 30% of the retail price from the sale of this single will be donated by David Bowie, Mick Jagger and Parlophone Records to The Band Aid Charitable Trust (Charity Number 292199). The original plan for Live Aid was to perform the track together live, with Bowie at Wembley Stadium and Jagger at John F. Kennedy Stadium in Philadelphia. It soon became apparent that the satellite link-up between the two countries would mean a half-second delay, rendering the plan impossible. Instead, the pair convened at Westside Studios in London on 29th June, where Bowie was working with producers Clive Langer & Alan Winstanley. The duo went directly from the studio to Spillers Millennium Mills in the East End to shoot the video with director David Mallet, who had previously worked with Bowie on the groundbreaking Ashes To Ashes video. The video has been upgraded to high resolution to celebrate the anniversary using the original film negative. Speaking about the song and video at the time, Bowie said “We thought about it on a Thursday night and we just went through a bunch of old songs and thought that ‘Dancing’ was one we both knew very well and then we went into the studio between 7 and 11 on Saturday night and then we went over to the Docklands and shot the video for the rest of the night so we did the whole thing in ten hours, it was great.” He also talked about the spirit of Live Aid, saying, “Everybody out there who sent money in, you’re the real heroes because it’s easy for me to go up there and sing some songs, but it’s much harder for you to give money and not be recognised. Good on ya!” DAVID BOWIE DAVID BOWIE & MICK JAGGER DANCING IN THE STREET 40th ANNIVERSARY WHITE VINYL TRACKLISTING SIDE ONE Dancing In The Street (Clearmountain Mix) (3.11) Dancing In The Street (Instrumental) (3.17) Dancing In The Street (Steve Thompson Mix) (4.42) SIDE TWO Dancing In The Street (Edit) (3.24) Dancing In The Street (Dub) (4.43) + - + - + - + - + - + - + - + - + - + - + - +

David Bowie Official

50,698 次观看 • 1 年前

** MEGA Parodius Scaling Effects Part 2 ** Well - this is the BIG one - literally !! Huge thanks to my team Pyron & Vector Orbitex for their efforts. Pyron has provided all the source frames for Puyon and his spikes / explosion and a lot of analysis video on how the spikes behave / move which was really helpful. Pyron also used his CRT setup for this video as we felt an emulator video would not do it justice - running on 100% real MD hardware FTW. Vector has provided the catchy boss music and its sounding great - as always ! The coding on this has been a bit insane - things done since part 1 post previous: Implemented dual buffering - Last video was single buffered - so VRAM is very tight now , we only have about 40/2048 tiles free. For the longest time I didn't think it would fit - I found a vram jigsaw puzzle that made it work in the end. Double buffering has cleaned up the stability of the animation and matches the arcade scaling effect now albiet costing 2x more VRAM . Vertical Scaling Implemented - the vertical scaler was taken from Lufthoheit ( my other shooter ) and its heavily optimised to reduce cpu usage. During the scaling the vertical scaler partitions the 68k processor registers into 2 sets, 4 registers are allocated to feeding the fast horizontal interrupt (h-int) that drives the vertical scaling , remaining 12 registers are for the horizontal scaler running in the background. This setup is much faster than normal backup / restore register methods, as we do not need to backup / restore registers in the h-int which would double CPU costs. The catch is the momment any background routine tries to use the H-ints registers it would break things so it has to be carefully timed. Added the spike projectiles - this was very tricky to get close to the arcade, they are semi heat seeking missiles basically and hence needed code that worked out angle differences to player at speed theres no time for arc-tan or similar so it uses faster lookup tables to work out the angles . They speed up over time and get larger and whats more we can't keep all the scales in VRAM - we have room for 2 spike buffers only. Also what was a real pain was working out scaled coordinates for the circular launch of the spikes . Added Fish Damage - Shock frame and Explosion frames from Arcade . Very proud of the fact we have the full arcade quality explosion is which is fully scaled also. Added Temporal Masking - which is fancy wording for don't draw nothing to buffer if nothing is there already there for the scaling . So empty Corners and edges can be optimised out to lower cpu costs and rom costs. I had to make some scripting for this and work out what areas did not need drawing at all in the frame, which should be force cleared by cpu and which areas should just be copied from rom. This reduced rom size by 30 kb and with a bit more work we could extend that to 60 kb & get a bit more speedup even doing so. Added a frame limiter . In the last video update we let the 68k burn hot and just pump out frames as fast as it could - here we match the arcade animation rate which does leave the cpu idling at times , particularly in the smaller frames - even at large though we could be running the animation 25 % faster , issue is though that would speed up the game logic and make it less arcade accurate. We had some real bullet / Spike hell simulations going without the limiter but yeah we had to tone it down a bit. Maybe in a hardcore mode we could let it run wild though ! Code is 95% 68k assembly with about 5% C code (v-int as its cold path ) driving things . This sort of thing needs all the speed it can get !! Well now after all that I can return to finish off Level 1 haha - just a wee sidetrack there . No doubt we will polish stage 8 boss some more in time too !! #SegaMegadrive #SegaGenesis #Parodius #SGDK

MEGA Parodius Scaling Effects Part 2 Well - this is the BIG one - literally !! Huge thanks to my team Pyron & Vector Orbitex for their efforts. Pyron has provided all the source frames for Puyon and his spikes / explosion and a lot of analysis video on how the spikes behave / move which was really helpful. Pyron also used his CRT setup for this video as we felt an emulator video would not do it justice - running on 100% real MD hardware FTW. Vector has provided the catchy boss music and its sounding great - as always ! The coding on this has been a bit insane - things done since part 1 post previous: Implemented dual buffering - Last video was single buffered - so VRAM is very tight now , we only have about 40/2048 tiles free. For the longest time I didn't think it would fit - I found a vram jigsaw puzzle that made it work in the end. Double buffering has cleaned up the stability of the animation and matches the arcade scaling effect now albiet costing 2x more VRAM . Vertical Scaling Implemented - the vertical scaler was taken from Lufthoheit ( my other shooter ) and its heavily optimised to reduce cpu usage. During the scaling the vertical scaler partitions the 68k processor registers into 2 sets, 4 registers are allocated to feeding the fast horizontal interrupt (h-int) that drives the vertical scaling , remaining 12 registers are for the horizontal scaler running in the background. This setup is much faster than normal backup / restore register methods, as we do not need to backup / restore registers in the h-int which would double CPU costs. The catch is the momment any background routine tries to use the H-ints registers it would break things so it has to be carefully timed. Added the spike projectiles - this was very tricky to get close to the arcade, they are semi heat seeking missiles basically and hence needed code that worked out angle differences to player at speed theres no time for arc-tan or similar so it uses faster lookup tables to work out the angles . They speed up over time and get larger and whats more we can't keep all the scales in VRAM - we have room for 2 spike buffers only. Also what was a real pain was working out scaled coordinates for the circular launch of the spikes . Added Fish Damage - Shock frame and Explosion frames from Arcade . Very proud of the fact we have the full arcade quality explosion is which is fully scaled also. Added Temporal Masking - which is fancy wording for don't draw nothing to buffer if nothing is there already there for the scaling . So empty Corners and edges can be optimised out to lower cpu costs and rom costs. I had to make some scripting for this and work out what areas did not need drawing at all in the frame, which should be force cleared by cpu and which areas should just be copied from rom. This reduced rom size by 30 kb and with a bit more work we could extend that to 60 kb & get a bit more speedup even doing so. Added a frame limiter . In the last video update we let the 68k burn hot and just pump out frames as fast as it could - here we match the arcade animation rate which does leave the cpu idling at times , particularly in the smaller frames - even at large though we could be running the animation 25 % faster , issue is though that would speed up the game logic and make it less arcade accurate. We had some real bullet / Spike hell simulations going without the limiter but yeah we had to tone it down a bit. Maybe in a hardcore mode we could let it run wild though ! Code is 95% 68k assembly with about 5% C code (v-int as its cold path ) driving things . This sort of thing needs all the speed it can get !! Well now after all that I can return to finish off Level 1 haha - just a wee sidetrack there . No doubt we will polish stage 8 boss some more in time too !! #SegaMegadrive #SegaGenesis #Parodius #SGDK

Shannon Birt

26,902 次观看 • 7 个月前

A little look behind the scenes: Many of you asked how I handle switching from SwiftData & CloudKit to Firebase and a different way of sharing entries with your friends. Previously, there was no need to create an account and the app just used the user's iCloud ID in the background to "sign up". Why did I do this? SwiftData is really nice to use but after working with it for over a year now, it feels still quite unstable, buggy and errors are super hard to track. Same goes for CloudKit and the CloudKit sharing that I implemented. For a growing app, in my opinion, it's just not feasible to use because errors happen regularly, you don't really know if the data is stored (and shared) correctly and the documentation on CK is just bad. I have big plans for this app (reacting to your friends' entries, Apple Health integration, tagging multiple friends in entries etc.) and all of it is now much simpler - and faster to build. The Migration part When an existing user starts the app, a little migration sheet with a couple of steps opens which can't be dismissed. The goal is that the user maintains all entries and can use the app like before :) Steps: 1) Create an Account using Apple Sign In and Firebase Auth 2) Migrate your user profile (profile picture etc.) and all your friends from SwiftData to Firestore. Here I basically iterate over all the data that is there, run a custom conversion for all the fields (some things need to be stored differently) and save them. Profile Images are now saved in Firebase Storage 3) Migrate all entries to Firestore the same way. Images and Voice Notes are now saved in Firebase Storage (that might take a bit of time, video is sped up) 4) After that, migration is basically done and the user can use the app like before. In the settings, the user can now log out or delete the account, things that weren't possible before. If for any reason the migration has to be done again, this can be triggered from the settings as well. How do I decide if a user needs to migrate? Previously, I saved the user's profile in SwiftData under a specific key (simplified). If the app finds something under this key, user is prompted for a migration. New users don't have to run through the migration. They simply start fresh with the Apple Sign in in the onboarding like seen in the referenced post. How does sharing entries now work? For sharing, I create deeplinks using branch . io now. These links basically work like every other Invite Link you've received or created. The friend opens the link, can accept your invitation and now both of you are connected as buddies. Previously using CloudKit Sharing, this process took two steps - each user had to share a link to give access to their entries. The process now is much simpler and better understand for the user. Developing the migration Tbh I thought this would be way quicker. In the end it was > 100 commits since I had to basically change every screen in the app. Working with SwiftData is quite different to how things work with Firebase (and most other frameworks), so every interaction where data was involved had to be reworked. Now the app runs on a combination of Firestore, Cloud Functions and Firebase Storage. In terms of memory, the app feels notably faster and only needs around 1/4 of the memory bandwidth it needed before. Let's see if it will be worth it! All in all super happy with the new flexibility for the app and not being limited by the technology anymore 👀

Fabian Gruß

26,781 次观看 • 1 年前