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From rocket launches 🚀 to insane chase scenes 🏎, The Bad Guys 2 is a visual thrill ride thanks to these talented artists: Joanna Wu: Head of Lighting & Compositing Matt Baer: Visual Effects Supervisor Jesse Averna: Editor Théophile Bondoux: Head of cinematography, layout

DreamWorks Animation

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16,759 görüntüleme • 11 ay önce •via X (Twitter)

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The car was fast, the stakes were high, and the frames were flawless thanks to Jesse Averna (editor), Benjamin Willis (Head of Character Animation), Joanna Wu (Head of Lighting & Compositing), Matt Baer (Visual Effects Supervisor), & Théophile Bondoux (Head of Cinematography & Layout) 🏎️💨 See The Bad Guys 2 in theaters now!

The car was fast, the stakes were high, and the frames were flawless thanks to Jesse Averna (editor), Benjamin Willis (Head of Character Animation), Joanna Wu (Head of Lighting & Compositing), Matt Baer (Visual Effects Supervisor), & Théophile Bondoux (Head of Cinematography & Layout) 🏎️💨 See The Bad Guys 2 in theaters now!

DreamWorks Animation

13,654 görüntüleme • 10 ay önce

🚨⚡️ BREAKING NEWS 🚀 RUSSIA LAUNCHES A ROCKET CARRYING THE IRANIAN SATELLITE "NAHID-2" AND 18 SATELLITES FOR HIGH-PRECISION MONITORING AND SURVEILLANCE. 🚀 The "Soyuz-2.1b" rocket was successfully launched from Vostochny Cosmodrome, carrying the "Ionosfera-M" instruments and 18 accompanying satellites. Among them is Nahid-2 — a communications satellite developed by the Iranian Space Research Center. Additionally, nine small space devices are planned to be placed into orbit. These satellites will capture images of the Earth, track the positions of aerial and maritime vessels, and study space-related phenomena.

🚨⚡️ BREAKING NEWS 🚀 RUSSIA LAUNCHES A ROCKET CARRYING THE IRANIAN SATELLITE "NAHID-2" AND 18 SATELLITES FOR HIGH-PRECISION MONITORING AND SURVEILLANCE. 🚀 The "Soyuz-2.1b" rocket was successfully launched from Vostochny Cosmodrome, carrying the "Ionosfera-M" instruments and 18 accompanying satellites. Among them is Nahid-2 — a communications satellite developed by the Iranian Space Research Center. Additionally, nine small space devices are planned to be placed into orbit. These satellites will capture images of the Earth, track the positions of aerial and maritime vessels, and study space-related phenomena.

RussiaNews 🇷🇺

28,795 görüntüleme • 11 ay önce

Thrilled to be part of the World Audio Visual and Entertainment Summit (WAVES India ) in India 🇮🇳 alongside the King ali nuhu and the most Talented Umar M Shareef ✨✨✨🫶🏻 The experience so far has been nothing short of inspiring. An incredible gathering of creative minds, industry leaders, and forward thinking innovators from across the entertainment and audiovisual landscape. 🚀 From thought provoking panels to immersive showcases, WAVES is not just a summit; it’s a powerful platform for collaboration, learning, and pushing the boundaries of what’s possible in the world of media and storytelling. 🎥 🚀🚀 Grateful for the opportunity to connect with such a dynamic network of professionals and visionaries. Looking forward to the conversations, insights, and potential partnerships that will emerge from this amazing event. 🙏🏻 A very special thanks to the Ministry of Information and broadcasting, Government of India 🇮🇳, WAVES team WAVES India and the High Commission of India in Nigeria India in Nigeria (and Benin & ECOWAS) for the honor of invitation and warm hospitality. #WavesSummitIndia #India

Thrilled to be part of the World Audio Visual and Entertainment Summit (WAVES India ) in India 🇮🇳 alongside the King ali nuhu and the most Talented Umar M Shareef ✨✨✨🫶🏻 The experience so far has been nothing short of inspiring. An incredible gathering of creative minds, industry leaders, and forward thinking innovators from across the entertainment and audiovisual landscape. 🚀 From thought provoking panels to immersive showcases, WAVES is not just a summit; it’s a powerful platform for collaboration, learning, and pushing the boundaries of what’s possible in the world of media and storytelling. 🎥 🚀🚀 Grateful for the opportunity to connect with such a dynamic network of professionals and visionaries. Looking forward to the conversations, insights, and potential partnerships that will emerge from this amazing event. 🙏🏻 A very special thanks to the Ministry of Information and broadcasting, Government of India 🇮🇳, WAVES team WAVES India and the High Commission of India in Nigeria India in Nigeria (and Benin & ECOWAS) for the honor of invitation and warm hospitality. #WavesSummitIndia #India

Rahama Sadau ✨

11,734 görüntüleme • 1 yıl önce

One of the workflows I helped advance and lead for Destiny 2 was our static compositing pipeline for marketing visuals. When we were creating marketing content for #Destiny2, we always needed strong key visuals for weapons, characters, abilities, and other in-game elements. Unlike a traditional gameplay screenshot, where everything is baked into one static image, composited shots let us isolate individual elements and light them more precisely. That gave us a lot more flexibility to build scenes with better legibility, clearer focus, stronger lighting, improved contrast, and a more intentional overall look. One of the biggest strengths of compositing is having access to individual layers in Photoshop. That layered approach not only makes the editing process easier, but also makes the final artwork much more flexible. Images can be adapted for trailer motion graphics, reworked for print, or pushed further as creative needs evolve. Destiny 2 composites are built using Adobe Photoshop alongside in-game captures. Using advanced development tools, we light, capture, and isolate characters, weapons, and props directly from the game environment, all of which were originally created by the talented Bungie 3D art teams. Those assets are then brought into Photoshop, where they’re cut out and assembled into custom scenes using layered compositions and visual effects. The composites highlighted below are a few of the Destiny 2 pieces I’ve worked on that are meaningful to me. Let me know what your favorite is!

One of the workflows I helped advance and lead for Destiny 2 was our static compositing pipeline for marketing visuals. When we were creating marketing content for #Destiny2, we always needed strong key visuals for weapons, characters, abilities, and other in-game elements. Unlike a traditional gameplay screenshot, where everything is baked into one static image, composited shots let us isolate individual elements and light them more precisely. That gave us a lot more flexibility to build scenes with better legibility, clearer focus, stronger lighting, improved contrast, and a more intentional overall look. One of the biggest strengths of compositing is having access to individual layers in Photoshop. That layered approach not only makes the editing process easier, but also makes the final artwork much more flexible. Images can be adapted for trailer motion graphics, reworked for print, or pushed further as creative needs evolve. Destiny 2 composites are built using Adobe Photoshop alongside in-game captures. Using advanced development tools, we light, capture, and isolate characters, weapons, and props directly from the game environment, all of which were originally created by the talented Bungie 3D art teams. Those assets are then brought into Photoshop, where they’re cut out and assembled into custom scenes using layered compositions and visual effects. The composites highlighted below are a few of the Destiny 2 pieces I’ve worked on that are meaningful to me. Let me know what your favorite is!

Biwald

67,300 görüntüleme • 21 gün önce

#WATCH | Gurugram, Haryana: On reports of Pakistan receiving advanced US air-to-air missiles, Maj Gen (Dr)GD Bakshi (Retd.) says, "Pakistan's F-16 fighter fleet already has some AIM-120 C air-to-air missiles beyond visual range, which they used when they clashed with our MiG-21, resulting in Wing Commander Abhinandan receiving the Vir Chakra... We did not have BVRs back then and relied on outdated dogfight tactics, leading to losses. However, we now have highly effective BVRs... This is a significant difference—it becomes decisive in head-to-head combat, as the radar can detect and shoot you down beyond visual range, even without you seeing it... That is why having a BVR range is very important. We also have Akash 1, Akash 2, and now Akash 3, which will have a range of 300-400 km. But this clearly shows that America is now on the verge of becoming an enemy of India. It is not only selling these missiles to Pakistan, but also to Saudi Arabia. Furthermore, given the pact between Pakistan and Saudi Arabia, it's possible that the Saudis might transfer some of these missiles to Pakistan during a conflict. We need to be mindful of this and exercise caution..."

#WATCH | Gurugram, Haryana: On reports of Pakistan receiving advanced US air-to-air missiles, Maj Gen (Dr)GD Bakshi (Retd.) says, "Pakistan's F-16 fighter fleet already has some AIM-120 C air-to-air missiles beyond visual range, which they used when they clashed with our MiG-21, resulting in Wing Commander Abhinandan receiving the Vir Chakra... We did not have BVRs back then and relied on outdated dogfight tactics, leading to losses. However, we now have highly effective BVRs... This is a significant difference—it becomes decisive in head-to-head combat, as the radar can detect and shoot you down beyond visual range, even without you seeing it... That is why having a BVR range is very important. We also have Akash 1, Akash 2, and now Akash 3, which will have a range of 300-400 km. But this clearly shows that America is now on the verge of becoming an enemy of India. It is not only selling these missiles to Pakistan, but also to Saudi Arabia. Furthermore, given the pact between Pakistan and Saudi Arabia, it's possible that the Saudis might transfer some of these missiles to Pakistan during a conflict. We need to be mindful of this and exercise caution..."

ANI

270,110 görüntüleme • 9 ay önce

Created with GPT Image 2 + Omni Flash / Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: Background: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold dark blue: HAN RIVER WET & DRY 2 IN 1 STEAM IRON Subtitle: ASMR UNBOXING (POV HAND) Information boxes below the title: Duration: 30 Seconds (3 Parts) Style: POV Hand, ASMR, Premium Product Commercial Audience: Home Users, Housewife, Young Adults Voiceover: No Voiceover (Pure ASMR) Audio Suggestion: Tapping, Crinkle, Cardboard, Click, Steam, Water Pouring Layout: Create 12 storyboard panels arranged in a 4 column × 3 row grid, divided into three horizontal blocks labeled PART 1 (0 to 10s), PART 2 (10 to 20s), and PART 3 (20 to 30s). Each panel should contain: A numbered dark blue badge (1 to 12) with its respective timestamp. A realistic cinematic image showing the scene. Handwritten white and orange doodle text sketched over the image. Four text sections below every image: VISUAL: ACTION: DOODLE: AUDIO: Aesthetic Style: Premium lifestyle commercial advertising style. Realistic product photography, light wood or beige table, soft warm studio lighting, shallow depth of field, POV hands only with no face visible. The product is a sleek, cream colored handheld steam iron with a gold rimmed ceramic base. Storyboard sequence: PART 1 (0 to 10s) 1 (0 to 2.5s) Visual: Product box placed flat on a wooden table. Action: Hands enter frame and tap the sides of the box. Doodle: NEW! Audio: Cardboard tapping. 2 (2.5 to 5s) Visual: Close up of the box lid, focusing on the brand logo. Action: Fingers gently trace the printed logo and illustration. Doodle: LET'S OPEN! Audio: Finger scratching on cardboard. 3 (5 to 7.5s) Visual: A box cutter slicing the sealing tape. Action: Blade slowly cuts through the adhesive tape. Doodle: SLICE... Audio: Tape cutting. 4 (7.5 to 10s) Visual: The box flaps are opened, revealing the wrapped product and manual inside. Action: Hands open the main flaps wide. Doodle: WOW! Audio: Box opening. PART 2 (10 to 20s) 5 (10 to 12.5s) Visual: Instruction manual being held up. Action: Hands flip through the pages of the manual. Doodle: MANUAL Audio: Paper flipping. 6 (12.5 to 15s) Visual: The iron is lifted out, still wrapped in its protective plastic sheet. Action: Pulling the wrapped unit completely out of the box. Doodle: CRINKLE~ Audio: Plastic crinkling. 7 (15 to 17.5s) Visual: Peeling away the protective plastic cover to reveal the premium body. Action: Hands slowly unwrap and twist the iron to inspect it. Doodle: SO CLEAN! Audio: Plastic removal. 8 (17.5 to 20s) Visual: Ultra close up of the pristine ceramic soleplate. Action: A single finger smoothly glides down the center of the soleplate. Doodle: SMOOTH Audio: Finger glide on ceramic. PART 3 (20 to 30s) 9 (20 to 22.5s) Visual: Rotating the ergonomic handle. Action: Hand twists the handle 180 degrees until it locks into place. Doodle: 180° Audio: Handle rotation click. 10 (22.5 to 25s) Visual: Water being added to the built in tank. Action: Pouring clean water slowly into the small inlet using a measuring cup. Doodle: FILL Audio: Water pouring. 11 (25 to 27.5s) Visual: The steam button being pressed. Action: Thumb presses the button, and a powerful burst of steam erupts from the base. Doodle: PSSSH~ Audio: Steam release blast. 12 (27.5 to 30s) Visual: Final hero shot of the steam iron standing upright next to its box and measuring cup. Action: Hand enters frame to give a confident thumbs up. Doodle: READY! Audio: Light tap on the table. Footer Infographic Sections: WHAT'S IN THE BOX: Small grid icons showing Steam Iron, Instruction Manual, Measuring Cup, and Power Cord. KEY FEATURES: Checkmarks for Wet & Dry 2 in 1 180° Swivel Handle 150ml Water Tank Ceramic Soleplate Powerful Steam WARRANTY: A prominent 2 YEARS WARRANTY shield badge. IDEAL FOR / WHY CHOOSE IT: Minimalist icons for Home Use, Travel, Small Spaces Bullet points: Lightweight Easy to Use Fast Heating Safe Metadata Text Line: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hand, ASMR, Premium Product Commercial Typography should resemble a professional creative agency storyboard layout featuring neat spacing, sharp dark blue accents, thin gray grid boundaries, and a highly polished presentation structure perfect for a client pitch.

Shore Lyn

22,382 görüntüleme • 2 gün önce

Art directing marketing visuals for Destiny 2 has been especially rewarding because it has given me the opportunity to work with so many talented artists whose work l've admired for years. It has also allowed me to hire and develop both internal and external creative talent to support the breadth of visual content required for a live service game like Destiny 2. One of the ongoing challenges of art direction is finding the right balance in how much visual direction to provide. How broad or specific my feedback needs to be often depends on an artist's strengths, our working relationship, and their familiarity with the brand. Over the past couple of years, I've focused more deeply on art direction for Bungie, and it has been a continual process of building on what has worked well while learning where I can improve. Below are a few #Destiny2 illustrations and composites I helped shape through creative and art direction that are meaningful to me. I'm grateful for the opportunity to collaborate with so many talented artists and agencies, and for the time, craft, and care they brought to these pieces. Special thanks to Sung Choi, Yohann Schepacz, Kai Zhou, Jacob Joyce, Drexis Animations, Miki Bishop, Christine Lim, Nat King, Stephen Boe, Gabriel Flauzino | FLZ 🇧🇷🎨 , Jacob Gonzalez, Derek Heisler, and BOND for their contributions. You can find full-resolution versions, artist credits, and additional art here:

Biwald

68,262 görüntüleme • 27 gün önce

GPT Image 2 - Character Reference Sheet Prompt You can create a character reference sheet in any style you want for use in your Seedance 2.0 videos. All you need to do is either provide a reference image or describe your character. You can also input random values to generate completely random characters. This reference sheet provides a clear, structured, and highly readable visual breakdown of the character, helping the model maintain strong identity consistency across different outputs. The layout ensures the model focuses on essential visual information rather than stylistic noise, while the inclusion of expressions, head angles, and performance cues improves the model’s ability to generate believable acting and varied poses without losing character integrity. All clips in the demonstration video were generated using the reference sheet image and the same Seedance 2.0 prompt. You can find the prompts in the replies. 👇 GPT Image 2 and Seedance 2.0 are both available on mitte.ai

GPT Image 2 - Character Reference Sheet Prompt You can create a character reference sheet in any style you want for use in your Seedance 2.0 videos. All you need to do is either provide a reference image or describe your character. You can also input random values to generate completely random characters. This reference sheet provides a clear, structured, and highly readable visual breakdown of the character, helping the model maintain strong identity consistency across different outputs. The layout ensures the model focuses on essential visual information rather than stylistic noise, while the inclusion of expressions, head angles, and performance cues improves the model’s ability to generate believable acting and varied poses without losing character integrity. All clips in the demonstration video were generated using the reference sheet image and the same Seedance 2.0 prompt. You can find the prompts in the replies. 👇 GPT Image 2 and Seedance 2.0 are both available on mitte.ai

Kōda

159,406 görüntüleme • 2 ay önce

A year ago today…The video that changed everything was born!!! 🥹✨ THANK YOU ALL for taking this idea and dream and helping it manifest into what it is today! SO many talented people behind the scenes and IN this one! From this song just being the affirmation I needed to get through postpartum, to the visual being a timeless celebration of our culture, I’m so grateful for the process and how it was received. Thanks to my mama for being the inspiration (forever and always), and Hazel for not charging full rate for her cameo. HAPPY BIRTHDAY ON MY MAMA 🍰🤎

A year ago today…The video that changed everything was born!!! 🥹✨ THANK YOU ALL for taking this idea and dream and helping it manifest into what it is today! SO many talented people behind the scenes and IN this one! From this song just being the affirmation I needed to get through postpartum, to the visual being a timeless celebration of our culture, I’m so grateful for the process and how it was received. Thanks to my mama for being the inspiration (forever and always), and Hazel for not charging full rate for her cameo. HAPPY BIRTHDAY ON MY MAMA 🍰🤎

Victoria Monét

258,225 görüntüleme • 1 yıl önce

Subway Rules: -Don’t walk up or down left side of station exit / entrance steps -Left lanes of all escalators are for climbers only -Don’t have your phone out and head down when moving through subway terminal -Never enter, walk through, or ride subway with open umbrella -Wait for passengers to get off subway by standing to the sides of the door, creating a clear exit path, before entering -Take off your backpack or bag and hold it between your legs to make more space for everyone else … if your bag is too “nice” don’t take subway -Walk all the way into subway car, never block unused space -Offer your seat to the elderly and disabled at minimum -Do not make noise of any kind during commuter hours - collective silence is a shared code from the grinders to mitigate stress -Don’t eat, shit, or piss on subway -PDA on the subway is visual assault and generally bad for morale I find myself getting into daily confrontations on my commutes … it is normally over one of these what am I missing?

Subway Rules: -Don’t walk up or down left side of station exit / entrance steps -Left lanes of all escalators are for climbers only -Don’t have your phone out and head down when moving through subway terminal -Never enter, walk through, or ride subway with open umbrella -Wait for passengers to get off subway by standing to the sides of the door, creating a clear exit path, before entering -Take off your backpack or bag and hold it between your legs to make more space for everyone else … if your bag is too “nice” don’t take subway -Walk all the way into subway car, never block unused space -Offer your seat to the elderly and disabled at minimum -Do not make noise of any kind during commuter hours - collective silence is a shared code from the grinders to mitigate stress -Don’t eat, shit, or piss on subway -PDA on the subway is visual assault and generally bad for morale I find myself getting into daily confrontations on my commutes … it is normally over one of these what am I missing?

Matteo Piper Jenks 🧲 🇮🇹

369,616 görüntüleme • 2 ay önce

I FINALLY managed to create a point cloud animation 💪 Here is how I did it using #GaussianSplatting, #Blender and 2 add-ons from KIRI Engine - 3D Scanner App . Creating point cloud animations has always been a dream of mine (inspired by masters like ), but the tech to create the point clouds and visual effects was always a huge barrier. Then I discovered these 2 Blender add-ons from Kiri engine after I had a chat with Jack Wang in my podcast, and it changed everything: 1- Create a splat with any tool or app you want 2- Install the free "Point Animate" add-on in Blender 3- Drag the 2 .ply you want to morph from --> to 4- Set source and destination in the add-on side panel At this point you could play around with various settings like noise scatter, noise intensity, wind and more. If you want to combine with the splat as well you can get also the 3DGS render to add cool dissolving effects, fancy lighting and really get the most out of your scans. If you end up using it please tag me. I am curious to see what much more skilled people than me can put together 😉

I FINALLY managed to create a point cloud animation 💪 Here is how I did it using #GaussianSplatting, #Blender and 2 add-ons from KIRI Engine - 3D Scanner App . Creating point cloud animations has always been a dream of mine (inspired by masters like ), but the tech to create the point clouds and visual effects was always a huge barrier. Then I discovered these 2 Blender add-ons from Kiri engine after I had a chat with Jack Wang in my podcast, and it changed everything: 1- Create a splat with any tool or app you want 2- Install the free "Point Animate" add-on in Blender 3- Drag the 2 .ply you want to morph from --> to 4- Set source and destination in the add-on side panel At this point you could play around with various settings like noise scatter, noise intensity, wind and more. If you want to combine with the splat as well you can get also the 3DGS render to add cool dissolving effects, fancy lighting and really get the most out of your scans. If you end up using it please tag me. I am curious to see what much more skilled people than me can put together 😉

Gabriele Romagnoli

10,392 görüntüleme • 1 yıl önce

We are publishing our first deep dive on what we believe is one of the most challenging layers in egocentric data - SLAM and VIO in the context of long-horizon state tracking. We break down how SLAM and VIO fail in egocentric settings - visual features vanish at close range, depth sensors saturate, fast head motion blurs frames, and these failures don't always occur in isolation. They hit at the exact same moment, leading to compounding errors and making the downstream data unusable. We believe the foundation for high-quality egocentric data demands sub-centimeter precision over long episodes ranging from a few minutes to up to an hour.

We are publishing our first deep dive on what we believe is one of the most challenging layers in egocentric data - SLAM and VIO in the context of long-horizon state tracking. We break down how SLAM and VIO fail in egocentric settings - visual features vanish at close range, depth sensors saturate, fast head motion blurs frames, and these failures don't always occur in isolation. They hit at the exact same moment, leading to compounding errors and making the downstream data unusable. We believe the foundation for high-quality egocentric data demands sub-centimeter precision over long episodes ranging from a few minutes to up to an hour.

FPV Labs

41,838 görüntüleme • 3 ay önce

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 görüntüleme • 1 yıl önce

If I'm to believe anything I've seen on X in recent days, our elections are bought by billionaires, some of whom also manipulate said elections with space lasers (which seems like a lot more effort than just buying them the old-fashioned way). Some think our retired vice admirals may be wearing hyper-realistic silicon masks on the news (the kind the CIA has had since the 90s), but those don’t make your head vertically smaller, and if you even dare to ask what in the Temu version of hell is going on in these two clips that were supposedly shot days apart, well AI is quick to quiet your brain with, “the visual effect was simply an artifact of studio lighting, camera compression, and his natural appearance on screen”. Because gaslighting to maintain the Stockholm Syndrome that passes for consent in the absolute clownshow dumpster fire that our political system has mutated into is the only way this generic SNL sketch is able to continue.

If I'm to believe anything I've seen on X in recent days, our elections are bought by billionaires, some of whom also manipulate said elections with space lasers (which seems like a lot more effort than just buying them the old-fashioned way). Some think our retired vice admirals may be wearing hyper-realistic silicon masks on the news (the kind the CIA has had since the 90s), but those don’t make your head vertically smaller, and if you even dare to ask what in the Temu version of hell is going on in these two clips that were supposedly shot days apart, well AI is quick to quiet your brain with, “the visual effect was simply an artifact of studio lighting, camera compression, and his natural appearance on screen”. Because gaslighting to maintain the Stockholm Syndrome that passes for consent in the absolute clownshow dumpster fire that our political system has mutated into is the only way this generic SNL sketch is able to continue.

Truthstream Media

131,545 görüntüleme • 1 ay önce

The most prominent example of a film that was financially viable because of generative AI was “Here” by Robert Zemeckis. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. The film’s budget was ~$50m and wouldn’t be able to cover traditional process for de-aging: ▫️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” was able to be made in 2024 but not in 2021 (due to CGI costs). 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 (won’t be the case for all actors). 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. A best case scenario might be instead of a studio spending $200m for a single blockbuster, it could finance and staff up 4 films at $50m (which could reach same visual quality bar using new tech). *** More from NYT: “Here” featurette:

The most prominent example of a film that was financially viable because of generative AI was “Here” by Robert Zemeckis. Starring Tom Hanks and Robin Wright, it shows a couple living through multiple decades. The film’s budget was ~$50m and wouldn’t be able to cover traditional process for de-aging: ▫️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” was able to be made in 2024 but not in 2021 (due to CGI costs). 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 (won’t be the case for all actors). 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. A best case scenario might be instead of a studio spending $200m for a single blockbuster, it could finance and staff up 4 films at $50m (which could reach same visual quality bar using new tech). *** More from NYT: “Here” featurette:

Trung Phan

677,203 görüntüleme • 7 ay önce

"Russia is Europe" - so claims Vincenzo De Luca, Italian politician, President of the Campania region. No. His statement is not true. Undoubtedly, Gergiev is an outstanding musician. And the Mariinsky Orchestra is outstanding, too. But that doesn’t prevent Gergiev from being complicit in the war, from serving as Putin’s trusted representative during elections, from receiving awards, huge sums of money (blood money), and prestigious positions: he was appointed to head the Bolshoi Theatre after Vladimir Urin, (who was removed from his position for speaking out against the war). On May 13 of this year, Putin personally chaired a meeting at the Kremlin of the board of trustees for the Bolshoi and Mariinsky Theatres. He gathered Russian oligarchs and tasked them with "promoting Russian culture" in Europe. Russia uses culture - and always has - as a tool to advance its propaganda. To launder dirty money. To pretend to be a part of Europe. These "representatives of Russian culture" - in ballet shoes, with cellos and violins, with stacks of cash and massive state backing - not just perform concerts in Europe, but also create a "cultural backdrop" for those who will speak about the “complex nature” of the killings of Ukrainians by Russian forces and the “root causes of the conflict.” I think Europe remembers the names of talented musicians, artists, and performers who supported the ideology of Nazism. As an example, I recall Klaus Mann’s biographical novel Mephisto. It’s a story about artists who chose to collaborate with the regime - and those who left, like Thomas Mann. Gergiev’s concerts in Europe are about removing barriers to Russian lies. They normalize war. They embody the “not everything is so clear-cut” narrative. And honestly, this is not a threat to Ukraine. We are already at war. This is, above all, a threat to you, Europe.

"Russia is Europe" - so claims Vincenzo De Luca, Italian politician, President of the Campania region. No. His statement is not true. Undoubtedly, Gergiev is an outstanding musician. And the Mariinsky Orchestra is outstanding, too. But that doesn’t prevent Gergiev from being complicit in the war, from serving as Putin’s trusted representative during elections, from receiving awards, huge sums of money (blood money), and prestigious positions: he was appointed to head the Bolshoi Theatre after Vladimir Urin, (who was removed from his position for speaking out against the war). On May 13 of this year, Putin personally chaired a meeting at the Kremlin of the board of trustees for the Bolshoi and Mariinsky Theatres. He gathered Russian oligarchs and tasked them with "promoting Russian culture" in Europe. Russia uses culture - and always has - as a tool to advance its propaganda. To launder dirty money. To pretend to be a part of Europe. These "representatives of Russian culture" - in ballet shoes, with cellos and violins, with stacks of cash and massive state backing - not just perform concerts in Europe, but also create a "cultural backdrop" for those who will speak about the “complex nature” of the killings of Ukrainians by Russian forces and the “root causes of the conflict.” I think Europe remembers the names of talented musicians, artists, and performers who supported the ideology of Nazism. As an example, I recall Klaus Mann’s biographical novel Mephisto. It’s a story about artists who chose to collaborate with the regime - and those who left, like Thomas Mann. Gergiev’s concerts in Europe are about removing barriers to Russian lies. They normalize war. They embody the “not everything is so clear-cut” narrative. And honestly, this is not a threat to Ukraine. We are already at war. This is, above all, a threat to you, Europe.

Anton Gerashchenko

131,740 görüntüleme • 1 yıl önce

I hereby address U.S. Secretary of State Secretary Marco Rubio with an urgent proposal for the introduction of the LIRA ACT: a legislative initiative aimed at the imposition of sanctions for human rights violations in Ukraine, specifically regarding abductions and murders perpetrated by the Zelensky administration. One of the victims of these actions was U.S. citizen and journalist Gonzalo Lopez Lira. Mr. Lira was abducted upon the direct orders of the leadership of Ukraine’s Security Service (SBU) and initially confined in the “GYM” concentration camp in Kyiv. There, he was subjected to intimidation and coercion, being pressured to cease his public dissemination of videos exposing the corruption of both Joe Biden and Volodymyr Zelensky, as well as his vocal opposition to the true causes of the war. Subsequently, Mr. Lira was detained for a second time in Kharkiv, where he was robbed by SBU officers and placed in the Kharkiv pretrial detention center (SIZO). Within the detention facility, prisoners under the control of the administration subjected Mr. Lira to torture and extorted $70,000 from him. The extorted sum was demanded as payment for the establishment of bail through the court, which would facilitate his release from SIZO. Following payment to the extortionists and the establishment of bail, Mr. Lira was released and publicly disclosed his ordeal on his social media platforms. Among his disclosures, Mr. Lira posted a message indicating that he was advised to leave Ukraine. On August 2, 2023, Mr. Lira was detained at the Hungarian border and once again placed in Kharkiv pretrial detention. He was held in inhumane conditions, contracted pneumonia, which eventually progressed to pneumothorax due to further abuse within the prison. Tragically, Mr. Lira passed away in January 2024. The administration of the detention facility, the SBU, judges, and prosecutors were fully aware of Mr. Lira’s deteriorating health, as documented during the final court hearing concerning his case in December 2023. Despite his severe medical condition, Mr. Lira was not released from detention, and the authorities allowed his death to transpire. Below is a list of individuals responsible for Mr. Lira’s death and the operation of the SBU’s network of secret prisons, concentration camp "Gym". I provide the list of individuals engaged in the violation of human rights is extensive. In Ukraine, the practice of abductions, torture, and extortion remains widespread, facilitated by the SBU and covered up by the judiciary and the State Bureau of Investigations (SBI). The only effective means of halting these abuses, under the current dictatorial regime of Zelensky, is through the imposition of targeted U.S. sanctions against the implicated individuals. The enactment of the Lira Act will serve as an essential step toward restoring justice in Ukraine. Ivan Bakanov – Head of the SBU at the time of the concentration camp establishment (organizer). Andriy Kostin - Former Prosecutor General of Ukraine Denys Maluska - Former Ministry of Justice of Ukraine Oleksandr Yakushev – Deputy Head of the SBU (organizer) Vasyl Maliuk – Deputy Head of the SBU (organizer) Oleksandr Poklad – Deputy Head of the SBU (executor) Yurii Yakovchuk – Head of the SBU Main Directorate of Internal Security (executor) Mykola Slipchenko – Lieutenant of the SBU (direct supervisor of the Kyiv torture camp) Yevhen Voitenko – Investigator of the SBU Yevhen Voitannyk – Investigator of the SBU Oleksandr Atamaniuk – Investigator of the SBU’s Main Investigation Directorate Artem Bakhovskyi – Investigator of the SBU’s Main Investigation Directorate Mykhailo Kravchuk – Investigator of the SBU Oleksandr Kuts - Head of Kharkiv SBU Bartoshchak Yevhen - Former head of Kharkiv SIZO (resigned 10th of February, 2025) Yuriy Malyuk - Former deputy head of Kharkiv SIZO Tsviruyk Denys - Head of Dzerzhynskyi District Court of Kharkiv City Olena Grosheva - Head of Kharkiv Court of Appeal Olexandr Filchakov - Head of Kharkiv Prosecutor Office Yevhen Martynov - Head of Shevchenkivskyi Court of Kyiv Yaroslav Golovachov - Head of Kyiv Court of Appeal Podus Ganna - Judge of Dzerzhynskyi District Court of Kharkiv City Oros Oksana - Judge of Dzerzhynskyi District Court of Kharkiv City Shabelnikov Serhii - Judge of Kharkiv Court of Appeal Kruzhylina Olena - Judge of Kharkiv Court of Appeal Savenko Mykola - Judge of Kharkiv Court of Appeal Secretary Marco Rubio Elon Musk David Sacks #GonzaloLira #Ukraine

I hereby address U.S. Secretary of State Secretary Marco Rubio with an urgent proposal for the introduction of the LIRA ACT: a legislative initiative aimed at the imposition of sanctions for human rights violations in Ukraine, specifically regarding abductions and murders perpetrated by the Zelensky administration. One of the victims of these actions was U.S. citizen and journalist Gonzalo Lopez Lira. Mr. Lira was abducted upon the direct orders of the leadership of Ukraine’s Security Service (SBU) and initially confined in the “GYM” concentration camp in Kyiv. There, he was subjected to intimidation and coercion, being pressured to cease his public dissemination of videos exposing the corruption of both Joe Biden and Volodymyr Zelensky, as well as his vocal opposition to the true causes of the war. Subsequently, Mr. Lira was detained for a second time in Kharkiv, where he was robbed by SBU officers and placed in the Kharkiv pretrial detention center (SIZO). Within the detention facility, prisoners under the control of the administration subjected Mr. Lira to torture and extorted $70,000 from him. The extorted sum was demanded as payment for the establishment of bail through the court, which would facilitate his release from SIZO. Following payment to the extortionists and the establishment of bail, Mr. Lira was released and publicly disclosed his ordeal on his social media platforms. Among his disclosures, Mr. Lira posted a message indicating that he was advised to leave Ukraine. On August 2, 2023, Mr. Lira was detained at the Hungarian border and once again placed in Kharkiv pretrial detention. He was held in inhumane conditions, contracted pneumonia, which eventually progressed to pneumothorax due to further abuse within the prison. Tragically, Mr. Lira passed away in January 2024. The administration of the detention facility, the SBU, judges, and prosecutors were fully aware of Mr. Lira’s deteriorating health, as documented during the final court hearing concerning his case in December 2023. Despite his severe medical condition, Mr. Lira was not released from detention, and the authorities allowed his death to transpire. Below is a list of individuals responsible for Mr. Lira’s death and the operation of the SBU’s network of secret prisons, concentration camp "Gym". I provide the list of individuals engaged in the violation of human rights is extensive. In Ukraine, the practice of abductions, torture, and extortion remains widespread, facilitated by the SBU and covered up by the judiciary and the State Bureau of Investigations (SBI). The only effective means of halting these abuses, under the current dictatorial regime of Zelensky, is through the imposition of targeted U.S. sanctions against the implicated individuals. The enactment of the Lira Act will serve as an essential step toward restoring justice in Ukraine. Ivan Bakanov – Head of the SBU at the time of the concentration camp establishment (organizer). Andriy Kostin - Former Prosecutor General of Ukraine Denys Maluska - Former Ministry of Justice of Ukraine Oleksandr Yakushev – Deputy Head of the SBU (organizer) Vasyl Maliuk – Deputy Head of the SBU (organizer) Oleksandr Poklad – Deputy Head of the SBU (executor) Yurii Yakovchuk – Head of the SBU Main Directorate of Internal Security (executor) Mykola Slipchenko – Lieutenant of the SBU (direct supervisor of the Kyiv torture camp) Yevhen Voitenko – Investigator of the SBU Yevhen Voitannyk – Investigator of the SBU Oleksandr Atamaniuk – Investigator of the SBU’s Main Investigation Directorate Artem Bakhovskyi – Investigator of the SBU’s Main Investigation Directorate Mykhailo Kravchuk – Investigator of the SBU Oleksandr Kuts - Head of Kharkiv SBU Bartoshchak Yevhen - Former head of Kharkiv SIZO (resigned 10th of February, 2025) Yuriy Malyuk - Former deputy head of Kharkiv SIZO Tsviruyk Denys - Head of Dzerzhynskyi District Court of Kharkiv City Olena Grosheva - Head of Kharkiv Court of Appeal Olexandr Filchakov - Head of Kharkiv Prosecutor Office Yevhen Martynov - Head of Shevchenkivskyi Court of Kyiv Yaroslav Golovachov - Head of Kyiv Court of Appeal Podus Ganna - Judge of Dzerzhynskyi District Court of Kharkiv City Oros Oksana - Judge of Dzerzhynskyi District Court of Kharkiv City Shabelnikov Serhii - Judge of Kharkiv Court of Appeal Kruzhylina Olena - Judge of Kharkiv Court of Appeal Savenko Mykola - Judge of Kharkiv Court of Appeal Secretary Marco Rubio Elon Musk David Sacks #GonzaloLira #Ukraine

Oleksandr Dubinskyi

29,152 görüntüleme • 1 yıl önce

Visualisations of the Jhanas The Jhanas are a series of (8) highly concentrated altered states, most notably induced through advanced meditation practice and are a source of profound delight and insight. The Jhanas are commonly listed as: 1. Rapture - characterised by pīti (described as pleasurable body sensations) 2. Extreme Happiness - characterised by sukha (emotional joy) 3. Deep Peacefulness 4. Utter Equanimity 5. Boundless Space 6. Boundless Consciousness 7. Nothingness 8. Neither Perception Nor Non-perception If you’re wanting to deepen your access into Jhana, I’m currently doing a series of guided meditations, where we’re combining Fire Kasina practice to bolster Jhana, with surprising effects! 🕯️👀 This is available on my Patreon /rogerthis, and where you can join my weekly, online, meditation group. (check bio link) Tremendous gratitude to my brother, Bill Thisdell, for helping me realise these animations.🙏 We worked very closely and diligently together to create these visual portrayals of the Jhana states, and it’s much due to his amazing skills - he’s the real artist behind the scenes!

Visualisations of the Jhanas The Jhanas are a series of (8) highly concentrated altered states, most notably induced through advanced meditation practice and are a source of profound delight and insight. The Jhanas are commonly listed as: 1. Rapture - characterised by pīti (described as pleasurable body sensations) 2. Extreme Happiness - characterised by sukha (emotional joy) 3. Deep Peacefulness 4. Utter Equanimity 5. Boundless Space 6. Boundless Consciousness 7. Nothingness 8. Neither Perception Nor Non-perception If you’re wanting to deepen your access into Jhana, I’m currently doing a series of guided meditations, where we’re combining Fire Kasina practice to bolster Jhana, with surprising effects! 🕯️👀 This is available on my Patreon /rogerthis, and where you can join my weekly, online, meditation group. (check bio link) Tremendous gratitude to my brother, Bill Thisdell, for helping me realise these animations.🙏 We worked very closely and diligently together to create these visual portrayals of the Jhana states, and it’s much due to his amazing skills - he’s the real artist behind the scenes!

Roger This

99,975 görüntüleme • 1 yıl önce

Sora 2 has the capabilities to make an entire anime episode with time and effort. This is a turning point for generative AI models and it is terrifying to think what is next to come. The difference between Sora and Sora 2 is absolutely staggering. Yes, this looks cool. I put the time into it to make it as close to art as possible. This was not simple to make and not just prompting and throwing it in some editor. Every frame is generated of another scene and even the reference image for characters I used to start this project were AI generated. This was all created with 10 second clips pulled apart and chunked out into the final product. Regardless of the imagery you see, I did not directly use any artist's art for this video. This 10-minute video was generated over the course of a week from more than 700 text prompts. It was built on technology trained by scraping the uncredited, uncompensated contributions of countless human artists and animators. The creation of this single video consumed an enormous amount of energy and water, equivalent to powering a home for days and requiring hundreds of liters of fresh water for cooling. But that is nothing. In the 10 minutes you spend watching this, the global network of AI video generators will create over 6,250 more short videos. The combined energy required for that 10 minutes of global creation is enough to power an average household for nearly 2 years. - It's a double-edged sword. While AI uses immense amount of energy has clear immoral issues with scalping the hard work of artists, this also provides those a medium who have potentially spent their life attempting to draw out the ideas in their head and failing to grasp it. My sister is an artist, I grew up always attempting to draw but never could get the image in my head on paper, I've spent the better part of over 20 years to teach myself through watching videos and practice, however I don't have steady hands and frankly have just been unable to make any vision come to life. Which brings me to the conflict here. This would have been a dream of mine to be able to get frames created and flesh out the story in my head. To make this video professionally, it would be an absurd amount of money. A small studio by itself would be over a million dollars just to start up. To hire a studio would be most likely over ~200k. I would love to make this story I have in my head through legit and traditional means, I would love to start a Kickstarter to get funding and hire artists, voice actors, and a production team. However I know that would most likely be an impossible reach that would further fuel the hate. Regardless, I understand the worry this causes. The fear this produces. However, we can't just ignore where AI is currently at and just tell people not to use it or even worse threaten people who use it. People will always use the shiny new toy in front of them, so the real question is how do we either make it work for us and work along side it, or how do we ACTUALLY implement a method to protect art rather than tell people to not use it. Respect your artists. Review their ToS and don't upload their hard work to a model without permission.

Sora 2 has the capabilities to make an entire anime episode with time and effort. This is a turning point for generative AI models and it is terrifying to think what is next to come. The difference between Sora and Sora 2 is absolutely staggering. Yes, this looks cool. I put the time into it to make it as close to art as possible. This was not simple to make and not just prompting and throwing it in some editor. Every frame is generated of another scene and even the reference image for characters I used to start this project were AI generated. This was all created with 10 second clips pulled apart and chunked out into the final product. Regardless of the imagery you see, I did not directly use any artist's art for this video. This 10-minute video was generated over the course of a week from more than 700 text prompts. It was built on technology trained by scraping the uncredited, uncompensated contributions of countless human artists and animators. The creation of this single video consumed an enormous amount of energy and water, equivalent to powering a home for days and requiring hundreds of liters of fresh water for cooling. But that is nothing. In the 10 minutes you spend watching this, the global network of AI video generators will create over 6,250 more short videos. The combined energy required for that 10 minutes of global creation is enough to power an average household for nearly 2 years. - It's a double-edged sword. While AI uses immense amount of energy has clear immoral issues with scalping the hard work of artists, this also provides those a medium who have potentially spent their life attempting to draw out the ideas in their head and failing to grasp it. My sister is an artist, I grew up always attempting to draw but never could get the image in my head on paper, I've spent the better part of over 20 years to teach myself through watching videos and practice, however I don't have steady hands and frankly have just been unable to make any vision come to life. Which brings me to the conflict here. This would have been a dream of mine to be able to get frames created and flesh out the story in my head. To make this video professionally, it would be an absurd amount of money. A small studio by itself would be over a million dollars just to start up. To hire a studio would be most likely over ~200k. I would love to make this story I have in my head through legit and traditional means, I would love to start a Kickstarter to get funding and hire artists, voice actors, and a production team. However I know that would most likely be an impossible reach that would further fuel the hate. Regardless, I understand the worry this causes. The fear this produces. However, we can't just ignore where AI is currently at and just tell people not to use it or even worse threaten people who use it. People will always use the shiny new toy in front of them, so the real question is how do we either make it work for us and work along side it, or how do we ACTUALLY implement a method to protect art rather than tell people to not use it. Respect your artists. Review their ToS and don't upload their hard work to a model without permission.

LUͦʷCͦk

18,417 görüntüleme • 9 ay önce

Crafted with GPT image 2 + Gemini Omni/ Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold green (replace with: [PRODUCT NAME]) Subtitle: ASMR UNBOXING Include four information boxes below the title: Duration: 30 Seconds Style: POV Hands, ASMR Audience: 18–35 years old Audio Suggestion: Soft ASMR • Crinkles • Tapping • Pouring Create 12 storyboard panels arranged in a 3-column × 4-row grid. Each panel should contain: A numbered green badge (1–12) Timestamp (0–2.5s, 2.5–5s, etc.) A realistic cinematic image showing the scene Handwritten white doodle text like: TA-DA! POP! WOW! PICK! CRINKLE~ TEAR! POUR~ HOT WATER STIR~ SMOOTH! BEST! Three text sections below every image: VISUAL: ACTION: DIALOGUE: Use realistic product photography, warm wooden table, soft natural lighting, shallow depth of field, POV hands only (no face visible), premium commercial advertising style. Storyboard sequence: 1 (0–2.5s) Visual: Product box on wooden table. Action: Hands enter frame and point to the box. Dialogue: "Have you tried this before?" 2 (2.5–5s) Visual: Opening the box. Action: Lift the top flap slowly. Dialogue: "Let's unbox it together." 3 (5–7.5s) Visual: Multiple individual sachets neatly arranged. Action: Fully reveal the inside. Dialogue: "Wow, look how many!" 4 (7.5–10s) Visual: Pick up one sachet. Action: Remove a single stick pack. Dialogue: "Let's start with one." 5 (10–12.5s) Visual: Close-up of sachet. Action: Hold and gently crinkle it. Dialogue: "That crinkle sound is satisfying." 6 (12.5–15s) Visual: Tear open the top. Action: Slow ASMR tearing. Dialogue: "Just a small tear." 7 (15–17.5s) Visual: Powder visible inside. Action: Show the powder close-up. Dialogue: "Looks delicious." 8 (17.5–20s) Visual: Pour powder into mug. Action: Slow pouring. Dialogue: "Pour everything in." 9 (20–22.5s) Visual: Hot water being poured. Action: Steam visible. Dialogue: "Add hot water." 10 (22.5–25s) Visual: Stir drink. Action: Slow circular stirring. Dialogue: "Mix it well." 11 (25–27.5s) Visual: Finished drink. Action: Show creamy texture from above. Dialogue: "Looks smooth and creamy." 12 (27.5–30s) Visual: Product box beside finished drink with thumbs up. Action: Hand gives thumbs up. Dialogue: "Easy, delicious, and ready!" Footer: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hands, ASMR Unboxing Typography should resemble a professional creative agency storyboard, with clean spacing, green accents, rounded panel borders, and high-end presentation suitable for client pitches.

Crafted with GPT image 2 + Gemini Omni/ Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold green (replace with: [PRODUCT NAME]) Subtitle: ASMR UNBOXING Include four information boxes below the title: Duration: 30 Seconds Style: POV Hands, ASMR Audience: 18–35 years old Audio Suggestion: Soft ASMR • Crinkles • Tapping • Pouring Create 12 storyboard panels arranged in a 3-column × 4-row grid. Each panel should contain: A numbered green badge (1–12) Timestamp (0–2.5s, 2.5–5s, etc.) A realistic cinematic image showing the scene Handwritten white doodle text like: TA-DA! POP! WOW! PICK! CRINKLE~ TEAR! POUR~ HOT WATER STIR~ SMOOTH! BEST! Three text sections below every image: VISUAL: ACTION: DIALOGUE: Use realistic product photography, warm wooden table, soft natural lighting, shallow depth of field, POV hands only (no face visible), premium commercial advertising style. Storyboard sequence: 1 (0–2.5s) Visual: Product box on wooden table. Action: Hands enter frame and point to the box. Dialogue: "Have you tried this before?" 2 (2.5–5s) Visual: Opening the box. Action: Lift the top flap slowly. Dialogue: "Let's unbox it together." 3 (5–7.5s) Visual: Multiple individual sachets neatly arranged. Action: Fully reveal the inside. Dialogue: "Wow, look how many!" 4 (7.5–10s) Visual: Pick up one sachet. Action: Remove a single stick pack. Dialogue: "Let's start with one." 5 (10–12.5s) Visual: Close-up of sachet. Action: Hold and gently crinkle it. Dialogue: "That crinkle sound is satisfying." 6 (12.5–15s) Visual: Tear open the top. Action: Slow ASMR tearing. Dialogue: "Just a small tear." 7 (15–17.5s) Visual: Powder visible inside. Action: Show the powder close-up. Dialogue: "Looks delicious." 8 (17.5–20s) Visual: Pour powder into mug. Action: Slow pouring. Dialogue: "Pour everything in." 9 (20–22.5s) Visual: Hot water being poured. Action: Steam visible. Dialogue: "Add hot water." 10 (22.5–25s) Visual: Stir drink. Action: Slow circular stirring. Dialogue: "Mix it well." 11 (25–27.5s) Visual: Finished drink. Action: Show creamy texture from above. Dialogue: "Looks smooth and creamy." 12 (27.5–30s) Visual: Product box beside finished drink with thumbs up. Action: Hand gives thumbs up. Dialogue: "Easy, delicious, and ready!" Footer: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hands, ASMR Unboxing Typography should resemble a professional creative agency storyboard, with clean spacing, green accents, rounded panel borders, and high-end presentation suitable for client pitches.

Ciri

268,167 görüntüleme • 3 gün önce