Video wird geladen...

Video konnte nicht geladen werden

Beim Laden dieses Videos ist ein Problem aufgetreten. Dies könnte an einem vorübergehenden Netzwerkproblem liegen oder das Video ist möglicherweise nicht verfügbar.

“Deep Seeds” process video. It's a very simplified version, showcasing the creation journey. Lot of inspiration came from Keishu Asada content. Software used: SideFX #houdini 19.5 / 20 Maxon Redshift 3.5 / 3.6 +200 hours of hard work #3d #animation #cgi

Jose_L_Molfino

4,786 subscribers

16,394 Aufrufe • vor 2 Jahren •via X (Twitter)

Kunst #houdini #3d #animation #cgi

Anya Rossi• Live Now

Private livecam show

11 Kommentare

Profilbild von bharat : sharma

bharat : sharmavor 2 Jahren

@CephWarden @sidefx @maxonredshift So inspiring ✨

Profilbild von Rad Scientist

Rad Scientistvor 2 Jahren

@CephWarden @sidefx @maxonredshift Fantastic breakdown. Did you record this as you went or kind of make a new project out of process recording

Profilbild von Jose_L_Molfino

Jose_L_Molfinovor 2 Jahren

@sidefx Due to the nature of Solaris wokflow, making those kind of breakdowns is incredible easy and fast… no need to setup new project, simply edit some of the primitives in a new layer.

Profilbild von lewi

lewivor 2 Jahren

@CephWarden @sidefx @maxonredshift Fantastic work!

Profilbild von David Mcsween

David Mcsweenvor 2 Jahren

@CephWarden @sidefx @maxonredshift Congrats very realistic

Profilbild von Vu Pham

Vu Phamvor 2 Jahren

@CephWarden @sidefx @maxonredshift Your work is truly amazing! It's fascinating to see how you've brilliantly crafted such a compact and engaging story. Your unique voice adds an extra layer of charm that makes the whole piece even more captivating. Great job!

Profilbild von Jonnie Chambers

Jonnie Chambersvor 2 Jahren

@CephWarden @sidefx @maxonredshift Awesome stuff!

Profilbild von Lewis_Orton

Lewis_Ortonvor 2 Jahren

@CephWarden @sidefx @maxonredshift How do you animate the camera in Solaris? it's so painful for me

Profilbild von Jose_L_Molfino

Jose_L_Molfinovor 2 Jahren

Actually I animated the camera in obj conext, then imported in Solaris

Profilbild von Kiran Irugalbandara

Kiran Irugalbandaravor 2 Jahren

@sidefx @CephWarden @maxonredshift Very cool. What did you use for the narration ?

Profilbild von Jose_L_Molfino

Jose_L_Molfinovor 2 Jahren

Thanks, Brian voice from @elevenlabsio

Ähnliche Videos

Someone called me spoiled in my comments today, and out of touch with struggling Americans. Here’s a message for the victims and the ones that are seeking inspiration, from a 47 year old man between sets. Let’s title it: From the Streets of New York City to Entrepreneurial Success: An Unspoiled Journey. I talk about growing up on the streets of New York City, drinking and getting stoned at a young age, despite having the best parents who were immigrants. They struggled to control my anger and rebellious nature. My father came to America with nothing and worked 20 hours a day to provide for us. I was a rebellious and tough kid, but I was far from spoiled. I worked hard, trading stocks, getting into construction, and building my way up through e-commerce. I used to work 20 hours a day, and I'm as unspoiled as it gets. That’s before I entered the baby formula industry… That’s a story for another time..

Someone called me spoiled in my comments today, and out of touch with struggling Americans. Here’s a message for the victims and the ones that are seeking inspiration, from a 47 year old man between sets. Let’s title it: From the Streets of New York City to Entrepreneurial Success: An Unspoiled Journey. I talk about growing up on the streets of New York City, drinking and getting stoned at a young age, despite having the best parents who were immigrants. They struggled to control my anger and rebellious nature. My father came to America with nothing and worked 20 hours a day to provide for us. I was a rebellious and tough kid, but I was far from spoiled. I worked hard, trading stocks, getting into construction, and building my way up through e-commerce. I used to work 20 hours a day, and I'm as unspoiled as it gets. That’s before I entered the baby formula industry… That’s a story for another time..

Peter B

25,655 Aufrufe • vor 1 Jahr

John: AI is actually doing very little for the economy right now. It's doing a lot for the markets, but in terms of the actual economic impact of AI, it's very low. If you add up the actual revenues from the AI labs, you're talking about $40 billion. Maybe there's like a 5x multiple on that, and so you're generating $200 billion of GDP on top of those tokens. But that's just not that much in the grand scheme of America's actual GDP. There's this disconnect between the market, which is pricing future GDP, future cash flows, future value creation. Then you have what is actually driving GDP, and then you have the actual workforce and what Americans do. What's actually holding up the American economy? It's healthcare jobs. The number of people that are software developers is less than 1% of America. The number of people that work at tech companies broadly is less than 10%.

John: AI is actually doing very little for the economy right now. It's doing a lot for the markets, but in terms of the actual economic impact of AI, it's very low. If you add up the actual revenues from the AI labs, you're talking about $40 billion. Maybe there's like a 5x multiple on that, and so you're generating $200 billion of GDP on top of those tokens. But that's just not that much in the grand scheme of America's actual GDP. There's this disconnect between the market, which is pricing future GDP, future cash flows, future value creation. Then you have what is actually driving GDP, and then you have the actual workforce and what Americans do. What's actually holding up the American economy? It's healthcare jobs. The number of people that are software developers is less than 1% of America. The number of people that work at tech companies broadly is less than 10%.

TBPN

34,206 Aufrufe • vor 5 Monaten

Palantir CEO Alex Karp goes after AI slop. The fight over AI “slop” is really a fight over whether software is performing or merely pretending. "The appearance of software working is not software working. And the slop that is getting a lot of attention is not only dangerous in terms of the hyperbolic rhetoric, but also in claims like, “There will be no jobs because of the slop,” or that “nothing will work,” while somehow we will have a God-like figure in the name of AI. When, in fact, what actually does work is a platform built by a motley crew of highly technical people who, over 20 years, have been maligned for being right about the nature of having to build Foundry and the nature of having to build Apollo." ---- Software used to fail in blunt ways: a crash, a wrong number, a missing button, a process that simply stopped. Generative systems often fail more seductively, by producing fluent surfaces that look like work until they meet the stubborn world of permissions, edge cases, audit trails, security, accountability, and changing human intent. --- From "Palantir" YT channel, full link in comment.

Palantir CEO Alex Karp goes after AI slop. The fight over AI “slop” is really a fight over whether software is performing or merely pretending. "The appearance of software working is not software working. And the slop that is getting a lot of attention is not only dangerous in terms of the hyperbolic rhetoric, but also in claims like, “There will be no jobs because of the slop,” or that “nothing will work,” while somehow we will have a God-like figure in the name of AI. When, in fact, what actually does work is a platform built by a motley crew of highly technical people who, over 20 years, have been maligned for being right about the nature of having to build Foundry and the nature of having to build Apollo." ---- Software used to fail in blunt ways: a crash, a wrong number, a missing button, a process that simply stopped. Generative systems often fail more seductively, by producing fluent surfaces that look like work until they meet the stubborn world of permissions, edge cases, audit trails, security, accountability, and changing human intent. --- From "Palantir" YT channel, full link in comment.

Rohan Paul

73,728 Aufrufe • vor 2 Monaten

#SEONGHWA about DPRIAN and his SKIN MV ⭐️: After the Skin music video came out, I sent New Year greetings and said hello to IAN-nim. I used a translator to say Happy New Year, that my solo music video had been released and that I’d just call him “Hyung” for ease. I said I had gotten a lot of inspiration from him and asked him to watch it if he had time, so I sent him a DM. I get a lot of motivation and inspiration from so many people, and if I were to receive a message like that, I think I’d really like it. It would feel very meaningful in terms of respect, so I think it would make me feel really good.

#SEONGHWA about DPRIAN and his SKIN MV ⭐️: After the Skin music video came out, I sent New Year greetings and said hello to IAN-nim. I used a translator to say Happy New Year, that my solo music video had been released and that I’d just call him “Hyung” for ease. I said I had gotten a lot of inspiration from him and asked him to watch it if he had time, so I sent him a DM. I get a lot of motivation and inspiration from so many people, and if I were to receive a message like that, I think I’d really like it. It would feel very meaningful in terms of respect, so I think it would make me feel really good.

Everything Seonghwa

54,162 Aufrufe • vor 6 Monaten

John Carmack on the importance hard work: “For decades, I worked 60 hours a week” “I was never one of the programmers who would do all-nighters or work for 20 hours straight,” programming legend John Carmack begins when asked about his work routine. “My brain generally starts turning to mush after 12 hours or so. But hard work is really important, and for decades I would work 60 hours a week. I would work 10 hours a day, 6 days a week.” He continues: “I had a little thing in the back of my head where I was almost jealous of some of the programmers who would do these marathon sessions. Like Dave Taylor, one of the guys we had at id Software, would be one of those people who would fall asleep under his desk sometimes and all the classic hacker tropes about these things. Part of me was always a little bothered that wasn’t me. I wouldn’t program 20 hours straight because I’m falling apart and not being very effective after 12 hours . . . There are people who can work on 4 hours of sleep and continue to do good work, but there’s a lot of people who just fall apart. I always try to get 8 hours of sleep . . . you can work 100 hours a week and still get 8 hours of sleep if you prioritize things correctly. But I do believe in working hard.” John disagrees with the backlash against hard work and voices support for game developer’s comment that “40 hours a week is kind of a part-time job.” “If you’re doing what you think is important work that you’re passionate about, working more gets more done. It’s really not possible to argue with that if you’ve been around the people who work with that level of intensity.” He believes people who argue that you’re less productive if you work more than 40 hours a week are misinterpreting things: “Your marginal productivity for an hour after eight hours is less than one of your peak hours, but you’re not literally getting less done. There’s a point where you start breaking things and literally going backwards, but it’s not 8-12 hours.” John illustrates this point with a fictional example: “Imagine there’s an asteroid that’s going to crash into Earth and destroy all human life. Do you want Elon Musk and the people working at SpaceX building the interceptor that’s going to deflect the asteroid clocking out at 5pm because they’re going to do worse work if they work another couple hours? It seems absurd . . . It’s the truth: working longer gets more done.” Video source: Lex Fridman (Aug 2022)

John Carmack on the importance hard work: “For decades, I worked 60 hours a week” “I was never one of the programmers who would do all-nighters or work for 20 hours straight,” programming legend John Carmack begins when asked about his work routine. “My brain generally starts turning to mush after 12 hours or so. But hard work is really important, and for decades I would work 60 hours a week. I would work 10 hours a day, 6 days a week.” He continues: “I had a little thing in the back of my head where I was almost jealous of some of the programmers who would do these marathon sessions. Like Dave Taylor, one of the guys we had at id Software, would be one of those people who would fall asleep under his desk sometimes and all the classic hacker tropes about these things. Part of me was always a little bothered that wasn’t me. I wouldn’t program 20 hours straight because I’m falling apart and not being very effective after 12 hours . . . There are people who can work on 4 hours of sleep and continue to do good work, but there’s a lot of people who just fall apart. I always try to get 8 hours of sleep . . . you can work 100 hours a week and still get 8 hours of sleep if you prioritize things correctly. But I do believe in working hard.” John disagrees with the backlash against hard work and voices support for game developer’s comment that “40 hours a week is kind of a part-time job.” “If you’re doing what you think is important work that you’re passionate about, working more gets more done. It’s really not possible to argue with that if you’ve been around the people who work with that level of intensity.” He believes people who argue that you’re less productive if you work more than 40 hours a week are misinterpreting things: “Your marginal productivity for an hour after eight hours is less than one of your peak hours, but you’re not literally getting less done. There’s a point where you start breaking things and literally going backwards, but it’s not 8-12 hours.” John illustrates this point with a fictional example: “Imagine there’s an asteroid that’s going to crash into Earth and destroy all human life. Do you want Elon Musk and the people working at SpaceX building the interceptor that’s going to deflect the asteroid clocking out at 5pm because they’re going to do worse work if they work another couple hours? It seems absurd . . . It’s the truth: working longer gets more done.” Video source: Lex Fridman (Aug 2022)

Startup Archive

240,163 Aufrufe • vor 7 Monaten

It’s been many years since I played Frontier: Elite II on an Amiga (on a real computer, not an emulator). Ofc I play the emulated version from time to time, but that’s more to have some content on X bcs it’s hard for me to find enough time to get as hooked on it as I used to be. So I find myself reminiscing about the ships I used to fly a lot, and one of them is the Puma Clipper, which I used for trading and which I remember very fondly.

It’s been many years since I played Frontier: Elite II on an Amiga (on a real computer, not an emulator). Ofc I play the emulated version from time to time, but that’s more to have some content on X bcs it’s hard for me to find enough time to get as hooked on it as I used to be. So I find myself reminiscing about the ships I used to fly a lot, and one of them is the Puma Clipper, which I used for trading and which I remember very fondly.

PeteZach

13,212 Aufrufe • vor 3 Monaten

🚨 Lamine Yamal reveals Cristiano Ronaldo's message: "I'll frame it and keep drawing inspiration from his words. 🗣️ Lamine Yamal I was genuinely surprised and very happy when I saw Cristiano Ronaldo's message. Receiving congratulations from someone who inspired an entire generation of footballers is something I never expected to happen this early in my career. Cristiano's journey is one I've admired since I was a child. To have someone of his stature take the time to send me a message means more than people can imagine. It's not something I'll forget. I'm going to frame that message and keep it with me. Whenever I need motivation or a reminder of what hard work can achieve, I'll look at it. Coming from one of the greatest players in football history, it's something I'll always treasure and continue to draw inspiration from.

🚨 Lamine Yamal reveals Cristiano Ronaldo's message: "I'll frame it and keep drawing inspiration from his words. 🗣️ Lamine Yamal I was genuinely surprised and very happy when I saw Cristiano Ronaldo's message. Receiving congratulations from someone who inspired an entire generation of footballers is something I never expected to happen this early in my career. Cristiano's journey is one I've admired since I was a child. To have someone of his stature take the time to send me a message means more than people can imagine. It's not something I'll forget. I'm going to frame that message and keep it with me. Whenever I need motivation or a reminder of what hard work can achieve, I'll look at it. Coming from one of the greatest players in football history, it's something I'll always treasure and continue to draw inspiration from.

Romzy

1,377,665 Aufrufe • vor 13 Tagen

The Tesla Bots Uprising! It legit blows my mind that I can make this whole video in an hour 🤯 Breakdown of my AI creation process: 1. Make Skynet inspired visuals in Midjourney 2. Separate Tesla Bot video into clips using "Scene Edit Detection" in Adobe Premiere Pro 3. Process clips with Runway Gen-1 video2video, providing Midjourney creations as style reference. 4. Clip out 5 minutes from an Elon podcast 5. Use "Instant Voice Cloning" in 6. Use OpenAI ChatGPT to write a short heartfelt speech 7. Try a few voice generations (still hard to control tonality, so combine a few good ones together) 8. Edit it all together in Premiere I think the real magic will be creation tools that weave together this entire workflow. We're already seeing early instantiations of this with products embracing a "storyboard" view. Yet it's still a lot of jumping around apps and duct-taping stuff together. But once you can hop between these contexts without losing the big picture, content creation will go from being waterfall to being agile.

The Tesla Bots Uprising! It legit blows my mind that I can make this whole video in an hour 🤯 Breakdown of my AI creation process: 1. Make Skynet inspired visuals in Midjourney 2. Separate Tesla Bot video into clips using "Scene Edit Detection" in Adobe Premiere Pro 3. Process clips with Runway Gen-1 video2video, providing Midjourney creations as style reference. 4. Clip out 5 minutes from an Elon podcast 5. Use "Instant Voice Cloning" in 6. Use OpenAI ChatGPT to write a short heartfelt speech 7. Try a few voice generations (still hard to control tonality, so combine a few good ones together) 8. Edit it all together in Premiere I think the real magic will be creation tools that weave together this entire workflow. We're already seeing early instantiations of this with products embracing a "storyboard" view. Yet it's still a lot of jumping around apps and duct-taping stuff together. But once you can hop between these contexts without losing the big picture, content creation will go from being waterfall to being agile.

Bilawal Sidhu

260,444 Aufrufe • vor 3 Jahren

Sequoia partner Pat Grady says software is shifting from apps that demand attention to agents that work quietly in the background. This shift will change what moats will look like, and will be especially hard for incumbents to deal with. "It's two very different business paradigms," he says. "In an era of apps, you want a lot of surface area with your customers, you want them to spend a lot of time in your product." "In an era of agents, things can just be running passively in the background. The amount of surface area you have with your customers, the amount of time they might spend in your product might be de minimis. So the nature of the moat that you [will need to build] is different." "I think we'll see a lot of companies in the coming years able to live in the software world and have some of the workflows people are accustomed to. And then separately they can deploy these passive agents that kind of function as coworkers who just come back to you when things are done."

Sequoia partner Pat Grady says software is shifting from apps that demand attention to agents that work quietly in the background. This shift will change what moats will look like, and will be especially hard for incumbents to deal with. "It's two very different business paradigms," he says. "In an era of apps, you want a lot of surface area with your customers, you want them to spend a lot of time in your product." "In an era of agents, things can just be running passively in the background. The amount of surface area you have with your customers, the amount of time they might spend in your product might be de minimis. So the nature of the moat that you [will need to build] is different." "I think we'll see a lot of companies in the coming years able to live in the software world and have some of the workflows people are accustomed to. And then separately they can deploy these passive agents that kind of function as coworkers who just come back to you when things are done."

TBPN

58,374 Aufrufe • vor 6 Monaten

This farm owner has bales of pine straw made from Longleaf pine trees. Each of his employees make $1.50 for every bale they make. They usually do 200 bales a day. He says they average about 20 bales an hour. The farmer sells these bales for $5 each. Many other places are a lot more expensive people said. He says these kinds of trees are prominent all over the South and people use the straw for landscaping instead of mulch down there. Many people said that is too much hard labor and that they have machines that will do that. But the owner said the machine bales are not as good. The machines break a lot of the straw and machines include sticks and other things vs this hand picked straw. He said this old fashioned way is still used by a lot of independent farmers. $200 a day, $1,000 a week, is not bad money. Some make up to $1,500 a week working extra hours. He said his farm will produce about 20K bales of this straw. Do you think that is way too much work for $200-$300 a day? Or do you think that is an honest wage for an honest day’s work?

This farm owner has bales of pine straw made from Longleaf pine trees. Each of his employees make $1.50 for every bale they make. They usually do 200 bales a day. He says they average about 20 bales an hour. The farmer sells these bales for $5 each. Many other places are a lot more expensive people said. He says these kinds of trees are prominent all over the South and people use the straw for landscaping instead of mulch down there. Many people said that is too much hard labor and that they have machines that will do that. But the owner said the machine bales are not as good. The machines break a lot of the straw and machines include sticks and other things vs this hand picked straw. He said this old fashioned way is still used by a lot of independent farmers. $200 a day, $1,000 a week, is not bad money. Some make up to $1,500 a week working extra hours. He said his farm will produce about 20K bales of this straw. Do you think that is way too much work for $200-$300 a day? Or do you think that is an honest wage for an honest day’s work?

👉M-Û-R-Č-H👈

834,606 Aufrufe • vor 2 Monaten

First official test for the opening scene of The Legend of Drakonnus! The process has been quite a journey. To build the visuals, I used a mix of AI prompts and my own paper sketches that I scanned and used as a base. However, the real work started after that: I had to rework practically everything from scratch to fix the resolution, adjust the colors, and clean up the countless distortions. I've been fine-tuning these images for days, and there's still a lot of room for improvement—maybe even some animations down the road! I also included a narrator for this test. I'm not entirely sure if I'll keep it in the final version, but it was a great way to check the audio clarity and see if it's viable for a cartridge game! What do you guys think so far? Feedback is always welcome! #SGDK #SEGAGenesis #MegaDrive Edmo Caldas

First official test for the opening scene of The Legend of Drakonnus! The process has been quite a journey. To build the visuals, I used a mix of AI prompts and my own paper sketches that I scanned and used as a base. However, the real work started after that: I had to rework practically everything from scratch to fix the resolution, adjust the colors, and clean up the countless distortions. I've been fine-tuning these images for days, and there's still a lot of room for improvement—maybe even some animations down the road! I also included a narrator for this test. I'm not entirely sure if I'll keep it in the final version, but it was a great way to check the audio clarity and see if it's viable for a cartridge game! What do you guys think so far? Feedback is always welcome! #SGDK #SEGAGenesis #MegaDrive Edmo Caldas

Mauro Xavier

16,739 Aufrufe • vor 28 Tagen

Sequoia partner Pat Grady says software is shifting from apps that demand attention to agents that work quietly in the background. This shift will change what moats will look like, and will be especially hard for incumbents to deal with. "It's two very different business paradigms," he says. "In an era of apps, you want a lot of surface area with your customers, you want them to spend a lot of time in your product." "In an era of agents, things can just be running passively in the background. The amount of surface area you have with your customers, the amount of time they might spend in your product might be de minimis. So the nature of the moat that you [will need to build] is different." "I think we'll see a lot of companies in the coming years able to live in the software world and have some of the workflows people are accustomed to. And then separately they can deploy these passive agents that kind of function as coworkers who just come back to you when things are done." From his appearance on the show in January.

Sequoia partner Pat Grady says software is shifting from apps that demand attention to agents that work quietly in the background. This shift will change what moats will look like, and will be especially hard for incumbents to deal with. "It's two very different business paradigms," he says. "In an era of apps, you want a lot of surface area with your customers, you want them to spend a lot of time in your product." "In an era of agents, things can just be running passively in the background. The amount of surface area you have with your customers, the amount of time they might spend in your product might be de minimis. So the nature of the moat that you [will need to build] is different." "I think we'll see a lot of companies in the coming years able to live in the software world and have some of the workflows people are accustomed to. And then separately they can deploy these passive agents that kind of function as coworkers who just come back to you when things are done." From his appearance on the show in January.

TBPN

47,208 Aufrufe • vor 3 Monaten

I had to do this of course - test out the new Google Omni Flash model with my favorite 3d art sandbox - Dreams. Just a quick test for now.. I'll be sharing more examples and techniques soon but wanted to show you this one. There's something very fitting about combining "handmade" 3d models and animations sculpted from scratch in software that runs on 2013 hardware, with some of the most advanced AI technology in the world. As part of my work for Google, I've used Google V2V models on a few different projects now - Ancestra, Dear Upstairs Neighbors and most recently one of the IO films (I'll share more about that project soon) 🥰 - and video continues to be my favorite form of input for Generative Ai workflows. If an image says more than a thousand words, a video says more than a million. And knowing that these capabilities are now in the hands of all of you, makes me very excited to see the new workflows and projects that will come out of it. What do you think of Omni so far?

I had to do this of course - test out the new Google Omni Flash model with my favorite 3d art sandbox - Dreams. Just a quick test for now.. I'll be sharing more examples and techniques soon but wanted to show you this one. There's something very fitting about combining "handmade" 3d models and animations sculpted from scratch in software that runs on 2013 hardware, with some of the most advanced AI technology in the world. As part of my work for Google, I've used Google V2V models on a few different projects now - Ancestra, Dear Upstairs Neighbors and most recently one of the IO films (I'll share more about that project soon) 🥰 - and video continues to be my favorite form of input for Generative Ai workflows. If an image says more than a thousand words, a video says more than a million. And knowing that these capabilities are now in the hands of all of you, makes me very excited to see the new workflows and projects that will come out of it. What do you think of Omni so far?

Martin Nebelong

38,348 Aufrufe • vor 2 Monaten

why Rogan believes wanting the money is the thing that stops you from getting it MrBeast: "I would argue it's not even just for content creation. If you want to be an accountant or really anything, it's just put in a lot of hours, do a lot of iterations, surround yourself with great people, and obsess over it. Stay focused, consume it. And then recognize, you might be like, 'Oh, well, this person did it in 10 months. Why is it taking me so long?' It's average and statistics. Just give yourself enough time frame. I'm not saying you'll make tens of millions of dollars, but if you want to do that thing for a living, if you follow those trades, it's going to happen eventually." Rogan: "Well, you have to be process-oriented, not goal-oriented. The process is getting better at stuff. The goal of being financially secure comes with it eventually. But if you think 'I want X amount of money,' well, that's what you're going to think about. You're not going to think about the actual thing you're making, so it won't be as good, so you'll probably never get there."

why Rogan believes wanting the money is the thing that stops you from getting it MrBeast: "I would argue it's not even just for content creation. If you want to be an accountant or really anything, it's just put in a lot of hours, do a lot of iterations, surround yourself with great people, and obsess over it. Stay focused, consume it. And then recognize, you might be like, 'Oh, well, this person did it in 10 months. Why is it taking me so long?' It's average and statistics. Just give yourself enough time frame. I'm not saying you'll make tens of millions of dollars, but if you want to do that thing for a living, if you follow those trades, it's going to happen eventually." Rogan: "Well, you have to be process-oriented, not goal-oriented. The process is getting better at stuff. The goal of being financially secure comes with it eventually. But if you think 'I want X amount of money,' well, that's what you're going to think about. You're not going to think about the actual thing you're making, so it won't be as good, so you'll probably never get there."

Naruto

37,072 Aufrufe • vor 10 Tagen

Earning MONEY from VTubing? 💰 I get this two part question a lot: "Should I start VTubing only to earn money?" and "Can I start VTubing to afford it?" 🤔 If you want to try VTubing you can do so without spending a single penny, but of course there are hundreds and thousands to spend too! Content creation is hard. Unless you have a well-stocked wallet and outsource the help, it's an incredibly time consuming hobby that requires you to spend many long hours learning new software, jumping platforms, communication, networking, the list goes on! But it's a process that will undoubtably burn you out if passion and interest isn't driving it 💚 While there are many ways to earn money as a creator online (be it as a VTuber or not) like through sponsorships, viewer interactions, brand deals, etc, I would never personally recommend someone start it Only to earn money!

Chio 🍀

10,514 Aufrufe • vor 6 Monaten

A 20 YEAR OLD IS MAKING $20,000 A MONTH WITH THE LAZIEST BUSINESS MODEL ON THE INTERNET. SHE WORKS TWENTY MINUTES A DAY FROM HER CAR. SHE HAS NEVER PRODUCED AN ORIGINAL IDEA. Children's YouTube is a goldmine. Channels with simple songs and bright colors pull hundreds of millions of views. Traditional studios spend a fortune to animate them. She spends zero dollars and does it from the driver's seat. She opens YouTube on her phone. She finds a viral baby video with millions of views. She copies the link. She uses a free tool to rip the entire transcript of the video. She takes that transcript and pastes it into an AI platform called Swagga. She types one sentence: "Make me a prompt for a similar video using this as inspiration." The AI acts as her creative director. It analyzes the viral song and spits out a highly detailed master prompt for a new, original 3D animation. She copies the prompt. She switches to the video generator tab. She selects Sora 2 and hits generate. Three minutes later, the AI outputs a fully rendered, broadcast-ready 3D animation. A brightly colored, musical video designed specifically to capture the attention of a toddler. She downloads it. She posts it. She puts her car in drive. The entire process takes twenty minutes. Her channel pulls in thousands of dollars a week in AdSense. She is running a complete children's television network without an office, without animators, and without original ideas. The traditional creator economy is obsessed with authenticity and hard work. The ghost economy is obsessed with leverage. Most people will watch her video and call it lazy. A few will open a new tab.

A 20 YEAR OLD IS MAKING $20,000 A MONTH WITH THE LAZIEST BUSINESS MODEL ON THE INTERNET. SHE WORKS TWENTY MINUTES A DAY FROM HER CAR. SHE HAS NEVER PRODUCED AN ORIGINAL IDEA. Children's YouTube is a goldmine. Channels with simple songs and bright colors pull hundreds of millions of views. Traditional studios spend a fortune to animate them. She spends zero dollars and does it from the driver's seat. She opens YouTube on her phone. She finds a viral baby video with millions of views. She copies the link. She uses a free tool to rip the entire transcript of the video. She takes that transcript and pastes it into an AI platform called Swagga. She types one sentence: "Make me a prompt for a similar video using this as inspiration." The AI acts as her creative director. It analyzes the viral song and spits out a highly detailed master prompt for a new, original 3D animation. She copies the prompt. She switches to the video generator tab. She selects Sora 2 and hits generate. Three minutes later, the AI outputs a fully rendered, broadcast-ready 3D animation. A brightly colored, musical video designed specifically to capture the attention of a toddler. She downloads it. She posts it. She puts her car in drive. The entire process takes twenty minutes. Her channel pulls in thousands of dollars a week in AdSense. She is running a complete children's television network without an office, without animators, and without original ideas. The traditional creator economy is obsessed with authenticity and hard work. The ghost economy is obsessed with leverage. Most people will watch her video and call it lazy. A few will open a new tab.

ZER

125,647 Aufrufe • vor 15 Tagen

ranking videos work because your brain refuses to leave before it sees who's #1, and that's the entire faceless youtube play right now a guy runs ai pet and data-ranking channels, countries by GDP, population, area, WorldData-style, and pulls around $30k a month. some of these videos hit 5M views youtube doesn't check who made the video, it checks whether people watch to the end. a countdown to first place holds them there, so the algorithm keeps pushing it > Claude Code writes the script > Remotion animates it > ElevenLabs does the voice > WaveSpeed renders the visuals a 3D artist in Blender used to spend weeks on one of these. now it's one prompt and a finished animation in minutes, 5 channels in parallel on about $52 a month and two hours a week the barrier used to be the editor. now it's just who hits publish first

ranking videos work because your brain refuses to leave before it sees who's #1, and that's the entire faceless youtube play right now a guy runs ai pet and data-ranking channels, countries by GDP, population, area, WorldData-style, and pulls around $30k a month. some of these videos hit 5M views youtube doesn't check who made the video, it checks whether people watch to the end. a countdown to first place holds them there, so the algorithm keeps pushing it > Claude Code writes the script > Remotion animates it > ElevenLabs does the voice > WaveSpeed renders the visuals a 3D artist in Blender used to spend weeks on one of these. now it's one prompt and a finished animation in minutes, 5 channels in parallel on about $52 a month and two hours a week the barrier used to be the editor. now it's just who hits publish first

Kiyoro

17,043 Aufrufe • vor 2 Monaten

The new Robert Zemeckis film “Here” uses a lot of generative AI. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. AI for de-aging the actors was preferable to usual techniques: ▫️Make-up: Takes hour to put on and can make actors look 10 years younger (but not 50 as the film requires) ▫️CGI: Expensive and long (per NYT, “Persuading us that we’re watching Hanks and Wright in their 20s would have required hundreds of VFX artists, tens of millions of dollars and months of postproduction work.”) Zemeckis says “Here” couldn’t have been made three years ago (its $50m budget wouldn’t be able to afford the CGI). Also by using generative AI, Hanks and Wright could act more naturally without thick make-up (or those CGI dots) on their face. The AI effects were done by Metaphysics (the company’s content head is Ed Ulbrich, the former CEO of Digital Domain, James Cameron’s FX firm). Metaphysics AI tools were particularly useful because of how much video and images there are of Hanks and Wright over the decades. Some of those images include 1994’s “Forrest Gump”, which was also directed by Zemeckis starring Hanks and Wright. That banger used a lot of advanced aging effects for the time and won the 1995 Best Visual Effects Oscar. *** More from NYT: “Here” featurette:

The new Robert Zemeckis film “Here” uses a lot of generative AI. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. AI for de-aging the actors was preferable to usual techniques: ▫️Make-up: Takes hour to put on and can make actors look 10 years younger (but not 50 as the film requires) ▫️CGI: Expensive and long (per NYT, “Persuading us that we’re watching Hanks and Wright in their 20s would have required hundreds of VFX artists, tens of millions of dollars and months of postproduction work.”) Zemeckis says “Here” couldn’t have been made three years ago (its $50m budget wouldn’t be able to afford the CGI). Also by using generative AI, Hanks and Wright could act more naturally without thick make-up (or those CGI dots) on their face. The AI effects were done by Metaphysics (the company’s content head is Ed Ulbrich, the former CEO of Digital Domain, James Cameron’s FX firm). Metaphysics AI tools were particularly useful because of how much video and images there are of Hanks and Wright over the decades. Some of those images include 1994’s “Forrest Gump”, which was also directed by Zemeckis starring Hanks and Wright. That banger used a lot of advanced aging effects for the time and won the 1995 Best Visual Effects Oscar. *** More from NYT: “Here” featurette:

Trung Phan

270,472 Aufrufe • vor 1 Jahr

Official Babylon 5 episodes on YouTube every week (link in comments). Why is this significant to Commodore fans? (You might want to bookmark this) The Amiga 2000's Role in Babylon 5's Special Effects (read the full article: In the annals of television history, few shows leveraged technology as innovatively as Babylon 5. The series, which aired from 1993 to 1998, was groundbreaking not only for its storytelling but also for its pioneering use of computer-generated imagery (CGI). A key component in this visual revolution was the often-overlooked Commodore Amiga 2000. The Babylon 5 Amiga 2000 Setup Explained • Hardware: The Amiga 2000 was a major upgrade from earlier Amiga models, with an open architecture that allowed extensive hardware enhancements. It was powered by the Motorola 68000-series CPU, with options for further upgrades. • Video Toaster: This video effects card, designed specifically for the Commodore Amiga, included a genlock for broadcast-quality video synchronization, a framebuffer for real-time effects, and LightWave 3D software for 3D modelling and animation. • Networked Computing: Foundation Imaging, the special effects house for Babylon 5, networked 24 Commodore Amiga 2000s to form a render farm. This setup enabled parallel processing of CGI frames, dramatically speeding up the rendering process. Did you watch it? Are you going to watch it? Check out this making of Babylon 5 video too where they show the Amiga 2000 in operation!

Official Babylon 5 episodes on YouTube every week (link in comments). Why is this significant to Commodore fans? (You might want to bookmark this) The Amiga 2000's Role in Babylon 5's Special Effects (read the full article: In the annals of television history, few shows leveraged technology as innovatively as Babylon 5. The series, which aired from 1993 to 1998, was groundbreaking not only for its storytelling but also for its pioneering use of computer-generated imagery (CGI). A key component in this visual revolution was the often-overlooked Commodore Amiga 2000. The Babylon 5 Amiga 2000 Setup Explained • Hardware: The Amiga 2000 was a major upgrade from earlier Amiga models, with an open architecture that allowed extensive hardware enhancements. It was powered by the Motorola 68000-series CPU, with options for further upgrades. • Video Toaster: This video effects card, designed specifically for the Commodore Amiga, included a genlock for broadcast-quality video synchronization, a framebuffer for real-time effects, and LightWave 3D software for 3D modelling and animation. • Networked Computing: Foundation Imaging, the special effects house for Babylon 5, networked 24 Commodore Amiga 2000s to form a render farm. This setup enabled parallel processing of CGI frames, dramatically speeding up the rendering process. Did you watch it? Are you going to watch it? Check out this making of Babylon 5 video too where they show the Amiga 2000 in operation!

Commodore Computer Museum 🕹

16,632 Aufrufe • vor 5 Monaten