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Blaird’s 3D Tips #1 — Expressive Blinks😉 3D model blink looking a bit stiff? Here’s a quick normal → expressive in seconds No physics needed! More bite-sized tips coming✨! ❤️& 🔁are appreciated😊! #blairds3dtips #VTuber #b3d #3dmodeling #tutorial

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🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

Cohen Brawley

78,816 views • 2 years ago

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

Cohen Brawley

88,707 views • 2 years ago

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

Cohen Brawley

46,031 views • 2 years ago

** Sega Genesis 3D Engine Update 8 ** Significant improvements all round as you can see and hear from the last update !! Foremost - A huge thanks to Toni Gálvez - Megastyle - BG. who has joined the project to create a bit of 16bit low poly magic. Toni's an Amiga fan but also crazy about game dev in general, he's worked on GBC, GBA, PC, MD, PSP, C64, CPC, MSX... and others. Gaming titles include War Times, Metal Gear, Rocketman, Tintin & Asterix to name a few. He's provided the great new ship model you see on screen - new striped buildings, all the backgrounds / palettes etc. There's a lot of models he's given me which need to be added, also he will be planning a lot of the level design. Very happy to have him help me turn this into something more than a tech demo as I have my hands tied pushing the MD as far as it can go haha - there is no cpu cycle to be spared. Also many thanks to my good friend CYBERDEOUS - Crouzet Laurent for the Music for this showing , I wanted to have the music load occurring so we have a realistic benchmark for performance and he was only too obliging. If you're into MD chiptunes check him out !! Since last update : New player model , substantially more detailed than the Arwing. Last update had a 23 triangle Arwing , this update has a 39 triangle custom model from Toni. We had several to choose from , others will be used for enemies . 3D Buffer size increased 25% to 256x160. This was quite tricky as I'm close to the DMA limit even with an extended vblank . Spent a few days thinking of how to do this as like anything retro every solution has a drawback, finally got a workable solution. It makes a big difference to have a bit more vertical height . Z Rotation added ( the screen tilting left to right ) , small hit to vertex transform on cpu thanks to look up tables doing the heavy lifting, saving 4 multiplies per vertex. Multiple speed ups in rendering code. Onscreen paths with no range checking used until Z is close enough to cause clipping , partial onscreen drawing pathes that need to check boundaries, quad rendering completely rewritten - was very very painfull to get right . I found out the hard way that things are great when they are not rotating in the Z axis haha . Partial buffer draw optimisations - which have helped with the massive dma load , sending up to a 20kb buffer in a single frame needs a lot of optimisation. Min / Max tile lines are analysed and only sent if dirtied , reducing most buffer swaps substantially. Still some issues to sort out , at times you can see the flicker near top of screen when frames are near full height . I need to optimise that a bit. Due to the onscreen buffer system a full Sprite background had to be implemented almost Neo Geo style. This flips the usual MD rendering system on its head as it uses both foreground and background layers for a foreground 3d plane and sprites for the background. This presents a few issues, one is to get a tilt effect on the background by using narrow sprites (16x32) we run out of sprites when trying to cover the screen. Thankfully the MD is not limited to 80 sprites, to fix this a 114 sprite multiplexor is used to draw the background, its completely made up of 16x32 sprites ! Why do things this way ? speed . Its the interleaved foreground/background layers that allow a double buffered ram system writing to write to vram using dma in a completely linear fashion - virtually no tile translation needed. The negative is you have no planes for the background, that's where the sprites come in . Thanks to H40 mode we still have a few sprites we can use for effects in the forground also . Thankfully we can implement a fairly good tilt still for the background using sprites, in future updates this will be able to move horizontally also and a bit of vertical movement. XGM1 music driver in use to simulate music cpu load, XGM2 unfortunately with the massive DMA needed to shift the 3d buffers would slow down at times rendering it unusable, XGM1 plays at full speed - albiet with a bit more of a cpu hit. Together with the sprite multiplexor and the music driver active theres a 10 % hit to cpu so I've had to play around with draw distances / object heights and other optimisations to offset that. Not to mention the larger buffer takes more cpu to fill also. Everything is placeholder so will be changed with proper stage design. We are averaging 20 FPS in the current video, I'll push for more as always !! Progress continues on my other projects , updates soon on those - retirement can't come quick enough . #SGDK #SegaGenesis #SegaMegadrive

Shannon Birt

34,242 views • 1 month ago

🥳OK OK ,In a small vote, seem the community prefers Steampunk pistol more. So let's cook something more special this time . The greatest welcome to our hot agent Joi,She will bring the second class today. 📑“The fantasy of steampunk is broken down into gears and trajectories. The carving knife of 0 and 1 carves the ambition of the Victorian era. Highlighting the etched numbers, the algorithm is loading the violent aesthetics”. 🔫Create a weapon, just hand it over to Joi and after she sings magic, meet the industrial grade delivery standards. 👇Let's drive deeper about 【Technical Analysis of AI-Driven 3D Weapon Pipeline】 Core Technology Stack: 1⃣ NLP-Concept Binding Using the CLIP-Vit-L/14@336px cross-modal engine, descriptive terms such as "steampunk + brass + Victorian ballistics" are mapped to a 768-dimensional semantic space. Through the Latent Diffusion Model (k=25, cfg=7.5), a 1024px concept image is generated, with a focus on the bolt locking structure (key prompt weight x1.8). 2⃣ Topology Reconstruction Based on a NeRF-Transformer hybrid architecture, 2D concept images are parsed into a 256³ voxel grid (resolution 0.2mm). A non-rigid ICP algorithm is used to align moving parts like the trigger/barrel, with topology optimization iterations exceeding 500 times (MeshLab parameters: Remeshing_VCG 0.7). 3⃣ Procedural PBR Workflow Combining MaterialGAN to generate basic metallic textures, handcrafted features are injected through Style Transfer (normal map intensity 0.85, roughness mapping range 0.3-0.7). Rust effects are simulated using the Weber-Fechner perception model to mimic a 12-year oxidation cycle. 🔥 Based on a full-link generation system integrating natural language and geometric topology, this solution reduces the traditional modeling process from 72 hours to 37 seconds, with an error rate of less than 0.3mm³ (meeting FPS game firearm assembly standards). This technology has achieved an 89% reduction in modeling costs in AAA studio prototype verification. ✍️Finally, what props would you like Joi to make for you? Looking forward to assets being put on the chain? Just leave your thoughts here.

Kingnet AI

17,798 views • 1 year ago

Made with Seedance 2.5 using 2 prompts (15s each) + manual stitching. PROMPT 1: ⬇️ 15 seconds, 16:9 horizontal, one continuous photorealistic viral smartphone shot. Absurd surreal comedy scene in a small indoor hotel pool. Realistic environment: tiled walls, fluorescent ceiling lights, metal pool ladders at the sides, pool depth markers, white plastic chairs, vending machines, and 6–8 normal-size spectators in swimwear standing around the pool, laughing, cheering, and filming on smartphones. A giant young sexy blonde woman in her early 20s is floating flat on her back in the pool. Her enormous head, neck, and upper shoulders float naturally on the water surface. Her face is almost horizontal, looking upward toward the ceiling. Wet slicked-back blonde hair spreads slightly in the water. She is exceptionally beautiful, youthful, glamorous, and highly photogenic, with blue eyes, glossy wet skin, and realistic pores. At the very first frame, a full-size normal middle-aged man in plaid swim trunks is already standing barefoot with BOTH FEET planted directly on the center of the giant woman’s forehead above her eyebrows. He is holding a white cup. The man is approximately 180 cm tall in the world of the scene. He is NOT miniature, NOT toy-sized, NOT dwarf-sized, NOT shrunken. His size, height, head size, and body proportions must match the men standing around the pool. He must also match the human scale of the pool ladders, chairs, and vending machines. Only the woman is gigantic. The man is NOT standing on a ladder, NOT standing on the pool edge, and NOT climbing down from anywhere. The pool ladders exist only in the background and never interact with him. The giant woman remains lying flat on her back throughout the scene. Her enormous face floats on the water while the full-size normal man stands clearly on top of her forehead. Do not make him grab her nose. ACTION: 0–3s: Wide poolside smartphone shot. The giant blonde woman floats flat on her back. The full-size normal 180 cm man is already balancing on her forehead with both feet. The crowd behind them laughs and films. She looks upward at him with amused, slightly confused eyes. 3–6s: The man moves quickly and awkwardly across her forehead, taking faster unsteady steps and windmilling his arms while trying not to fall. He should not move carefully or slowly. The crowd reacts louder. The phone camera does a slight shaky push-in. 6–9s: He slips suddenly and slides faster down the slope of her giant face toward her nose and mouth. His white cup flies out of his hand. Her eyes track him and her expression changes from amused confusion to surprised disbelief. 9–12s: She opens her mouth very wide in sudden surprise. He slides directly into the open mouth much faster, feet-first, with a more dramatic loss of balance. 12–15s: He falls completely into her open mouth and disappears fully inside. No part of him remains outside. She closes her mouth, blinks in shock, and the people around the pool erupt in cheers, laughter, raised hands, and excited phone filming. CAMERA / REALISM: One continuous viral smartphone shot from poolside, slightly handheld, natural framing, mild compression, realistic fluorescent indoor lighting, convincing wet skin, water reflections, and splashes. No cinematic grading. The impossible scale should still look weirdly believable: giant woman floating on the water + full-size normal 180 cm man standing on her face + normal-size crowd behind them. TONE: Funny, surreal, visually shocking, and energetic, but not horror. No gore, no blood, no violence, no body horror. CRITICAL NEGATIVES: NO man on ladder. NO man on pool edge. NO man climbing into frame. NO nose grabbing. NO miniature man. NO toy-sized man. NO dwarf-sized man. NO shrunken man. NO woman upright in the water. NO giant head standing vertically. NO scale changes. NO broken anatomy. NO extra limbs. NO glitchy transitions. ---- PROMPT 2 (with a screenshot of the man as a reference): ⬇️ 15 seconds, 16:9 horizontal Use the provided man as the reference identity. Keep his face, hairstyle, age, body type, and plaid swim trunks recognizable. He is the same man from the previous scene. Photorealistic absurd surreal comedy continuation. The man is rushing through a huge surreal internal tunnel inspired by a human colon/rectum, but presented like a bizarre water slide. The tunnel is fleshy, pinkish, wet, and organic-looking, with curved tubular walls, but it stays clean and surreal — no gore, no blood, no fecal content. Water rushes around him as if he is riding an impossible fleshy water slide. The man is visible in the frame for most of the sequence, sliding, spinning, yelling, and trying to hold on as he gets carried forward by the rushing water. The tunnel gradually opens into daylight. He shoots out of the end of the surreal organic slide into a bright real outdoor waterpark splash pool. Realistic sunny waterpark setting: colorful slides, shallow pool, splashing water, and a crowd of people cheering and clapping as he bursts out and lands in the water. He pops up from the splash, shocked but unharmed, while everyone applauds. CAMERA STYLE: cinematic but still realistic, smooth motion as if the camera follows him inside the tunnel, then a clean wide exterior shot for the final exit. Strong realism, good water physics, clear continuity, exciting but playful tone. Tone: surreal, hilarious, high-energy, impossible but convincing. Not disgusting, not gory, not sexual. More like a bizarre theme-park sequence. ACTION TIMING: - 0–4s: Inside the surreal organic tunnel, the man slides feet-first through the wet curved passage while splashing water rushes around him. - 4–8s: He tumbles and spins through the fleshy water-slide tunnel, still clearly visible, yelling and flailing. - 8–11s: The tunnel brightens ahead as daylight appears. He accelerates toward the opening. - 11–15s: He blasts out into a real outdoor waterpark pool in a huge splash, the crowd cheers and claps, and he surfaces looking stunned but okay. Important: preserve the man’s identity from the reference. Keep him visible for most of the interior ride. Make the internal tunnel feel like a surreal organic water slide, not graphic anatomy. No gore, no fecal imagery, no body horror, no broken limbs, no glitching. #AIVideo

Alpha Mom

59,057 views • 2 days ago

T-1: Countdown to the ARC Customization Portal Launch 🟣 Heads Up! Spoiler Alert – Hold Off Watching If You're Not Curious 👇 Quick Tips Before You Dive into Stellar Customization Crafting the Stellar Experience In the world of Creativity and Events, it's all about the experience. It's not just about the looks or avatars, but the whole adventure into the ARC universe to claim your stellar identity. (That's why our avatar strikes that pose.) In the world of Stellars, our identities aren't bound by who we are, but what we're passionate about - ARC My advice? Grab a seat, set up your desktop. Bigger screen is better. Turn on the audio. Get ready to enjoy this journey of self-discovery. Amazing Artwork Already? It's Just the Preview The customization site's artwork is seriously impressive. As you pick different traits or move the mouse around, the colors and shadows play along. And guess what? This is just a sneak peek of the full 3D version of the stellars. Why? Because most of our computers, mine included, can't handle it. Not even my trusty Macbook. Here's the twist (what makes our 3D art cool): ARC renders the entire stellar as a whole, not just bit by bit. That's why you get those subtle reflections on sunglasses, layers of light and shadow. All the traits interact, changing with the light source. Yes, we have to wait a bit longer. But trust me, it's double the excitement. Even if you have a rough idea of how your stellars will look, the fully rendered version will blow you away. Cheers to ARC Diamond Squad & Early Contributors Being part of the ARC Diamond Squad with early contributors is an honor. We're the ones testing concepts, giving feedback, and supporting the community. Over the past months, we've had so many talks, all pointing to one thing from the ARC team — they want to give the best to the stellars. They've really taken the community's needs to heart, especially this identity customization thing. It's a privilege to get a head start on customization. We're glad we did it with limited info so all the stellars can have more reference of the traits, "rarity" & "relatability". So every stellar out there can get the best first-stage customizations. Hats off to the Early Contributors: Collin Seow CFTe @fridgeintheopen Doc Noel.hl (theo arc) Skid @ddskiwi SatoSwee | sweenee.eth ❤️ Memecoin 🏴‍☠️🐉$MON Ben Choo 🇸🇬 fuzzcheek 0xAndy.eth CK4 ⚽️-' 🐐 Divergence 🔮 Bella 𝚙𝚊𝚙𝚎𝚛 🎒 luke Jun theoriginaldy.kongz.eth ❤️ Memecoin @YPSONO_33 Brownworkglov3 🧸 @wideeyekarI @etttrader inkshepherd.eth wassieloyer Manox @chrisngoi Lowes 🧘🏻 (d/acc) J.Peh (Jason) @Airgeek_ JT criticalz 🐉$MON @Chrislhz Newar Tanguy Girault 🇰🇷🇫🇷 CATMEATPARTY Jo | Joanne And a Big Shoutout to the ARC Team: icunucmi Gab Yang Jaclyn Lee ✦ ARC keane joey Nickoo firmanata Akari Clifford Alvinology

𝚙𝚊𝚙𝚎𝚛 🎒

15,608 views • 3 years ago

I think I can finally report some success training a quite accurate IDM capable of recovering keystrokes from Minecraft gameplay, even in quite PvP-heavy situations. At this point the model does not only know what keys are pressed to the extent reasonably discernible, it also knows how fast it is moving in 3D space at all times, even when knockback is mixing with the self-move impulse. Now, recovering keystrokes from normal external capture footage is just about impossible. E.g. W/A/S/D does exactly nothing during partial tick frames and jumping mid-air is also equally useless, so asking the model to recover key down states is inherently unreasoanble. Mouse deltas are also completely arbitrary units, as game mouse sensitivity introduces an arbitrary scale factor into the equation. The only good option is to think carefully about your model-environment contract, and only record "logical actions", not raw keystrokes. So here's a few unfortunate lessons I had to learn in roughly this order. - Choose good units. (bad: mouse deltas, good: delta radians [yes, you will need game-internal state]) - Capture from inside the main game loop and read the game fbo to get consistent frame-action pairing. Doing post-mortem pairing is hopeless. - Carefully define when you think keystrokes actually have an effect. (jump only works on ground, when flying or in water etc.) More subtle: The key may already be down, but no tick has happened yet to actually use the value. Hence: ignore Seperate gamestate into "fast and slow-moving" components. E.g. movement is likely tick based, camera rotation is very likely updated every frame in essentially every game ever. - Think about your frame-action correspondance contract (How old is the frame in relation to the inputs you capture? Will double or tripple buffering affect you?) Think about the game loop timeline, where you are sampling, how old the data you are reading is, and where the ticks are happening around you. Language models used to simply not have a model-environment contract, but even now with the model "living" in a designated harness, the contract still boils down to formatting, and tool implementation intrinsics. While also important, it is still quite a bit more obvious because the violations are in some way shape or form reflected as text you can actually see. - ffmpeg dropping frames cummulatively screws the model the further you get into the sequence because your targets are now shifted. If you can't encode the video in real-time, too bad. - Sodium has a frames in flight system different from vanilla Minecraft, which will also offset your targets from your frames. (there goes that data...) - Models are succeptible to latency. If there is too big of a delay between action and on-screen reflection, your performance degrades. At this point I realize ~100hours of gameplay is essentially no longer usable as a dataset. You can train on this data, but all you'll get is a mushy mess. However, some good news: - Making the model predict physics gamestate scalars helps the model generalize. For instantaneous events like jump, it's unreasonable to ask the model emit a short burst of jump=true at exactly the right time, however if you also predict your current y-velocity, the model has supervision signal for the "latent" from which that onground jump becomes apparent. Recovering x/z motion is also somewhat easier than unmixing it into plausible keystrokes for inertia-heavy player controller logic. - Regressing physics gamestate scalars also seems to make your dataset "bigger". While pure keystroke classification will overfit quickly, predicting exact physics gamestate scalars forces the model to generalize more and you can tolerate far more epochs before validation loss starts to stall out. This is the only reason why it was bearable to dump 100h+ of dataset hours and replace it with ~3 hours of gameplay after the 4th revision of the file format (yeah...) and somehow still have better performance. Now, you might be asking, "isn't this brittle?" and the answer is yesn't. Frame-action correspondance matters for training, but not so much during inference. So as long as you are sampling in roughly the same interval as your training data, you aren't violating any hard contract per-se. Somewhere around the frames ticks are happening, and during training you capture various tick-capture offset relations per random chance, so nothing is too obviously wrong here. HOWEVER, you will get screwed by gui scale, shaders, resource packs, "shit that recording is 1920x1040 because somebody doesn't know fullscreen exists" and other unfortunate edge cases of reality. But I suppose this is the role of dataset size. If all those "contract violations" that a youtube video has compared to the training data are addressed, I think this is a way to turn Youtube into a labeled dataset. I could never shake the feeling that VPT is a sound idea in practice, while never having been properly executed, and I think one reason why it hasn't is because that label boostrapping part is just a pain in the butt to get right. Now, what the player is doing is of course not the only label you can extract from video, but it has to be one of the targets predicted during pretraining to "align" the pretraining objective. Some notes on the video here, the colored dots on the analog visualizer are the ground truth, while the gray dot is the model prediction. Green means correct prediction, red means incorrect prediction at that frame. Model P(key) reports how wrong the prediction is from green (0.0) to red (1.0). You will also notice that during periods of rapid slow down, left and right actions become close to irrecoverable, because there is just that little motion. And some jump actions are not predicted correctly because I got the detection condition for jump events wrong... (duh) LMB/RMB for other than sustained events (like item-consume and block break) also seem to be hopelessly irrecoverable for now. Swing was supposed to do the same thing as motion y did for jump, but its too well behaved as an increasing counter. Maybe partial-tick interpolated values work better (v5 file format then... ugh..)

mike64_t

18,762 views • 4 months ago

My fox shooting garden defending AI robot is finally done and WORKING! 🤩 (Don’t worry it only shoots 💦 water) After months of slowly moving forward with each part I finished the last step to train a TensorFlow model on the footage of the 🦊 fox I collected hours of footage 📹 with the fox roaming around my garden, from this I labeled around 2000 images with the fox by hand ✋ Honestly, I was quite skeptical training the model was actually gonna work, maybe this was partly the reason I avoided working on this until the very end. If I couldn’t train a model to detect the fox, this whole robot would never be able to function properly. On the flipside though, with no previous experience in hardware or electronics there was a bit of a learning curve and I didn’t want to end up labeling thousands of images, training a TensorFlow model, only to fail on building the hardware. As I started building, I realized that mixing hardware and software adds quite another dimension to debugging things. At times I wasted hours debugging code in my IDE, only to realize the issue was somewhere in the electronics. Furthermore, combining this side project with a full time job and a young family, is not always easy. It can be quite frustrating, to know you only need 4 hours of concentrated effort for a small task, having to spread it out across a week of 20min increments. Then, a few months into the build I noticed the fox had stopped coming to my garden, in fact one day, I recorded her walking with 3 cute little 🐶 pups, and the next day I saw her moving out of my garden completely. Did she know I was building a robot? I had this strange mix of feelings, happy my garden was safe from poop and digging, happy she was safe with her pups, but how was I gonna finish this project if my robot had no fox to detect? For sure they would be back next year, I figured I could postpone the whole thing until next winter, but I also knew it was gonna be much harder to pick up momentum if I did let it sit there for six months. So I decided to keep working, hoping the fox would reappear,.. but she never did. As I finished labeling the footage and started training my model, I could finally see the mAP results, quantifying the precision of my object detection model. It was measuring at 78% across different metrics on detecting my fox. I quickly ran the model on some of the video footage I got from my fox. Inference speed took a hit, but it did a near perfect job detecting the fox, even when she was deep down in the grass or wizzing past in a motion blur. It took me by surprise how well it worked. With the default model I had to drop my confidence threshold way down to 15%, to recognize the fox as 🦜“bird” in one or two frames, with my custom model it followed the fox all the way down to the back of the garden! Still this didn’t solve the issue of there being no actual fox in my garden and how was I gonna wrap this project in a short timeframe. I played with the idea of putting a fox toy 🧸 on an RC 🚗 car, or borrowing a dog to run around the garden to test. Friends suggested I run around the garden in a fox costume.. what a ridiculous idea. I wasn’t really feeling the idea of running around the garden in a floppy cloth fox 🎭 costume, but had a look anyway. I came across these self inflating costumes. This actually could be perfect. Since it’s inflated, it would hold its shape super well, making it much easier to label, train and be recognized by my robot. So I got the costume and shot a time lapse of myself as a fox walking around the garden. I labeled it to around 600 images. Ran the model training again and got a mAP result of 82%. This was even better than my real fox! At this point I knew this was gonna work. So here’s the final 🎥 video, just having some fun with it. I’ll update here whenever the real fox does come back. On a final note, I’m looking for (remote) jobs in these fields of AI now: - object detection - visual generative AI - 3D (nerfs + gaussian splats) So if you know anything let me know! My DMs are open 😊

Jeroen Pixel

55,797 views • 2 years ago

Maybe it was never about the five minutes. It was about wanting to spend them together. ❤️ Made with Flova AI using Nano Banana Pro + Seedance 2.0, powered by Skill Script to Video #Flovaai #Flovacpp PROMPT: Create a 60-second cinematic high-school first-love story using SEEDANCE 2.5. IMPORTANT: Generate the video as EXACTLY TWO CONTINUOUS SHOTS: SHOT 1 = 0–30 seconds SHOT 2 = 30–60 seconds The two shots must connect seamlessly and feel like ONE continuous short film, not two unrelated clips. FORMAT: 16:9 widescreen Cinematic photorealism Premium coming-of-age romance film Fast-paced but emotionally natural Smooth transitions and motivated camera movement Realistic teenage body proportions and expressions Natural English dialogue only No subtitles unless dialogue is naturally spoken No text overlays No character redesign CHARACTER CONSISTENCY — EXTREMELY IMPORTANT: Use the provided character reference sheets for BOTH characters. BOY: Preserve exact face, hairstyle, clothing, body proportions, accessories and identity from the character sheet. GIRL: Preserve exact face, hairstyle, clothing, body proportions, accessories and identity from the character sheet. Their faces, hairstyles and outfits must remain IDENTICAL throughout both shots. The boy and girl are both 17–18-year-old high-school students. Keep the romance completely innocent, wholesome and age-appropriate. VISUAL LANGUAGE: Warm nostalgic coming-of-age movie aesthetic, realistic school environment, natural skin texture, subtle film grain, cinematic depth of field, soft lens bloom, realistic physics, natural hair movement, expressive eyes, believable teenage body language. Use a dynamic combination of: wide establishing shots, medium tracking shots, over-the-shoulder shots, close-ups, handheld intimate moments, smooth push-ins, whip-pan transitions, shallow-focus inserts, and brief slow-motion accents. Avoid excessive slow motion. The pacing should feel energetic and modern. ━━━━━━━━━━━━━━━━━━━━ SHOT 1 — 0:00–0:30 “THE ROUTINE” ━━━━━━━━━━━━━━━━━━━━ 0:00–0:03 OPEN on a cinematic wide shot of a lively high-school hallway immediately after the final bell. Students rush past the camera. The boy exits his classroom with his backpack over one shoulder. He looks across the hallway. The girl is already there. Their eyes meet. She gives him a tiny smile. He smiles back. CAMERA: Fast lateral tracking shot through the crowd, then smoothly pushes toward the boy as he notices her. 0:03–0:07 She walks toward him. He casually falls into step beside her. GIRL: “You're late.” BOY: “By two minutes.” She laughs. They continue walking. CAMERA: Smooth backward tracking shot in front of them as students pass naturally around them. 0:07–0:11 QUICK MONTAGE. They sit together in class. She steals one of his fries during lunch. He looks offended. She laughs. He secretly smiles. CUT TO: Their notebooks side by side. She draws a tiny smiley face in the margin of his notebook. He notices. CAMERA: Fast close-up inserts and match cuts, keeping the rhythm playful and energetic. 0:11–0:15 They leave school together. Golden afternoon light floods the corridor. He holds the door open for her. She playfully bumps his shoulder as she walks past. He laughs. CAMERA: Low-angle tracking shot transitioning into a warm side-profile shot. 0:15–0:20 Outside school. They walk down the sidewalk. She talks animatedly while he listens. A light breeze moves her hair. He looks at her for a moment longer than he should. She catches him staring. GIRL: “What?” BOY: “Nothing.” She smiles knowingly. CAMERA: Over-the-shoulder close-up from behind her, revealing his shy smile. 0:20–0:25 The sky suddenly darkens. First drops of rain hit the pavement. She looks upward. BOY: “Uh-oh.” She laughs and quickly pulls her cardigan closer. The boy opens his small umbrella. CAMERA: Quick tilt from the darkening sky down to them. 0:25–0:30 They squeeze underneath the tiny umbrella together. Their shoulders bump. They laugh. The camera slowly circles around them as they begin walking through the rain. The boy looks at her. She looks back. A brief quiet moment. MATCH CUT: Camera passes behind the umbrella fabric. Use the movement of the umbrella to create a seamless transition into SHOT 2. ━━━━━━━━━━━━━━━━━━━━ SHOT 2 — 0:30–1:00 “FIVE MORE MINUTES” ━━━━━━━━━━━━━━━━━━━━ IMPORTANT: SHOT 2 begins from the EXACT SAME MOMENT as Shot 1 ends. Same characters. Same clothing. Same umbrella. Same rainy street. Same lighting. Same environment. No visual reset. 0:30–0:35 Continue the walking shot. They move through the rain beneath the tiny umbrella. Their hands accidentally touch. Both notice. Neither pulls away immediately. CAMERA: Slow subtle push-in toward their hands, then rack focus to their faces. 0:35–0:40 They reach the girl's house. She steps out from beneath the umbrella. She turns toward him. GIRL: “See you tomorrow?” BOY: “Yeah.” She starts walking toward her front door. The boy watches her. She takes a few steps. 0:40–0:44 He suddenly gathers courage. BOY: “Hey!” She turns around. CAMERA: Quick handheld push toward the boy as he runs a few steps back toward her. 0:44–0:49 He smiles nervously. BOY: “Can I have five more minutes?” She looks at him, amused. GIRL: “You already had an hour.” He laughs. BOY: “I know.” A small pause. She smiles. GIRL: “Okay. Five more minutes.” 0:49–0:54 She steps back underneath the umbrella. They begin walking together again. The rain becomes softer. The street lights begin glowing as evening approaches. CAMERA: Wide cinematic tracking shot from the front, slowly moving backward as they walk toward camera. 0:54–0:58 QUICK NOSTALGIC MONTAGE: Their sneakers splashing through puddles. Their hands almost touching. Her laughing. His nervous smile. The tiny umbrella tilting as they walk closer together. A final glance between them. Use rhythmic match cuts synced to the emotional music. 0:58–1:00 FINAL WIDE SHOT. The camera pulls slowly upward and backward. The two teenagers walk away together beneath the tiny umbrella, becoming smaller against the glowing evening street. The rain sparkles under the streetlights. They continue talking and laughing as they disappear farther down the road. FADE OUT. FINAL EMOTIONAL FEELING: First love. Youth. Nervous butterflies. The feeling of not wanting the day to end. Do NOT make the ending sad. Do NOT introduce a breakup. Do NOT introduce a twist. Do NOT introduce additional characters who become romantically relevant. The entire story should feel like one precious memory from the beginning of a first love. ━━━━━━━━━━━━━━━━━━━━ CAMERA & MOTION REQUIREMENTS ━━━━━━━━━━━━━━━━━━━━ Keep camera movement fluid and cinematic throughout. Use motivated transitions rather than random cuts. Mix fast-paced montage editing with slower intimate close-ups. Prioritize: • smooth tracking shots • natural handheld movement • cinematic push-ins • over-the-shoulder compositions • expressive close-ups • realistic rack focus • wide environmental shots • subtle slow-motion only for emotional beats Maintain realistic physics for: rain, umbrella movement, hair, clothing, walking, running, hand gestures, and interactions with the environment. ━━━━━━━━━━━━━━━━━━━━ AUDIO & DIALOGUE ━━━━━━━━━━━━━━━━━━━━ Natural English dialogue only. Dialogue should sound spontaneous and age-appropriate. Ambient sound: school hallway chatter, footsteps, distant laughter, birds, city ambience, rain, umbrella fabric, wet pavement. Music: soft modern coming-of-age instrumental soundtrack that gradually builds from playful and light to warm and emotional. Music must never overpower dialogue. ━━━━━━━━━━━━━━━━━━━━ NEGATIVE PROMPT ━━━━━━━━━━━━━━━━━━━━ No character identity changes. No face changes. No hairstyle changes. No outfit changes. No age changes. No adult appearance. No sexualized content. No exaggerated body proportions. No random wardrobe changes. No duplicated characters. No extra limbs or fingers. No distorted hands. No unnatural walking. No floating objects. No impossible rain physics. No inconsistent umbrella. No teleporting. No location jumps that break continuity. No random camera cuts. No excessive slow motion. No cartoon appearance. No anime style. No plastic skin. No overprocessed faces. No text overlays. No subtitles. No logos. No watermark. No visual glitches. No abrupt ending. FINAL REQUIREMENT: SEEDANCE 2.5 MUST PRIORITIZE CHARACTER CONSISTENCY, FACIAL IDENTITY, TEMPORAL CONTINUITY, NATURAL MOTION AND SEAMLESS TRANSITION BETWEEN THE TWO 30-SECOND SHOTS. The final result should look like a polished 60-second scene from a premium cinematic coming-of-age romance film.

Caden Flux

30,374 views • 3 days ago

Thought experiment for people regarding the concept of Absolute Time. Absolute means NO EXCEPTIONS. We are NOT looking back in time when we see galaxies and stars. We are NOT looking back in time 1.25 seconds when we see the moon. We're Not looking back in time 3 minutes when we see Mars. We're Not looking back in time 8.33 minutes when we see the Sun. If an astronaut lit a matchstick on Mars, the distant observer would see predator heat waves at the top of the matchstick in real-time while the matchstick started to blacken towards the astronaut's fingers. But there would be no orange light from that chemical reaction or flame seen. If the matchstick burnt out before the packet of orange light from that particular chemical reaction made it to Earth… then the distant observer would just see a disembodied orange flash of light with a lag. But the Earth-bound observer would never actually see the flame associated with the orange wavelength it put out. The wavelength of color emitted by the flame is not a recording of reality. If the orange light is 650 Thz, that means there are 650 trillion individual and separate bursts of orange light pulsating in 1 second. NOT that "the same light" is "waving" 650 trillion times a second and that light is a recording of reality. There are 650 trillion brand-new lights flashing in 1 second. Each Hertz is a brand-new emission and packet unto itself. Time does not re-emit 650 trillion times a second, nor is a photon a particle or a packet of reality acting like the frame of a reel of footage. The orange light that already left the flame will continue to propagate out until it meets the electrons making up the distant observer. But remember, it is never the same light within that packet. And the electrons making up the observer will absorb all of those different lights within that packet and re-emit brand-new lights that produce the product of illumination. A photon is a massless packet of energy, spherically expanding at the rate of c from the source it comes from. Illumination is the result of that energy being absorbed and RE-emitted by any other electrons that did not output that primary packet. But time is not associated with the same light. It's never the same light and time does not re-emit between packets. Time is not relative. Do NOT allow your mind Carte Blanche to think along the lines of relative time. DROP IT for this thought experiment. We are thinking along the lines of ABSOLUTE TIME/ Galilean VARIANCE. What does absolute time mean? It means time is constant in ALL frames of reference. Any frequency shifts between atomic clocks IS a literal change in the speed of light. But relativity forbids the speed of light from Ever changing, so relativity (Lorentz INVARIANCE) invented the concept of the 4th dimension and space-time. Because Relativity doesn't allow light speed to shift.. they interpret the same frequency shift between atomic clocks as being conclusive, irrefutable evidence that time and reality itself shifts. Rather than say it's just that ONE clock being affected by Earth's gravity and the oscillation of that ONE cesium clock is being altered compared to other clocks. People don't realize that in relativity... time dilation is SYMMETRICAL! Not even most relativists know their own theory. If Clock A and Clock B are synchronized and together... and then they accelerate apart... Einstein said Clock A would see Clock B as being slower itself. And Clock B would view Clock A as slower than ITself. NOT that only one observer would see back in time and the other would see forward or not at all. No... BOTH observers are supposed to see each other BACK in time relative to each other according to Einstein and the consequence of the math. It doesn't make ANY sense!! But relativists toss that part of time dilation under their 4th dimensional rug. The rug is woven from threads of gold that only the smart people can see apparently. So... here's a thought experiment/ Gedankenexperiment for absolute time. NO paradoxes... no nonsense or confusion. What do you see in a club? You see disco lights changing and a color wheel effect. You see everyone in REAL-TIME. Not just because they are so close to the lights. Light is not a recording of reality. Light is simply color. Illuminating reality in a certain color. Just because you can't see something yet or the color hasn't reached you doesn't mean it isn't happening in real-time. Zoom out and look at the people in the club through binoculars a mile away. You are still looking at them in real-time. The colors are shifting with a delay in the club. Now look at the club through a telescope from the surface of the moon. You're still looking at the people in real-time. But now there is a lag of the colors shifting by 1.25 seconds because it takes light 1.25 seconds to travel from the Earth to the moon. Now look at the club through an even bigger telescope from the surface of Mars. You're still looking at the people in real-time, but now there is a lag of the colors shifting by 3 minutes because it takes light 3 minutes to travel from Earth to Mars. fr you are a third hypothetical observer zoomed out and watching the person from Mars AND seeing the club on Earth... you're still seeing everything happening in real-time as well. But you see the colored wavepackets traveling with a delay to the observer on Mars. And the disco color wheel effect is just lagging before it affects the observer from Mars and the observer on the Moon. It doesn't matter how far you zoom out! There is only now to observe. But there WILL be a lag and delay for a given color/wavepacket to reach distant observers. But all points in space are already illuminated by other starlight. So if you're too far away... you'll just see the club in real-time but without any disco lights. Just see them in white light because that's the source already illuminating the scene. This is where it gets the most difficult because people think light itself is a recording of reality that replays a scene from where it came from. But another punch in the gut of relativity is that in order to see REFLECTED light... that would require a TWO-WAY transit. Which means the light would have to be sent out... record the scene of a distant event and then RETURN in order to REplay the event. Which means it would take 6 minutes to see the club from Mars by that logic and 2.5 seconds to see the club from the moon by that logic. The difference in tick rates between clocks has NOTHING to do with time dilation. Wait.. what?! How can that be? Because a clock itself doesn't represent all of time and reality. The difference between clocks is a "Transverse relative time shift." If the only light in the universe was from the lighter… the only way a distant observer would be able to see the astronaut on Mars is if the astronaut held down the button of the lighter for longer than 3 minutes. It takes 3 minutes for the packet of light to travel from Mars to Earth. The distant observer would never be able to see Mars, unless the light stretched from Mars all the way to Earth, and illuminated the path between Mars and Earth. And that would take 3 minutes for the boundary and first part of that wave packet to reach Earth. But if the distant observer wanted to observe Mars in real-time… then that packet of light would have to be on for longer than 3 minutes. So if the astronaut on Mars flicked the lighter at 12:00, the distant observer on Earth wouldn't see anything until 12:03. If the light was on for 3 minutes and 10 seconds, and the distant observer is 3 light minutes away... the distant observer would be able to see Mars in real-time for 10 seconds starting at 12:03. In the 20 second video clip of the rotating planet with shifting colors... just imagine you're a couple light minutes or light seconds away. You're still seeing the planet spin in real-time. But there is simply a delay of switching colors. You are Not looking back in time. It's just a color wheel effect from a great distance away. That's it!! There are many major flaws which tarnish people's critical thinking on this thought experiment. 1. Light does NOT ricochet or bounce. Electrons absorb, emit and re-emit ALL electromagnetic radiation. The electrons, making up the glass of a mirror will absorb the incoming light and re-emit a brand-new light as an equal and opposite reaction. NOT that "the same light" bounced off the mirror and continued on within the same frame of reference.  2. Light is NOT a recording of reality. 3. It is NOT the same light being observed from a source. It's never the same light. Each Hertz is a new light. Think of half of a sine wave as being its own emission. On an oscilloscope, a stimulus generates a peak which initiates an equal and opposite trough. Or vice versa. That repeating process is not "the same light." If you cut and paste that sine wave to another sine wave, the boundary between the waves will always be in phase. (thus refraction) 4. The speed of light is NOT the same in ALL frames of reference, no matter what. 5. Light is NOT made of particles and waves that flip back-and-forth. 6. Time is NOT connected to the speed of light. Time remains constant regardless if you accelerate towards or away from a clock. The clocks themselves will indeed be off! But that's an affect on the electrons making up the atomic clock affecting the oscillation of the isotope which is ASSUMED to ALWAYS be the same. So ANY difference in oscillation is treated as a literal distortion in space-time. 7. Space and time are not linked at all. That is a mathematical artifice under Lorentz invariance. Time is relative under Lorentz invariance. But time is absolute under Galilean VARIANCE. When people hear or see the word GALILEAN... their brains switch to auto pilot to "aether theory" and "classical physics." What people don't realize is that aether theory used Galilean INVARIANCE. Rather than space-time being used as an excuse to explain the difference in frequencies between atomic clocks... it was originally aether being used as an excuse to keep the speed of light the same. But None of those things are valid! We are thinking under the framework of Galilean VARIANCE! Completely new revolutionary model returning to Isaac Newton and Classical physics but without the corpuscular theory (particle) theory for light... without a particle-wave duality... without an aether... without a 4th dimension. Just good ol elementary math within 3D Euclidean space. Everything happening in real-time, right now. This reformulation of Galilean transformations was offered by Dr. Edward Dowdye in 1991 called The Extinction Shift Principle. Effectivity as opposed to Relativity. If light required a two-way transit, in order to travel out… Record an event, and travel back to replay the recording…  then it would take 6 minutes to see the astronaut on Mars instead of 3.  Remember… They say the SAME light is a recording, and must travel there and travel back in order to REplay. Relativity says time is relative: t' ≠ t time is NOT the same from all frames of reference) and t = tₒ / √1 - v²/c² but Galilean Variance says time is not relative: t' = t (Time IS the same from all frames of reference) and τ_tr = τₒ / √1 - v²/c² Relativity says c' = c (The velocity of light is the same from all frames of reference) but Galilean variance says c' ≠ c (The velocity of light is NOT the same from all frames of reference) and that c' = c ± v (The velocity of light in one frame of reference is dependent upon the velocity of the light source relative to an observer in another frame of reference. Whether that light source is approaching or receding away from that observer) Relativity says E = mc² (Energy and mass are universally equivalent and literally interchangeable under All conditions.) but Galilean variance says E = Δmc² = mₒc² (Energy changes in a system are the result from changes in mass. mₒ represents the original mass. Mass and energy do not literally interchange. There is an equivalence, not an interchange.) The Rebirth of Classical Physics: Time, Light & Gravity Star light and illumination: Flicking a Lighter on Mars visual example:

TheRealVerbz (Jason Verbelli)

16,608 views • 1 year ago

A brave knight. A legendary dragon. An adventure that ends in the most unexpected way. ⚔️✨ Made on FlovaAI with the help of Nano Banana Pro and Seedance 2.0 #Flovaai #Flovacpp The Dragon Doesn't Want a Knight (60 Seconds) Prompt: Ultra-high-quality 3D animated fantasy film, DreamWorks/Pixar-level animation, cinematic storytelling, rich medieval fantasy world, highly expressive facial animation, lush forests, ancient moss-covered mountains, warm volumetric lighting, magical atmosphere, realistic fire, detailed dragon scales, cinematic depth of field, dynamic camera movement, smooth transitions, emotional comedy, orchestral fantasy score, 4K HDR, vibrant colors. Characters: Knight: Young, determined but inexperienced, around 20 years old. Polished silver armor with a royal blue cape, expressive face, messy brown hair, slightly awkward but brave. Dragon: Enormous emerald-green dragon with glowing amber eyes, large horns, weathered scales, intimidating appearance but surprisingly gentle and sarcastic personality. Deep, warm voice. PART 1 (0:00–0:15) — The Hero Arrives 0:00–0:05 Camera: Epic aerial drone shot soaring above mist-covered mountains at sunrise. The camera dives toward an ancient cave carved into a towering cliff. Smoke lazily drifts from the entrance as birds scatter into the sky. Action: A lone knight climbs the rocky trail with determination, gripping his sword tightly while his blue cape billows dramatically in the wind. Audio: Grand orchestral score builds with distant dragon roars echoing through the valley. 0:05–0:10 Camera: Low-angle tracking shot following behind the knight as he enters the cave. The environment grows darker, illuminated only by glowing lava cracks and shafts of sunlight breaking through the ceiling. Action: He stops, raises his sword toward the darkness, and takes a deep breath. Knight (shouting heroically): "Fear me, beast! I've come to slay the dragon!" 0:10–0:15 Camera: Slow cinematic dolly through the darkness until an enormous emerald dragon is revealed sleeping peacefully atop a mountain of treasure. Close-up on one sleepy amber eye opening as it lets out a massive yawn, releasing a tiny puff of fire. Dragon (half asleep): "...Can you come back tomorrow?" The knight freezes in complete confusion. PART 2 (0:15–0:30) — The Most Tired Dragon 0:15–0:20 Camera: Medium two-shot. The knight awkwardly lowers his sword while the dragon stretches lazily, scratching behind one horn. Dragon (with a sigh): "I'm exhausted." The epic music abruptly stops, leaving only awkward silence. Knight: "...Wait... what?" 0:20–0:25 Camera: Slow pan across the cave, revealing piles of broken swords, shattered shields, cracked armor, and bent spears stacked in one corner. Dragon (casually): "I've had six knights this week." 0:25–0:30 Camera: Close-up of the dragon rolling its eyes. Dragon: "None of them even introduced themselves." A tiny baby dragon peeks out from behind a treasure chest, gives the knight a cheerful little wave, then quickly hides again. The knight blinks, completely speechless. PART 3 (0:30–0:45) — The Truth 0:30–0:35 Camera: Slow push-in on the knight as he relaxes and carefully places his sword on the ground. Knight: "...So..." "What do you actually want?" 0:35–0:40 Camera: Close-up on the dragon's face. Its playful smile fades as it gazes toward the cave entrance, where golden evening light shines across the valley. A long, quiet pause. 0:40–0:45 Camera: Extreme close-up of the dragon's eyes. Dragon (softly): "Honestly..." Small pause. "...A friend." The soundtrack shifts into a gentle piano melody. PART 4 (0:45–1:00) — A Different Kind of Victory 0:45–0:50 Camera: Warm montage with smooth cinematic transitions. The knight and dragon sit beside a campfire inside the cave. The dragon carefully roasts marshmallows using tiny controlled flames. Knight (laughing): "This wasn't in knight school." Dragon (smiling): "Neither was loneliness." 0:50–0:55 Camera: Wide shot outside the cave. The King leads hundreds of armored soldiers charging up the mountain, banners waving and dust rising beneath galloping horses. King (shouting): "Did you defeat the dragon?" 0:55–1:00 Camera: Heroic medium shot of the knight standing beside the dragon at the cave entrance. The dragon nervously peeks from behind him. The knight smiles. Knight: "No." A brief pause. "...I met him." Final Camera: The camera slowly cranes upward, revealing the knight and dragon standing together against the glowing sunset as the music reaches an emotional crescendo. Fade to Black.

Caden Flux

30,264 views • 1 month ago

just copy the prompt below and paste on Utopai the PAI agent turns it into script, create storyline, generate clips and edit all by itself prompt: High-energy 3D CGI animated comedy short, Pixar quality, ultra-detailed character animation, exaggerated physics, vibrant colors, warm orange kitchen lighting with glowing flames, bright daylight city streets, dynamic camera work with fast pans, tilts and dramatic angles, subtle motion blur on fast movements, comedic timing and expressions, upbeat energetic music with whooshes and impacts. **Main Character Casting Descriptions:** - **Pizza Chef - Jack (main actor in kitchen)**: Early 50s energetic male, messy silver hair, large prominent nose, thick expressive eyebrows, sharp intense eyes, fair skin with slight blush from heat. Wears white double-breasted chef jacket, wear white chef hat with text “el.cine” in front, gree neckerchief. Highly animated face — furrowed brows, focused squint, dramatic determination turning to exhaustion. - **Pizza Delivery Guy - Tom (main actor on street/scooter)**: Late teens/early 20s lanky male, long blue hair, huge expressive brown eyes, long nose, very animated facial expressions (surprise, determination, panic, relief). Wears white helmet with spinning yellow propeller on to, light blue leather with text el.cine at back, white pants, sneakers. Fast, exaggerated movements. - **Customer (final shot)**: Large, middle-aged stern woman, brown hair, heavy eyebrows, downturned mouth, wearing beige suit jacket, white shirt, dark trousers. Standing in doorway with impatient/annoyed expression. SHOT 1 (0:00–0:02) – Cinematic fast motion, dramatic low angle with subtle Dutch tilt and intense push-in: fast push from kitchen wide shot to close up on the Pizza Chef’s face in the bustling kitchen. He grips the large pepperoni pizza on a metal tray with raw, over-the-top determination — brows dramatically furrowed into deep angry V-shapes, eyes sharply narrowed with a fierce glint and slight crazy wideness at the edges, teeth gritted in heroic effort, dramatic sweat beads flying off his forehead. Bright orange flames explode upward from the pizza in the foreground with massive sparks and heat waves licking toward his face. Dynamic camera orbits left while pushing in for maximum tension, subtle motion blur on the flames. Background shows chaotic kitchen with stacked pizza boxes, glowing ovens, and flying embers. SHOT 2 (0:02–0:04) – Medium close-up, eye-level: Chef lifts the flaming pizza higher with both hands, leans forward, eyes wide with concentration as flames lick upward toward his face. SHOT 3 (0:04–0:06) – Medium shot, eye-level, dynamic pan: Chef dramatically spins the flaming pizza on the peel in a huge fiery arc above his head, left hand on forehead in dramatic pose, right arm extended. Flames trail in a perfect circle. SHOT 4 (0:06–0:08) – Low-angle dramatic shot looking up: Chef tosses the flaming pizza high into the air with both hands. The camera follows the spinning fiery pizza as it arcs toward the ceiling tiles. SHOT 5 (0:08–0:10) – Extreme low-angle on ceiling: The flaming pizza spins in a perfect circle of fire against the tiled ceiling, sparks flying. SHOT 6 (0:10–0:12) – Wide dynamic shot, low angle: Chef does a full acrobatic flip in mid-air, upside-down, catching the flaming pizza behind his back while still in the air. SHOT 7 (0:12–0:14) – Wide action shot, eye-level: Chef lands in a wide stance, spins the flaming pizza on one hand like a basketball, then dramatically throws it forward toward the open doorway with full body power, flames trailing, quick push in and follow the close up of the flying pizza in slow motion SHOT 8 (0:14–0:16) – Medium shot on street, eye-level: Pizza Delivery Guy stands outside the shop holding an empty pizza box, looking down at his watch with bored expression, propeller on helmet slowly spinning. SHOT 9 (0:16–0:18) – Medium close-up, eye-level: Chef (partially visible inside doorway) throws the flaming pepperoni pizza directly toward the Delivery Guy. Delivery Guy looks up with wide-eyed shock. SHOT 10 (0:18–0:20) – Medium shot, eye-level: slow motion, close up of the flaming pizza flies straight into the open pizza box held by the Delivery Guy. Flames whoosh past his face as he catches it perfectly. SHOT 11 (0:20–0:22) – Close-up on Delivery Guy’s face: His eyes go extremely wide in surprise, mouth open, propeller spinning faster, and talk excitedly SHOT 12 (0:22–0:24) – Extreme close-up on smartphone screen held in hand: Red digital timer clearly shows “00:30” counting down. SHOT 13 (0:24–0:26) – Close-up on Delivery Guy’s face: Expression changes from shock to intense determination — eyebrows lowered, mouth set in a smirk, eyes focused. SHOT 14 (0:26–0:50 end) – Wide tracking shot from behind, fast-paced: Delivery Guy jumps on his purple scooter and speeds away down the sunny city street, pizza box secured on the back. Camera follows as he weaves between cars, jumps over red-and-white construction barriers, rides up stairs, does rooftop jumps, and finally stops smoothly in front of a house. He turns with a confident smile as the stern Customer opens the door and stares at him and says with an angry tone “you are late” cut to Tom smiling awkwardly and scratch the back of his head, he takes the pizza from his back and suddenly he slide and fall down on the ground Cinematic 3D CGI animation style, highly exaggerated comedic action, perfect continuity of the flaming pizza and characters, dynamic camera movements exactly matching the original video’s pacing, framing, and energetic tone. Photorealistic 3D render quality, 1080p, 24fps.

el.cine

12,990 views • 2 months ago