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🧍‍♀️' " 'Fara - Idle Animation [WIP.03]' " '🧍‍♀️ - Animation slowed down - Improved Cloth animation - Head Squash&Stretch - Reworked UV Layout for custom colors - New Color: Latona (also pls lmk if it looks like the character I'm referencing 😭)

RemyHobo 🙌 (COMMS CLOSED)

13,044 subscribers

138,136 Aufrufe • vor 1 Jahr •via X (Twitter)

Kunst Comedy Gaming

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10 Kommentare

Profilbild von DailyGiovanna ♻️

DailyGiovanna ♻️vor 1 Jahr

GIOVANNAAAAAA???!!!

Profilbild von RemyHobo 🙌

RemyHobo 🙌vor 1 Jahr

YEEE >>:D

Profilbild von golira

goliravor 1 Jahr

I need this game to drop already

Profilbild von RemyHobo 🙌

RemyHobo 🙌vor 1 Jahr

Hell yeah, but I haven't even touched the programming yet, so iz gonna take a looong ass time chief ngl 😭

Profilbild von Meaty

Meatyvor 1 Jahr

Giovanna?

Profilbild von RemyHobo 🙌

RemyHobo 🙌vor 1 Jahr

YESSIR 😁

Profilbild von zora !!

zora !!vor 1 Jahr

giovana....

Profilbild von RemyHobo 🙌

RemyHobo 🙌vor 1 Jahr

yep! 🐶👍

Profilbild von TerrAko

TerrAkovor 1 Jahr

If it’s gio ur doing a great job Last time the Elena color didn’t really scream Elena but this was screams gio Also thank u for slowing the tap, it looks SOOO much more natural

Profilbild von RemyHobo 🙌

RemyHobo 🙌vor 1 Jahr

Nice! You've got a keen eye for these sorts of things, ur feedback is greatly appreciated 😁🙏🔥

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CSS Tip! 🐳 You can add little details like this scale down on scroll effect with scroll-driven animations and some sticky positioning 🤙 section { animation: scale-down; animation-timeline: view(); animation-range: exit; } @keyframes scale-down { to { scale 0.8; } ] In this smaller example, you can lean into using the position to drive an animation that scales itself down as it leaves the viewport (Seen on the Apple Vision Pro site 🍏) The nice thing here is that if you don't have scroll-driven animations, the user still gets a good experience ✨ So how do you do it? There isn't much to it header { transform-origin: 50% 0%; animation: scale-down both ease-in; animation-timeline: view(); animation-range: exit; view-timeline: --header; } @keyframes scale-down { to { scale: 0.8 0.8; } } That's it. The layout makes use of position: sticky so that the element stays in the shot whilst you scroll the page. As it leaves the page, it scales down inside the 🫶 The other smol animation here is fading the overlay on the video out 😎 Real easy. You may notice the view-timeline you defined above for the 👀 header { view-timeline: --header; } You have a pseudoelement on the text content of the header that lives inside a header > section::before { background: hsl(0 0% 0% / 0.75); opacity: 1; animation: fade both linear; animation-timeline: --header; animation-range: exit-crossing 0% exit 0%; } @keyframes fade { to { opacity: 0; } } You use a slightly smaller range on this with exit-crossing to fade it out before you start the scale down animation 🤏 That's it! Thought this smaller example would be easier to grok for people 🙏 It's also covered with JavaScript if you really want it for your sites 🤙 CodePen.IO link below 👇

jhey ʕ•ᴥ•ʔ

146,270 Aufrufe • vor 2 Jahren

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CSS Tip! 🍬 You can create a CSS-only sticky CTA using position: sticky or scroll-driven animations 🤙 .cta { position: sticky; margin-top: 110vh; bottom: 2rem; /* 👈 Stick! / } This is one way 👀 This first way relies on you setting a layout on the body and putting the CTA in a zero-space part of the layout body { display: grid; grid-template-columns: auto 0; } The children of the body are an element with your content and then the CTA. You could also use display:flex too. .content { flex: 1 0 100%; } .cta { place-self: end; } As you scroll the body, the CTA comes into view and sticks in position 🙌 That's one way. If you want to take it further and do something like flip between showing or not, maybe scale it up, or add some special easing, etc. an animation is another way 📜 First, change the styles for your CTA. Note the translate property that's powered by a custom property .cta { position: fixed; bottom: 2rem; right: 2rem; translate: 0 calc(20vh - (var(--show) 20vh)); transition: translate 0.875s var(--elastic); } Next you need a custom property that you're going to animate @property --show { inherits: true; initial-value: 0; syntax: ' '; } Lastly, you animate this value on the body. As the property value changes, the value will trickle down to the CTA @supports (animation-timeline: scroll()) { body { animation: show-cta both steps(1); animation-timeline: scroll(root); animation-range: 0 10vh; } @keyframes show-cta { to { --show: 1; } } } Using @supports you can use this as a progressive enhancement. If scroll-driven animations are supported, use them. Otherwise fallback to using position: sticky 🤙 That's it! As always, any questions or requests, hit me up! 🙏 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

133,020 Aufrufe • vor 2 Jahren

I modelled the head, face, and battle mask for Optimus Prime for #Transformers ROTB. I also designed his new "centurion" open battle mask look along with it's animation. The director wanted the face to resemble the face from the 2007 Transformers film as ROTB was a soft-prequel to it but also wanted it to be tweaked to fit the new design and for us to give it some new unique features. This is where we came up with the new mask design which doesn't get entirely hidden when open. Instead, it gets stored on the side of his cheeks, like a Roman centurions helmet. The head design is derived from his model from the 2018 Bumblebee film to keep some consistency with that film too as ROTB was also a soft-sequel to Bumblebee. There are new pieces, adjusted proportions, and reworks to detailing in ROTBs version. The face proportions are modified from the 2007 face to be a lot wider and beefier, matching his new head shape and look. I redesigned and built the eyes from scratch using our kitbash pieces like I did for all the Maximals and Mirage. The studio decided against going for the holographic eyes look from the 2018 Bumblebee film but rather wanted a more simple look in between the 2007 and the 2018 eyes. I added a lot of small mechanical details to his battle mask animation which we unfortunately never get to see in the film. For example, I designed a fully functional mechanism which pushes his chin piece back when his mask closes. This was very cool when it was visible, our Animation Director and VFX Supervisors were super excited about it, but unfortunately no shot showed it off in the final film. It was a lot of fun to help model and design Optimus Prime for this film. I'm happy I got to contribute to such an iconic character. CREDITS: Video: Paramount, MPC, WetaFX Ruairidh MacNeill modelled the body for Optimus

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Rassoul Edji

388,573 Aufrufe • vor 1 Jahr

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Meng To

41,015 Aufrufe • vor 8 Monaten

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

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17,508 Aufrufe • vor 6 Monaten

Warming up before coming back to YT. Today: the "clinical look" in web design. Sometimes a design feels too clean. Too perfect. Too digital. It looks polished, but also flat, with no depth, texture, or character. Making things feel less perfect in Figma can actually be pretty hard. In photography, people often switch to vintage lenses to get a softer, less digital look. In web design, we can do something similar by changing the tools we use. Here are some of the tools we use: Effect app - quick way to add depth of field, motion blur, CRT emulation, pixelation, and other effects. DaVinci Resolve / After Effects - better for motion blur, depth of field, lens simulation, and grain. More control, but more complex. Photoshop / Affinity Designer - useful for textures, brushes. Blender / Cinema 4D - great for natural light simulation, complex animation, and almost any visual effect you can imagine. WebGL - increasingly useful for building micro-apps that create a specific look. Try Gemini 3.1 Pro for that. If you like this format, let me know. I’m trying to find something useful for you, but easier to produce than the videos we were making a year ago.

Warming up before coming back to YT. Today: the "clinical look" in web design. Sometimes a design feels too clean. Too perfect. Too digital. It looks polished, but also flat, with no depth, texture, or character. Making things feel less perfect in Figma can actually be pretty hard. In photography, people often switch to vintage lenses to get a softer, less digital look. In web design, we can do something similar by changing the tools we use. Here are some of the tools we use: Effect app - quick way to add depth of field, motion blur, CRT emulation, pixelation, and other effects. DaVinci Resolve / After Effects - better for motion blur, depth of field, lens simulation, and grain. More control, but more complex. Photoshop / Affinity Designer - useful for textures, brushes. Blender / Cinema 4D - great for natural light simulation, complex animation, and almost any visual effect you can imagine. WebGL - increasingly useful for building micro-apps that create a specific look. Try Gemini 3.1 Pro for that. If you like this format, let me know. I’m trying to find something useful for you, but easier to produce than the videos we were making a year ago.

Alex Barashkov

11,942 Aufrufe • vor 5 Monaten

vibe coding metahuman with threejs and codex: spitting FACS ok, i'll admit 3D modeling has a lot of depth, going from a cube to a full facial action coding system is.. a lot of work, but really it isn't all that hard to learn like some people want you to believe it took me about 10 evenings to go from scratch (no idea how to even model in blender beyond the famous donut) to a working rigged and shape keyed expression system the actual vibe coding parts are very manageable, i'm not even hitting any session limits the past week since codex is basically just reading the glb file and it writes the drivers to have a full animation system in a single turn after that i usually notice that some things don't look as professional as i like it to be, followed by codex sending my ass back to blender and telling me what i need to do to make it better so here we are, the expression system is still very very simplified, no micro expressions yet and i believe i will need probably 500+ shape keys to actual achieve realism, but why not? Doing the 52 ARKit expressions for this demo wasn't too hard either, just tedious and boring The final driver in the demo uses a mix of bone movements and blendshapes to smoothly animate the face I might mix up some terminology here but i usually do cause it's been like what, 10 days since i started? Guess next up i'll look into face deformation parameters and then we'll move to the fun part of skinning. Once the head/neck area works (hairs are also still missing), full body next and finally LOD systems and we can call it a day Demo (pls use a desktop i'm not optimizing the ui for mobile):

vibe coding metahuman with threejs and codex: spitting FACS ok, i'll admit 3D modeling has a lot of depth, going from a cube to a full facial action coding system is.. a lot of work, but really it isn't all that hard to learn like some people want you to believe it took me about 10 evenings to go from scratch (no idea how to even model in blender beyond the famous donut) to a working rigged and shape keyed expression system the actual vibe coding parts are very manageable, i'm not even hitting any session limits the past week since codex is basically just reading the glb file and it writes the drivers to have a full animation system in a single turn after that i usually notice that some things don't look as professional as i like it to be, followed by codex sending my ass back to blender and telling me what i need to do to make it better so here we are, the expression system is still very very simplified, no micro expressions yet and i believe i will need probably 500+ shape keys to actual achieve realism, but why not? Doing the 52 ARKit expressions for this demo wasn't too hard either, just tedious and boring The final driver in the demo uses a mix of bone movements and blendshapes to smoothly animate the face I might mix up some terminology here but i usually do cause it's been like what, 10 days since i started? Guess next up i'll look into face deformation parameters and then we'll move to the fun part of skinning. Once the head/neck area works (hairs are also still missing), full body next and finally LOD systems and we can call it a day Demo (pls use a desktop i'm not optimizing the ui for mobile):

robot

29,357 Aufrufe • vor 3 Monaten

Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool

Naegiko

67,017 Aufrufe • vor 1 Jahr

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

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

Startracker 🔺

71,439 Aufrufe • vor 6 Monaten

** Mega Parodius Update ( MegaDrive / Genesis ) ** 2 vid updates - In the first the Vic Viper players ship is heavily damaged .. only the bomb bay is operational ... so the viper goes on a bomb *blast* processing rampage !! ... This shows enemy destruction and some polishing of the bomb effect. The 2nd vid shows VRAM handling of objects with the tile viewer opened below the gameplay window. You can see objects load in , then as only the burning chests remain those animations are shifted live to maximise free object buffer. Progress since last progress vid : All collisions now implemented : Enemy to Player added , Bomb to Enemy added, Enemy Destruction added. Auto Defragging VRAM system implemented for Enemy Objects. Supports variable slot size also to maximise tile space . Fixed slot sizes wouldn't allow enough slots as they would need to be too large to cover all objects. Without defragging the VRAM would become like swiss cheese after a few screens of enemies also making larger slots difficult to allocate. Vram was getting tight due to things like the Blue Bell Bomb / White Bell text needing a reserved amount of vram ( as they can occur anywhere in the level via powerups ) . Theres also theres quite a bit of variety in Level 1 with warmup enemies , bottle enemies, chickens, crabs, orcas, chests, bees, penguin bathes, walking penguins, bouncing heads etc. We are also using all the arcade assets without trying to cut frames. It can't be loaded all at once so a dynamic system is needed. The enemy object buffer is 444 tiles presently for Level 1 , but the Catboss for example takes 308 when he's onscreen so things can get squeezed. For Mega versions of levels I wanted to ramp things up so that might mean we need more diversity in places than for the arcade accurate option , this system will help that also. The system can stream animation or utilise static animation if vram allows. Seems a mundane thing but sloppy vram management is the achiles heal of GFX diversity in a retro game . To help reduce the Bell effects VRAM buffer , Blue Bomb tiles required reduced to 120 tiles Max ( was 172 ) with no loss of quality . I've also reduced the sprite count by 6 sprites overall - down to 46 sprites used at max frame size. Lots more action / enemies to add yet but particularly the VRAM handling had to be improved before we can implement everything so glad thats in place now. Pyron and Vector Orbitex have been busy with upcoming GFX / Audion for the port , as always I'm very gratefull to have these Masters working with me on the port . #SGDK #Parodius #SegaMegadrive #SegaGenesis

Mega Parodius Update ( MegaDrive / Genesis ) 2 vid updates - In the first the Vic Viper players ship is heavily damaged .. only the bomb bay is operational ... so the viper goes on a bomb blast processing rampage !! ... This shows enemy destruction and some polishing of the bomb effect. The 2nd vid shows VRAM handling of objects with the tile viewer opened below the gameplay window. You can see objects load in , then as only the burning chests remain those animations are shifted live to maximise free object buffer. Progress since last progress vid : All collisions now implemented : Enemy to Player added , Bomb to Enemy added, Enemy Destruction added. Auto Defragging VRAM system implemented for Enemy Objects. Supports variable slot size also to maximise tile space . Fixed slot sizes wouldn't allow enough slots as they would need to be too large to cover all objects. Without defragging the VRAM would become like swiss cheese after a few screens of enemies also making larger slots difficult to allocate. Vram was getting tight due to things like the Blue Bell Bomb / White Bell text needing a reserved amount of vram ( as they can occur anywhere in the level via powerups ) . Theres also theres quite a bit of variety in Level 1 with warmup enemies , bottle enemies, chickens, crabs, orcas, chests, bees, penguin bathes, walking penguins, bouncing heads etc. We are also using all the arcade assets without trying to cut frames. It can't be loaded all at once so a dynamic system is needed. The enemy object buffer is 444 tiles presently for Level 1 , but the Catboss for example takes 308 when he's onscreen so things can get squeezed. For Mega versions of levels I wanted to ramp things up so that might mean we need more diversity in places than for the arcade accurate option , this system will help that also. The system can stream animation or utilise static animation if vram allows. Seems a mundane thing but sloppy vram management is the achiles heal of GFX diversity in a retro game . To help reduce the Bell effects VRAM buffer , Blue Bomb tiles required reduced to 120 tiles Max ( was 172 ) with no loss of quality . I've also reduced the sprite count by 6 sprites overall - down to 46 sprites used at max frame size. Lots more action / enemies to add yet but particularly the VRAM handling had to be improved before we can implement everything so glad thats in place now. Pyron and Vector Orbitex have been busy with upcoming GFX / Audion for the port , as always I'm very gratefull to have these Masters working with me on the port . #SGDK #Parodius #SegaMegadrive #SegaGenesis

Shannon Birt

13,476 Aufrufe • vor 8 Monaten

⚡️SSJ2 Goku vs SSJ2 Majin Vegeta (Part 2) [HD]💥1080Pee🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮FANMADE EDIT 🎬 🚨 Copyrights ©️Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️ 🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently.🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too! 🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See The Daily Juice of Bruce 🥃 below if joining the Pee Warriors, might be for You. 👊 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑NEW! [HD]💥1080Pee🔥! Here's the final conclusion to one of if not the most hyped fights in ALL of DBZ. I took the last bit with "Hyperbolic Time Chamber" from (Part 1) and felt it 100% necessary to include it to set the mood for (Part 2). I tried to edit it where it the story feels cohesive. This one took probably 4x the usual editing time, so if you enjoyed these . Please give me a like 😭 Just wanted to say thanks again everyone for being here, and showing your love and support for the Golden Era of DragonBall Z! Let me know in the comments what iconic moments you would like to see! I typically won't upload a video in 2 parts like this. I am curious to anybody who saw (Part 1) already. Did me trying to promote it generate any hype for you? Did it leave you craving more at all or genuinely gave you something to push forward through to look forward to today? I suspect even some might have wanted to wait for both parts to release. I know that sounds cheesy, but if it's a way to successfully capture nostalgia I'd like to try to advertise what's coming more, albeit not spammy. Whenever you see something from me, I hope you can also escape back to your younger self, and just enjoy bein the kid u once were, and forget about real life for a few moments. Love you guys again. -Pee ❤️ This is the only exception that I am doing a full fight that isn't involving minor characters. 🚨IF YOU MISSED (PART 1) 🚨 I have added it in the comments below for you also. I hope ya'll enjoy the hell out of this and your weekends! The current schedule is 2 edits per day. One before Noon EST, the other around 7PM EST. 12 replays - 2 new. *NEW* edits are on Tuesdays / Fridays at 5:00PM EST, a little earlier because you might not have as much time as free time as when you were 12. This is the DragonBall Z we grew up with. ✅💯

⚡️SSJ2 Goku vs SSJ2 Majin Vegeta (Part 2) [HD]💥1080Pee🔥 Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version) ✅ (Not KAI) 🤮FANMADE EDIT 🎬 🚨 Copyrights ©️Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️ 🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details. 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently.🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too! 🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/08/2026. See The Daily Juice of Bruce 🥃 below if joining the Pee Warriors, might be for You. 👊 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑NEW! [HD]💥1080Pee🔥! Here's the final conclusion to one of if not the most hyped fights in ALL of DBZ. I took the last bit with "Hyperbolic Time Chamber" from (Part 1) and felt it 100% necessary to include it to set the mood for (Part 2). I tried to edit it where it the story feels cohesive. This one took probably 4x the usual editing time, so if you enjoyed these . Please give me a like 😭 Just wanted to say thanks again everyone for being here, and showing your love and support for the Golden Era of DragonBall Z! Let me know in the comments what iconic moments you would like to see! I typically won't upload a video in 2 parts like this. I am curious to anybody who saw (Part 1) already. Did me trying to promote it generate any hype for you? Did it leave you craving more at all or genuinely gave you something to push forward through to look forward to today? I suspect even some might have wanted to wait for both parts to release. I know that sounds cheesy, but if it's a way to successfully capture nostalgia I'd like to try to advertise what's coming more, albeit not spammy. Whenever you see something from me, I hope you can also escape back to your younger self, and just enjoy bein the kid u once were, and forget about real life for a few moments. Love you guys again. -Pee ❤️ This is the only exception that I am doing a full fight that isn't involving minor characters. 🚨IF YOU MISSED (PART 1) 🚨 I have added it in the comments below for you also. I hope ya'll enjoy the hell out of this and your weekends! The current schedule is 2 edits per day. One before Noon EST, the other around 7PM EST. 12 replays - 2 new. NEW edits are on Tuesdays / Fridays at 5:00PM EST, a little earlier because you might not have as much time as free time as when you were 12. This is the DragonBall Z we grew up with. ✅💯

DragonBallPee

10,279 Aufrufe • vor 20 Tagen

Future Trunks Defeats Androids 17 & 18 [HD]💥1080Pee🔥 *NEW* Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version)✅(Not KAI)🤮 🚨 Copyrights ©️ Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently. 🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too!🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/06/2026. See Bruce's Goose's below if joining the Pee Warriors, might be for You. 📋 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑 Now that's out of the way, I think I'm going to re-vamp my edit postings. Everything posted at 5:00PM EST. NEW edits will still be posted on Tuesdays and Fridays. But 5PM EST consistently for work schedules. ONE PER DAY 4 Replays - 3 New One is a *Surprise* New edit every week before 5PMEST. Over 1/3 of you are not from the United States, so I'd like to treat you guys as well for being here. This was another suggestion taken from a follower, it turned out amazing I hope you enjoy!

Future Trunks Defeats Androids 17 & 18 [HD]💥1080Pee🔥 NEW Original Funimation w/ Bruce Faulconer Audio ✅ (Good Version)✅(Not KAI)🤮 🚨 Copyrights ©️ Akira Toriyama, Toei Animation, and Bruce Faulconer. ⚠️🔫👮 All 291 episodes of DragonBall Z are available to stream in [HD] quality on Crunchyroll.🐉🟠 / Subscriptions start at $9.99/mo 💻🖱️ Visit for more details 🖥️ Bruce Faulconer's #DBZ discography is available on Spotify. 🎵🟢 (on Mobile, it may bring to a screen to hit play, then 'Get the App'. If Spotify is Installed, 'Get the App' should automatically load both for you.) 📱 ⚠️These [HD]💥1080Pee🔥 edits as they are presented are not available for Television currently. 🚫📺 This is a FANMADE re-imagination of what our childhood 'could be' today. 🤔 Our 'DragonBall Z' has not existed for almost 20 years, we are forced to rely on old physical media and internet archives to watch it.😭 👈 In the Pee Universe, #DBZ never peaked, it's still going strong in 2026 too!🏁 Bruce Faulconer officially became canon in the Pee Universe on 08/06/2026. See Bruce's Goose's below if joining the Pee Warriors, might be for You. 📋 I'm just a fan like you are. 🫵 (🚫NO AFFILIATIONS🚫) 🛑 Now that's out of the way, I think I'm going to re-vamp my edit postings. Everything posted at 5:00PM EST. NEW edits will still be posted on Tuesdays and Fridays. But 5PM EST consistently for work schedules. ONE PER DAY 4 Replays - 3 New One is a Surprise New edit every week before 5PMEST. Over 1/3 of you are not from the United States, so I'd like to treat you guys as well for being here. This was another suggestion taken from a follower, it turned out amazing I hope you enjoy!

DragonBallPee

36,217 Aufrufe • vor 19 Tagen

Here's a quick test of a new tool called Krea. It's like the Real-time latent consistency model tests I've done with my photoshop and Dreams creations, but instead in a single application with faster refresh rates and higher quality output. I find that it strays too far from the drawing, and the editor is still quite limited but it's interesting to see nonetheless. It's not too difficult to imagine tech like this built right into Photoshop. And yes, I do know how to draw even if it doesn't show here 😅, I've been sculpting, painting and drawing for most of my life and I think it's exciting that tools like this will eventually help us break down some of the technical walls between our imagination and the visuals we create. And I'm not necessarily talking about drawing alone here because I don't see that going away as an art form, and I wouldn't want it to. But a hybrid of different art forms merging into a new, immersive art medium where anything is possible. Want to change the camera angle of your painting? Sure, go ahead. Want to make an animation of moving the camera around and seeing the light change in the scene as you do? In the example here, being able to move things around, change lighting and see it all reflected in the resulting image, is pretty amazing. Like a combination of the benefits of working in 3D, but with 2d tools. The moving version at the end of the video was made using Runways Gen-2. #art #ai

Here's a quick test of a new tool called Krea. It's like the Real-time latent consistency model tests I've done with my photoshop and Dreams creations, but instead in a single application with faster refresh rates and higher quality output. I find that it strays too far from the drawing, and the editor is still quite limited but it's interesting to see nonetheless. It's not too difficult to imagine tech like this built right into Photoshop. And yes, I do know how to draw even if it doesn't show here 😅, I've been sculpting, painting and drawing for most of my life and I think it's exciting that tools like this will eventually help us break down some of the technical walls between our imagination and the visuals we create. And I'm not necessarily talking about drawing alone here because I don't see that going away as an art form, and I wouldn't want it to. But a hybrid of different art forms merging into a new, immersive art medium where anything is possible. Want to change the camera angle of your painting? Sure, go ahead. Want to make an animation of moving the camera around and seeing the light change in the scene as you do? In the example here, being able to move things around, change lighting and see it all reflected in the resulting image, is pretty amazing. Like a combination of the benefits of working in 3D, but with 2d tools. The moving version at the end of the video was made using Runways Gen-2. #art #ai

Martin Nebelong

1,668,679 Aufrufe • vor 2 Jahren

As promised, another #E2V1 video for #Dec 🌍✌️ This footage is more laid back but in some ways provides a better feel of #E2V1. ⬅️full version It is very important to note that this video is a mixture of #WIP footage taken throughout the year during development & testing of: 1️⃣ 🌴 the implementation and testing of our global biome system 2️⃣ 🌊 our water system which not only looks nice, but spans the entire planet and for the most part handles correct directional flow of water mass 3️⃣ 🍁 the early stages of our seasonal system, facilitating for the transition of vegetation and environments into spring, summer, fall and winter 4️⃣ 🧍 early testing on our NPC system with simple navigation and various states of animation to clearly convey their feeling or current activity 5️⃣ 🐟 early testing of our first animal system spawning various sea animals into bodies of water in various locations 6️⃣ 🚢 further testing of our logistics system, with vehicles and ships moving on, over and through the terrain 7️⃣ 🏢 further testing of our megacity system, pushing the limits for larger megacities with an awesome view distance You will find little bugs if you look hard enough so it's important to understand it's a #WIP! We just thought we would share some of the footage because it came together nicely. All in all we have made some really good progress through 2023 not only via #feature releases on the website but also development & progress on #E2V1. We hope you enjoy & we look forward to our next step, revealing the first look at early game play inside #E2V1 in 2024! If you enjoy the footage & progress don't forget to drop a like & comment on YouTube & sub if you haven't already 👌 Hope you all enjoy the rest of 2023 & I look forward to a very exciting 2024 with you all! #Earth2 #Metaverse #OpenWorld #PlayerDriven #digitalearth #bigthingscoming

As promised, another #E2V1 video for #Dec 🌍✌️ This footage is more laid back but in some ways provides a better feel of #E2V1. ⬅️full version It is very important to note that this video is a mixture of #WIP footage taken throughout the year during development & testing of: 1️⃣ 🌴 the implementation and testing of our global biome system 2️⃣ 🌊 our water system which not only looks nice, but spans the entire planet and for the most part handles correct directional flow of water mass 3️⃣ 🍁 the early stages of our seasonal system, facilitating for the transition of vegetation and environments into spring, summer, fall and winter 4️⃣ 🧍 early testing on our NPC system with simple navigation and various states of animation to clearly convey their feeling or current activity 5️⃣ 🐟 early testing of our first animal system spawning various sea animals into bodies of water in various locations 6️⃣ 🚢 further testing of our logistics system, with vehicles and ships moving on, over and through the terrain 7️⃣ 🏢 further testing of our megacity system, pushing the limits for larger megacities with an awesome view distance You will find little bugs if you look hard enough so it's important to understand it's a #WIP! We just thought we would share some of the footage because it came together nicely. All in all we have made some really good progress through 2023 not only via #feature releases on the website but also development & progress on #E2V1. We hope you enjoy & we look forward to our next step, revealing the first look at early game play inside #E2V1 in 2024! If you enjoy the footage & progress don't forget to drop a like & comment on YouTube & sub if you haven't already 👌 Hope you all enjoy the rest of 2023 & I look forward to a very exciting 2024 with you all! #Earth2 #Metaverse #OpenWorld #PlayerDriven #digitalearth #bigthingscoming

Shane Isaac 🌍2️⃣

30,554 Aufrufe • vor 2 Jahren

- AssetHub officially launched - Using Metahuman Component as parts system in UEFN This is crazy! Just discovered I can use the Metahuman Component in UEFN as a general parts system! Perfect for modular characters. So I had to test it out. First step: character design. With GPT Image 2 I got some really solid characters to work with. These are perfect to test anime/ lowpoly models as well. Gavin Harvey also officially launched so I jumped on a fresh workflow to build the first one. Since I’m aiming for an anime/flat shaded style, I chose Tripo P1 to generate straight to low poly models. Results were perfect for me, UV and textured directly done. Did the main assembly in Blender. I transferred weights onto the new parts (like the jacket here) and used proportional editing to tweak vertices so everything fits together nicely. Then into UEFN / Unreal Engine: For the two-tone shadow look, I made a material that uses the sun direction as a mask. To make all the modular parts work together, I set up a blueprint with the body skeletal mesh as the base, and all the other parts attached as children. Now the really cool part: the Metahuman Component actually lets you plug in extra body parts directly. And every skeletal mesh can have its own Control Rig slot. That means you can layer procedural animations on top of your main animation setup. I used it for procedural eye blinking and hair physics. Since every part is separate, swapping variations is super easy while keeping all animations perfectly synced!

- AssetHub officially launched - Using Metahuman Component as parts system in UEFN This is crazy! Just discovered I can use the Metahuman Component in UEFN as a general parts system! Perfect for modular characters. So I had to test it out. First step: character design. With GPT Image 2 I got some really solid characters to work with. These are perfect to test anime/ lowpoly models as well. Gavin Harvey also officially launched so I jumped on a fresh workflow to build the first one. Since I’m aiming for an anime/flat shaded style, I chose Tripo P1 to generate straight to low poly models. Results were perfect for me, UV and textured directly done. Did the main assembly in Blender. I transferred weights onto the new parts (like the jacket here) and used proportional editing to tweak vertices so everything fits together nicely. Then into UEFN / Unreal Engine: For the two-tone shadow look, I made a material that uses the sun direction as a mask. To make all the modular parts work together, I set up a blueprint with the body skeletal mesh as the base, and all the other parts attached as children. Now the really cool part: the Metahuman Component actually lets you plug in extra body parts directly. And every skeletal mesh can have its own Control Rig slot. That means you can layer procedural animations on top of your main animation setup. I used it for procedural eye blinking and hair physics. Since every part is separate, swapping variations is super easy while keeping all animations perfectly synced!

Jerome | InsaneUnreal

24,268 Aufrufe • vor 3 Monaten

Getting the most out of Claude Fable 5, Anthropic’s powerful new model, you need to maximize your ambition: It’s built for full task delegation—you leave it looping for hours or overnight and come back to a finished product. If you want to get the most out of it, you need to relearn what software engineering is and how to step away to let the model do its work. That’s why I invited Mike Krieger, head of Anthropic Labs, on Every 📧’s AI & I. Mike’s been using Mythos-class models for a few months now internally at Anthropic, and he’s learned a ton of new tricks to make its increased powers work for him. And, as a co-founder of Instagram, he can reflect on how software engineering has changed over the last 15 years and what it means going forward. We get into: - Why the right workflow for Fable 5 is overnight delegation, not back-and-forth iteration—Mike ends his workday by briefing the model, then wakes up to a completed task. When a remote service went down mid-task, Fable 5 wrote a workaround, documented it, and forged ahead - The gap between what’s in your head and what exists in the world is closing fast—given access to Fable 5 and a set of internal MCPs, an Anthropic recruiter described the experience as, "The first time in my life where I feel like the thing that's in my head and the thing that exists in the world are right next to each other. I can just do it." - Software engineering isn’t dead, but the role has been reinvented—the PM/eng split is blurring, and the better engineers Mike talks to are holding two feelings at once: loss for the craft and shock at what’s now possible - Verification is the new bottleneck—Mike gives Fable video captures of its own work so it can catch animation glitches that screenshots would miss This is a must-watch for anyone building software and trying to figure out their role now that the models can handle so much. Watch below! Timestamps Introduction: 00:00:03 How Fable completely reshaped Mike's workflow: 00:01:48 When to use Sonnet versus Fable: 00:04:48 What the media tracker Mike built over a weekend reveals about agent-native architecture: 00:10:06 The cost to build has collapsed: 00:15:00 Is software engineering over?: 00:19:03 How Anthropic's engineering teams work today: 00:21:48 The mechanics of verification: 00:38:39 Dynamic workflows: 00:47:24 What people should use the model to build: 00:44:39

Getting the most out of Claude Fable 5, Anthropic’s powerful new model, you need to maximize your ambition: It’s built for full task delegation—you leave it looping for hours or overnight and come back to a finished product. If you want to get the most out of it, you need to relearn what software engineering is and how to step away to let the model do its work. That’s why I invited Mike Krieger, head of Anthropic Labs, on Every 📧’s AI & I. Mike’s been using Mythos-class models for a few months now internally at Anthropic, and he’s learned a ton of new tricks to make its increased powers work for him. And, as a co-founder of Instagram, he can reflect on how software engineering has changed over the last 15 years and what it means going forward. We get into: - Why the right workflow for Fable 5 is overnight delegation, not back-and-forth iteration—Mike ends his workday by briefing the model, then wakes up to a completed task. When a remote service went down mid-task, Fable 5 wrote a workaround, documented it, and forged ahead - The gap between what’s in your head and what exists in the world is closing fast—given access to Fable 5 and a set of internal MCPs, an Anthropic recruiter described the experience as, "The first time in my life where I feel like the thing that's in my head and the thing that exists in the world are right next to each other. I can just do it." - Software engineering isn’t dead, but the role has been reinvented—the PM/eng split is blurring, and the better engineers Mike talks to are holding two feelings at once: loss for the craft and shock at what’s now possible - Verification is the new bottleneck—Mike gives Fable video captures of its own work so it can catch animation glitches that screenshots would miss This is a must-watch for anyone building software and trying to figure out their role now that the models can handle so much. Watch below! Timestamps Introduction: 00:00:03 How Fable completely reshaped Mike's workflow: 00:01:48 When to use Sonnet versus Fable: 00:04:48 What the media tracker Mike built over a weekend reveals about agent-native architecture: 00:10:06 The cost to build has collapsed: 00:15:00 Is software engineering over?: 00:19:03 How Anthropic's engineering teams work today: 00:21:48 The mechanics of verification: 00:38:39 Dynamic workflows: 00:47:24 What people should use the model to build: 00:44:39

Dan Shipper 📧

40,430 Aufrufe • vor 2 Monaten