Загрузка видео...

Не удалось загрузить видео

Возникла проблема при загрузке этого видео. Это может быть связано с временными проблемами сети или видео может быть недоступно.

На главную

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

2,050,451 subscribers

16,759 просмотров • 1 год назад •via X (Twitter)

Наука и технологии Искусство Юмор

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

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 просмотров • 1 год назад

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 ✨

11,777 просмотров • 1 год назад

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

67,940 просмотров • 3 месяцев назад

#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

270,174 просмотров • 11 месяцев назад

This has to be one of the best fight scenes in the entire Fast & Furious franchise. Letty is seriously one of the most badass characters ever. She can take a brutal beating and still keep coming. And whenever the women fight in Fast & Furious, they really go at it. No guns, no fancy tricks just punches, slaps, grappling and pure intensity until one of them can’t keep going. The Letty vs. Kara fight was especially insane. Letty and Kara going head to head was already a perfect matchup, but knowing Kara is played by a professional MMA fighter while Letty is played by such a talented stunt performer makes the whole scene even cooler. The fight felt raw, physical and intense from start to finish. Definitely one of the most memorable fights in the whole franchise.

This has to be one of the best fight scenes in the entire Fast & Furious franchise. Letty is seriously one of the most badass characters ever. She can take a brutal beating and still keep coming. And whenever the women fight in Fast & Furious, they really go at it. No guns, no fancy tricks just punches, slaps, grappling and pure intensity until one of them can’t keep going. The Letty vs. Kara fight was especially insane. Letty and Kara going head to head was already a perfect matchup, but knowing Kara is played by a professional MMA fighter while Letty is played by such a talented stunt performer makes the whole scene even cooler. The fight felt raw, physical and intense from start to finish. Definitely one of the most memorable fights in the whole franchise.

prettylittlethreat

29,728 просмотров • 17 дней назад

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

69,262 просмотров • 3 месяцев назад

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

32,855 просмотров • 2 месяцев назад

How Martin Scorsese Uses AI: Prototyping Set Ideas By Bringing His Thoughts to Life Black Forest Labs CEO Robin Rombach explains to @jason: Jason: “You sat in a room with Marty Scorsese and showed him your tools, what was his reaction?” Rombach: “He clearly has a vision in his head of a scene or scenery where maybe a new movie will be shot, and he's trying to explore that. We basically looked at the scenery of a village in Eastern Europe somewhere, and he was describing it. We saw some outputs, we iterated on the outputs. Getting the mental picture of something out of your head and communicating it in a visual way by making these images, or a series of images, just makes it easier to communicate and convey an idea of what is actually in your head. I think that's one of the very interesting and powerful ways to use this technology.” Jason: “Is to get the inspiration, to get the vision, out of his head onto an image?” Rombach: “Yeah, language ultimately is a little bit of a lossy communication medium, right? It's also interpreted in different ways, but then visual information is so rich. An image or video, there's so much signal in it, and it's just another way of communicating. And I think that's one of the beautiful things that this technology ultimately enables.” ------------------------------ Thanks to our partners for making this possible! Most advertisers have never heard of the platform with an $11B annual run rate in ad spend. AppLovin Ads — 1B+ daily active users, full-screen video ads watched for a median of 35 seconds, and businesses are profitably spending hundreds of thousands of dollars a day on it. Advertiser access is in closed beta. The window is open at Positioned at the nexus of technology and the capital markets, Nasdaq provides premier platforms and services for global capital markets and beyond with unmatched technology, insights and markets expertise.

How Martin Scorsese Uses AI: Prototyping Set Ideas By Bringing His Thoughts to Life Black Forest Labs CEO Robin Rombach explains to @jason: Jason: “You sat in a room with Marty Scorsese and showed him your tools, what was his reaction?” Rombach: “He clearly has a vision in his head of a scene or scenery where maybe a new movie will be shot, and he's trying to explore that. We basically looked at the scenery of a village in Eastern Europe somewhere, and he was describing it. We saw some outputs, we iterated on the outputs. Getting the mental picture of something out of your head and communicating it in a visual way by making these images, or a series of images, just makes it easier to communicate and convey an idea of what is actually in your head. I think that's one of the very interesting and powerful ways to use this technology.” Jason: “Is to get the inspiration, to get the vision, out of his head onto an image?” Rombach: “Yeah, language ultimately is a little bit of a lossy communication medium, right? It's also interpreted in different ways, but then visual information is so rich. An image or video, there's so much signal in it, and it's just another way of communicating. And I think that's one of the beautiful things that this technology ultimately enables.” ------------------------------ Thanks to our partners for making this possible! Most advertisers have never heard of the platform with an $11B annual run rate in ad spend. AppLovin Ads — 1B+ daily active users, full-screen video ads watched for a median of 35 seconds, and businesses are profitably spending hundreds of thousands of dollars a day on it. Advertiser access is in closed beta. The window is open at Positioned at the nexus of technology and the capital markets, Nasdaq provides premier platforms and services for global capital markets and beyond with unmatched technology, insights and markets expertise.

The All-In Podcast

51,522 просмотров • 2 месяцев назад

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

165,810 просмотров • 5 месяцев назад

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 просмотров • 2 лет назад

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 🧲 🇮🇹

369,726 просмотров • 5 месяцев назад

Chen Xi, the person behind OPPO ColorOS, might honestly be the guy Samsung’s One UI team would love to steal the most. Too bad for them… he’s already taken. 😂 I was checking out the latest ColorOS 17, and a few little things really caught my attention. The lighting effects are not just there to make everything look fancy. The light actually helps guide your eyes to the important stuff, so you kind of know where to look without even thinking about it. And the clock stays as the main visual focus and the whole transition feels really seamless. The feedback is quick and interactive as well. Buttons have these subtle little movements when you tap them, which makes the whole UI feel much more responsive. These are all small details, but this is exactly the kind of stuff that makes a UI feel polished and alive. ColorOS 17 has clearly put a lot of thought into motion and interaction.

Chen Xi, the person behind OPPO ColorOS, might honestly be the guy Samsung’s One UI team would love to steal the most. Too bad for them… he’s already taken. 😂 I was checking out the latest ColorOS 17, and a few little things really caught my attention. The lighting effects are not just there to make everything look fancy. The light actually helps guide your eyes to the important stuff, so you kind of know where to look without even thinking about it. And the clock stays as the main visual focus and the whole transition feels really seamless. The feedback is quick and interactive as well. Buttons have these subtle little movements when you tap them, which makes the whole UI feel much more responsive. These are all small details, but this is exactly the kind of stuff that makes a UI feel polished and alive. ColorOS 17 has clearly put a lot of thought into motion and interaction.

Ice Universe

193,876 просмотров • 1 день назад

this entire AI ad was 100% AUTOMATED... V4 generated everything you see in the video and edited the whole thing together the full video came out to $10.26 total It can automate some of the MOST difficult editing styles in UGC... > insanely realistic podcast ads with multiple speakers > animations with multiple complex scenes and custom sound effects > talking head videos with very advanced editing > heavy b-roll ads in ANY visual style you can give V4 ANY ad concept and have it create the entire video for your product without needing an editor or doing anything manually after.. V4 includes 26 modules, hours of recordings and all of the automated systems i've built from generating thousands of videos across every major model the more i work on V4 the more i genuinely believe this is the final system for AI UGC stay tuned...

this entire AI ad was 100% AUTOMATED... V4 generated everything you see in the video and edited the whole thing together the full video came out to $10.26 total It can automate some of the MOST difficult editing styles in UGC... > insanely realistic podcast ads with multiple speakers > animations with multiple complex scenes and custom sound effects > talking head videos with very advanced editing > heavy b-roll ads in ANY visual style you can give V4 ANY ad concept and have it create the entire video for your product without needing an editor or doing anything manually after.. V4 includes 26 modules, hours of recordings and all of the automated systems i've built from generating thousands of videos across every major model the more i work on V4 the more i genuinely believe this is the final system for AI UGC stay tuned...

Miko

24,582 просмотров • 1 месяц назад

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 просмотров • 1 год назад

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

42,211 просмотров • 5 месяцев назад

Completed 2 years at smallest.ai yesterday (We also announced a round the same day) It's been one hell of a ride. Being at a place from day 0, where the office is your home sometimes, has its privileges. You watch the company grow. You watch the people grow. You grow with them. Honestly, it sounds cliche, but time here genuinely did not feel the same. 2 years feels closer to 6 months. Cannot imagine being on it without these two and several more talented folks along the way! Evolved in ways I cannot explain. To a much bigger year, and to always learning 🚀

Completed 2 years at smallest.ai yesterday (We also announced a round the same day) It's been one hell of a ride. Being at a place from day 0, where the office is your home sometimes, has its privileges. You watch the company grow. You watch the people grow. You grow with them. Honestly, it sounds cliche, but time here genuinely did not feel the same. 2 years feels closer to 6 months. Cannot imagine being on it without these two and several more talented folks along the way! Evolved in ways I cannot explain. To a much bigger year, and to always learning 🚀

Devanshpawan

17,023 просмотров • 1 месяц назад

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 просмотров • 4 месяцев назад

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

677,857 просмотров • 9 месяцев назад