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Cisco wave with the crew 📞🎶 #FurCon2025 w/Alpine KartFox @Reograyfox 📷braytonbadger.bsky.social

50,966 Aufrufe • vor 1 Jahr •via X (Twitter)

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They found him where the fighting had been the worst. Alone. Rifle empty. Magazines spent. And 23 enemy soldiers lying around his position. Private First Class Gary Martini was just 19 years old in April 1967 when his unit was ambushed in Vietnam. The jungle erupted with gunfire. Grenades exp|*ded. The line began to buckle under heavy attack. Martini did not pull back. He stayed where he was and returned fire. Wave after wave came at his position. He fired until his magazines were empty. Then he reloaded. Then fired again. The enemy tried to break through his sector. He would not let them. Somewhere in that storm of bullets and smoke, he was fatally w*unded. When the battle ended and his fellow soldiers moved through the wreckage, they found him still at his post. Around him lay 23 enemy bodies. He had held the line almost single handedly. He was 19. Nineteen. Most teenagers worry about school, about the future, about small things. Gary Martini faced d**th and refused to give ground. His stand bought time for his unit. Time to regroup. Time to survive. For his actions, he was awarded the Medal of Honor. looked like. A young soldier, alone in a jungle clearing, fighting until there was nothing left to fire. He did not run. He did not surrender. He fought until the end. Back home, his name faded with the years. The war became a chapter in a textbook. The faces became numbers. But once, in a violent clearing in Vietnam, a 19 year old stood his ground against overwhelming odds. 🫡🙏

G-PA

515,890 Aufrufe • vor 6 Monaten

Can a dragon become your best friend? Watch this legendary friendship come to life before your eyes. Made by using GPT Image 2 + Seedance 2.0 on Picsart prompt: Create a 15-second hyper-realistic live-action cinematic video in 16:9 with fast-paced, emotionally warm storytelling, spectacular action, and seamless multi-shot transitions. Absolute photorealism with feature-film quality, shot on anamorphic 35mm lenses, realistic camera physics, subtle handheld movement, natural lens breathing, cinematic motion blur, restrained film grain, and physically accurate lighting. The scene takes place entirely on a rugged alpine mountain summit with jagged gray metamorphic rocks, loose gravel, exposed cliff edges, dry golden alpine grass, distant mountain ranges, a deep blue sky with thin cirrus clouds and low white cumulus clouds, illuminated by crisp late-morning sunlight. Maintain perfect environmental continuity throughout every shot. The main character is a beautiful woman, approximately 25 years old, with long thick naturally wavy blonde hair, fair skin, bright blue eyes, and an athletic feminine build. She wears a weathered brown leather medieval explorer outfit consisting of a fitted leather tunic, dark trousers, tall leather boots, leather bracers, a travel satchel, a belt, and a medieval sword. Preserve her exact facial features, hairstyle, clothing, body proportions, and identity consistently throughout the entire video. Her companion is a gigantic biologically realistic pink-red dragon with dusty reptilian scales, amber eyes, curved horns, muscular limbs, powerful claws, a long tail, and large translucent wing membranes with visible veins. The dragon behaves like a real undiscovered animal, with subtle breathing, shifting muscles beneath its scales, moist reflective eyes, realistic weight, and physically accurate interactions with the environment. The dragon always remains vastly larger than the woman. A powerful alpine crosswind acts as a third character throughout the sequence, constantly influencing the woman's flowing blonde hair, clothing, satchel straps, grass, dust, loose gravel, and the dragon's wing membranes and neck spines. Every gust behaves naturally according to the terrain and camera angle, with believable delayed secondary motion. The sequence begins with an extreme ground-level camera hidden between dry grass and sharp rocks. Wind drives dust and gravel across the lens while the woman stands confidently on the exposed ridge. A gigantic dragon shadow sweeps rapidly across the landscape before one enormous wing passes overhead, dramatically darkening the frame and creating a violent pressure gust. Cut to a dynamic forward-moving perspective traveling low toward the woman as the dragon approaches at high speed. The mountain rocks rush past with strong parallax while her long blonde hair and leather clothing whip dramatically in the wind. The dragon's heavy breathing creates subtle camera movement. Transition into a fast lateral tracking shot racing parallel to the rocky ridge. Foreground boulders repeatedly hide and reveal the action while the dragon runs beside the woman with tremendous weight. Massive claws strike loose gravel, sending rocks toward the camera as dust trails behind. The dragon suddenly brakes beside her, carving deep tracks into the rocky ground while a sweeping cloud of dust fills the frame. Move into a close reverse circular orbit around both characters as the dragon gently lowers its enormous head. The woman smiles warmly, steps closer, and softly places one hand against the dragon's snout. Their foreheads gently touch in an intimate emotional moment as the dragon's folded wing temporarily shelters them from the wind. Focus shifts naturally from her fingers resting on the scales to the dragon's amber eye and finally to her genuine smile. Cut to an unusual snout-mounted close-up beside the dragon's muzzle. The dragon gives a playful snort, blasting a gust of wind that sends the woman's long wavy blonde hair, clothing, and satchel flying backward. Laughing naturally, she briefly loses her balance before affectionately pushing the dragon's muzzle away with both hands. The dragon playfully nudges her again while the camera receives a subtle physical bump, creating an authentic documentary feel. Transition to a perfectly vertical top-down aerial shot directly above the rocky clearing. The dragon unfolds its enormous wings around the woman, nearly filling the frame. A single powerful wingbeat creates a visible expanding pressure wave across the terrain, pushing dust, grass, gravel, and clothing outward in physically accurate concentric motion. The woman crouches, shielding her face while laughing as the dragon begins its powerful takeoff run. Finish with a dramatic cliff-edge aerial shot as the dragon launches directly over the camera. Loose stones fall past the lens while one translucent wing passes overhead, revealing veins, scars, and stretched organic membranes illuminated by sunlight. The camera dives backward along the cliff before stabilizing into a sweeping cinematic reveal of the mountain summit and expansive valley. The dragon performs one fast, low fly-by above the woman, whose hair and clothing are once again swept by the powerful wake. End with a wide composition of the woman standing alone on the exposed ridge as the dragon gracefully glides across the open sky above the vast mountain landscape. Maintain absolute live-action realism throughout with consistent lighting, geography, scale, anatomy, wind direction, environmental continuity, and character identity. Negative Prompt: CGI, animation, cartoon, stylized fantasy, magical effects, glowing eyes, fire breathing, supernatural particles, unrealistic physics, weightless movement, plastic textures, synthetic skin, morphing, duplicated characters, anatomy changes, inconsistent scale, extra limbs, deformed wings, inconsistent lighting, random landscape changes, HDR look, oversaturated colors, text, captions, subtitles, logos, watermarks, interface elements, low quality, blur, noise, artifacts.

Sharon Riley

67,220 Aufrufe • vor 1 Monat

[Discrete Fourier Transform] by Hand ✍️ In signal processing, the Discrete Fourier Transform (DFT) is no doubt the most important method. But the math involved is extremely complex, literally, involving a summation over a complex number term e^(-iwt). I developed this exercise to demonstrate that underneath such complexity, DFT is just a series of matrix multiplications you can calculate by hand. ✍️ Once you see that, it should not surprise you that a deep neural network, which is also a series of matrix multiplications, with activation functions in-between, can learn to perform DFT to process and analyze signals so effectively. How does DFT work? [1] Given ↳ Signals A, B, and C in the 🟧 frequency domain: ◦ A = cos(w) + 2cos(2w) ◦ B = cos(w) + cos(3w) + cos(4w) ◦ C = -cos(2w) + cos(3w) ◦ Each signal is a weighed sum of four cosine waves at frequencies 1w, 2w, 3w, and 4w. ◦ We will apply Inverse DFT to convert the signals to time domain representations, and then demonstrate DFT can convert back to their original frequency domain representations. ↳ Signal X in the 🟩 time domain. X is sampled at 10 time points 1t, 2t, …, 10t: ◦ X = [-2.5, -1.8, 3, -0.7, -1.0, -0.7, 3, -1.8, -2.5, 5] ◦ Suppose X is also a weighted sum of the same four cosine waves, but we don’t already know their weights. We will apply DFT to discover them. [2] 🟧 Frequency Matrix (F) ↳ Write the coefficients of A, B, C as a matrix F. Each signal is a row. Each frequency is a column. ↳ A → [1, 2, 0, 0] ↳ B → [1, 0, 1, 1] ↳ C → [0, 1-, 1, 0] [3] Cosine → Discrete ↳ Sample from the continuous cosine waves at discrete time points 1t, 2t, 3t, to 10t. [4] Cosine Matrix (W) ↳ Write the samples as a matrix, Each frequency is a row. Each time point is a column. [5] Inverse DFT: 🟧 Frequency → 🟩 Time ↳ Multiply the frequency matrix F and the cosine matrix W. ↳ The meaning of this multiplication is to linearly combine the four cosine waves (rows in W) into time-domain signals (rows in T) using the weights specified in F. ↳ The result is matrix T, which are signals A, B, C converted to the time domain. Each signal is a row. Each time point is a column. [6] Transpose ↳ Transpose T, converting each signal’s time domain representation from a row to a column. [7] DFT: 🟩 Time → 🟧 Frequency ↳ Multiply the cosine matrix W with the transpose of matrix T. ↳ The purpose of this multiplication is to take a dot-product between each time-domain signal (columns in the transpose of T) and each cosine wave (rows in W), which has the effect of projecting the signal onto a cosine wave to determine how much they are correlated. Zero means not correlated at all. ↳ The result is an intermediate version of the “recovered” frequency matrix where each column corresponds to a signal and each row corresponds to a frequency. ↳ Compared to the original frequency matrix F, this intermediate matrix has non-zero weights in the correct places, but scaled up by a factor of 5 (n/2, n=10). For example, signal A, originally [1,2,0,0], is recovered at [5,10,0,0]. [8] Scale ↳ Multiply each value by 2/n = 1/5 to scale down the intermediate matrix to match the magnitude of the original frequency matrix F. [9] Transpose ↳ Transpose the recovered frequency matrix back to the same orientation of the original frequency matrix F. ↳ Like magic 🪄, the result is identical to the original F, which means DFT successfully recovered the frequency components of signals A, B, C. [10] Apply DFT to X: 🟩 Time → 🟧 Frequency ↳ Now that we have some confidence in DFT’s ability to recover frequency components, we apply DFT to X’s time-domain representation by multiplying W with X. ↳ The result is the an intermediate matrix. [11] Scale ↳ Similarly, we scale down by a factor of 5 to obtain the recovered frequency components of X (a column). [12] Transpose ↳ Similarly, we transpose the recovered column to row to match the orientation of the frequency matrix. ↳ Using the coefficients [0,0,3,2], we can write the equation of X as 3cos(3w) + 2cos(4w). Notes: I hope this by hand exercise helps you understand the essence of DFT. But there is more technical details, such as: • Sine: The complete DFT math also includes sine waves that follow a similar calculation process. • Phase: Here, we assume all the cosine waves are aligned at the origin, namely, phase is 0. If a phase p is added, for example, cos(w+p), we will need to calculate the sine component and use their ratio to figure out what p is. • Magnitude: If phase is not zero, the magnitude will need to be calculated by combining both cosine and sine terms.

Tom Yeh

116,622 Aufrufe • vor 2 Jahren

TIMED DIALOGUE IN A NIGHTCLUB. THREE WALLS FALL AT ONCE. Nightclub sketch, cut in two halves. Black-and-white first - a couple making out on a couch, someone laughing off-camera. Then color reveals the setup: guy walks up with a drink, delivers a line, she gives him a one-sentence answer that changes the picture, he pauses, then kisses her anyway. None of them exist. It's fully generated, both halves. - What used to be four problems is now one clip Character consistency across a cut - same two faces in B&W and in color. Two-person dialogue with alternating lip sync - three separate English lines, all on time, all matching mouth shapes. Nightclub lighting - low light, saturated color wash, moving sources - was the last hard lighting environment for AI video to render without collapsing into noise. And a kiss - two faces contacting without merging into each other, which has been one of the persistent tells. Any one of these has been solvable for maybe six months. All four in one sketch was still a demo-reel problem in early 2026. - The B&W cut is doing two jobs The editing choice isn't style. It's engineering. Splitting a 15-second sketch into two 5-7 second clips means the model only has to hold consistency inside each segment, not across the whole thing. Monochrome also hides small differences between the two generations - if the girl's face is 3% off between the halves, B&W flattens the delta. Color grading in the second half does the reverse job. Two seams, both hidden by the aesthetic. - The comic beat is the actual craft Generating a kiss is one problem. Generating a kiss that lands as a punchline is a different one. The half-second where he pauses, processes, and decides not to care - that timing has to be prompted specifically. The default output of every current model is a rushed sequence with no beats. Deadpan comic delivery out of AI video means the operator wrote the prompt the way a screenwriter would - pauses, reactions, holds, all specified frame by frame. - What it costs Two 5-7 second clips at $3-5 each with in-model audio. Locked character references for both actors so the faces match across the cut. Prompt structured as a mini-script with beat notation. Realistically 40-60 rerolls to land the timing on all three spoken lines and the kiss. Under $200 in compute. A weekend from concept to publish-ready. - What this actually opens Short-form comedy has been the one segment of content nobody was making with AI video yet, because you can't fake comic timing when your output has drift and glitches. That barrier just came down. Which means every sketch account, every meme page, every stand-up clip factory now has a pipeline that doesn't require booking actors, renting a location, or getting a laugh out of a live crew. That's a real shift in a market that produces billions of views a month.

capONE 💎

82,533 Aufrufe • vor 26 Tagen