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Here we go. Small changes, but it's another addition to PEOM's growing collection of polished and refined cutscenes. 1. New Arrival scene: a) Other vehicles now arrive with Anderson and Shepard - minimizing the ludonarrative dissonance from Vanilla. b) Harbinger shoots his beam (originally meant to be in the...

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Orikon

1,855 subscribers

15,620 次观看 • 9 个月前 •via X (Twitter)

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Hej Bloxburgers! Update 12.1 is here!! 👑 🚀 Transform your in-game home with charming, kid-friendly furniture - perfect for creating a vibrant and playful atmosphere. 🧸 Explore a world of imagination with a range of kids' toys and cool decorations that will bring joy to every corner of your Bloxburg room. 🚗 Set off on exciting journeys with our new range of kid-sized vehicles, designed for fun and exploration. 🍔 Satisfy your in-game cravings with a menu of yummy new foods 🤸‍♂️ Try the fun new toddlers and kids animations, which add depth and realism to your in-game family experience. 🌳 Celebrate the bonds that connect your in-game characters with the introduction of a family tree feature, providing a visual representation of your family ties. 🔐 Exercise full control over your in-game experience by customizing permission settings 🐛 Major bug fixes & much more!
0:59

Hej Bloxburgers! Update 12.1 is here!! 👑 🚀 Transform your in-game home with charming, kid-friendly furniture - perfect for creating a vibrant and playful atmosphere. 🧸 Explore a world of imagination with a range of kids' toys and cool decorations that will bring joy to every corner of your Bloxburg room. 🚗 Set off on exciting journeys with our new range of kid-sized vehicles, designed for fun and exploration. 🍔 Satisfy your in-game cravings with a menu of yummy new foods 🤸‍♂️ Try the fun new toddlers and kids animations, which add depth and realism to your in-game family experience. 🌳 Celebrate the bonds that connect your in-game characters with the introduction of a family tree feature, providing a visual representation of your family ties. 🔐 Exercise full control over your in-game experience by customizing permission settings 🐛 Major bug fixes & much more!

Welcome to Bloxburg

115,921 次观看 • 2 年前

Making AI commercials takes 5 minutes and costs $5, right? That's what we keep hearing, so is it true? Short answer, no. If you want a good AI ad then I'd encourage you to engage a person or studio that has demonstrated that they can do these 2 things well: ☝ Tell a STORY (conflict and resolution) ✌ Control the consistency of a SCENE Often you'll find that "consistency" is demonstrated by having the same character in 20 different locations, and yes, that is a form of consistency. But the greater challenge of control is consistency within a scene. That doesn't just require your character to be consistent, now everything in the room, everything, must be consistent. However, storytelling is primary, because everything can be consistent, but that doesn't make it interesting. In short, the best way to demand a good story from yourself is to motivate every single cut. My rule is, if you're going to cut to a new shot, the previous shot must motivate that next shot. Each action of a character must be motivated, each scene, and so on. And yes, you need a team. David LaChance, Jr. and Robby are powerhouse AI artists, and I'm always honored to go shoulder-to-shoulder with them. Guys, you rock! DoControl is not only an awesome company, the people who run the ship are amazing people. It's a joy to mix it up with you.
1:00

Making AI commercials takes 5 minutes and costs $5, right? That's what we keep hearing, so is it true? Short answer, no. If you want a good AI ad then I'd encourage you to engage a person or studio that has demonstrated that they can do these 2 things well: ☝ Tell a STORY (conflict and resolution) ✌ Control the consistency of a SCENE Often you'll find that "consistency" is demonstrated by having the same character in 20 different locations, and yes, that is a form of consistency. But the greater challenge of control is consistency within a scene. That doesn't just require your character to be consistent, now everything in the room, everything, must be consistent. However, storytelling is primary, because everything can be consistent, but that doesn't make it interesting. In short, the best way to demand a good story from yourself is to motivate every single cut. My rule is, if you're going to cut to a new shot, the previous shot must motivate that next shot. Each action of a character must be motivated, each scene, and so on. And yes, you need a team. David LaChance, Jr. and Robby are powerhouse AI artists, and I'm always honored to go shoulder-to-shoulder with them. Guys, you rock! DoControl is not only an awesome company, the people who run the ship are amazing people. It's a joy to mix it up with you.

Jordan Daniel Chesney

25,803 次观看 • 9 个月前

🗣️: difficult position for quite a few races. is this just the reality of the situation for williams at the moment? carlos: yeah, for sure. and even moreso in a track like this where you're very downforce dependent and also very weight dependent and we know we lack in these two areas. so yeah, it was always going to be a difficult weekend for us. it started more or less where we expected, to be fighting to get out of q1. maybe with a perfect fp1 where i could have run and we hit again reliability issues and potentially, maybe, you can think about fighting for q2, but for that we need a clean weekend and so far it hasn't started that way either. so yeah, many many issues from australia carrying over here and we need to keep getting on top of them. 🗣️: how do you approach the rest of the weekend? is it a bit of a test session for the team, maybe finding some answers to some lingering questions? carlos: yeah, we're trying different things, testing different things. we will use the weekend to do so and also to get myself up to speed because fp2 in australia, i didn't run almost. fp3, i didn't run. quali, i didn't run. fp1 here, i didn't run. so you can imagine i'm a few sessions down to the rest of the field and to the knowledge of the car.
1:07

🗣️: difficult position for quite a few races. is this just the reality of the situation for williams at the moment? carlos: yeah, for sure. and even moreso in a track like this where you're very downforce dependent and also very weight dependent and we know we lack in these two areas. so yeah, it was always going to be a difficult weekend for us. it started more or less where we expected, to be fighting to get out of q1. maybe with a perfect fp1 where i could have run and we hit again reliability issues and potentially, maybe, you can think about fighting for q2, but for that we need a clean weekend and so far it hasn't started that way either. so yeah, many many issues from australia carrying over here and we need to keep getting on top of them. 🗣️: how do you approach the rest of the weekend? is it a bit of a test session for the team, maybe finding some answers to some lingering questions? carlos: yeah, we're trying different things, testing different things. we will use the weekend to do so and also to get myself up to speed because fp2 in australia, i didn't run almost. fp3, i didn't run. quali, i didn't run. fp1 here, i didn't run. so you can imagine i'm a few sessions down to the rest of the field and to the knowledge of the car.

yoyo 🦄

33,071 次观看 • 5 个月前

Scott Eastwood shares his traumatic experience of not being able to grieve after his girlfriend died in an airbag accident Dax Shepard: Yeah. This is the crazy one of the craziest ways I've ever heard someone's died. Scott Eastwood: Yeah. Dax Shepard: Is her airbag went off and it was defective. Scott Eastwood: Yeah, yeah, they had a, um, a recall on the airbag, and, uh... and, and what would have been a, uh, a fender bender... Dax Shepard: Yeah. Scott Eastwood: ...uh, you know, probably most people would survive. Yeah, she, uh... she was essentially shot by the airbag. Monica Padman: Oh, my god. That's horrifying. Dax Shepard: And... Monica Padman: So sad. Dax Shepard: How are you juggling what I would imagine... like, for me, if I were you at 28... Scott Eastwood: Yeah. That sounds about right. Dax Shepard: Did you had you just finished Fury? Scott Eastwood: I was on another film set at the time. Dax Shepard: You were. Scott Eastwood: I was on another film set. And as you know, being on a film set when someone passes or something happens, it's really tough because, and this had happened before, actually. I had lost, um... lost Paul Walker on Fury, and he was one of my... Dax Shepard: Oh, you guys were... Monica Padman: Oh, my god. Dax Shepard: ...close friends? Uh-huh. Scott Eastwood: ...close friends. When you're on a film set, you don't have time to grieve because the show must go on. Dax Shepard: You might be shooting the happiest scene your character has an hour after you hear this. Monica Padman: Ugh. Scott Eastwood: Exactly, yeah. So, you can't fly home. You're stuck. you've got to work. And it actually happened—well, I got the call actually during a filming day. Um... and I think I did a, you know, a classic defense mechanism, just punt that to later. Dax Shepard: Compartmentalized. Scott Eastwood: Compartmentalized that to later. Dax Shepard: Yeah, "That's going to be miserable and we're going to deal with that at some point that's not today." Scott Eastwood: Yeah. Yeah, brutal having to deal with that and then, and then, um... yeah, not being able to go through that. I grieved later. Dax Shepard: Yeah. Scott Eastwood: I grieved later, um... You know, I think, and that's not a great thing because I think you do want to grieve with the people that are around that you know, that were part of their lives as well. Dax Shepard: Yeah! Scott Eastwood: Yeah. That's like an important part of the grieving process. Dax Shepard: I agree. It's kind of the... sweetest, nicest part. And then you go to the funeral, and you think that's going to be miserable, but it's like, no, you see all these people are dealing with the same thing. It can be weirdly beautiful if you get to do that part. Scott Eastwood: Yeah. Yeah. And see, I never got to do it, and I actually, uh... I think I compartmentalized it so much I couldn't go to the... Well, I don't actually remember if I actually couldn't because of filming or if I just completely blacked it out, but... Yeah, I had to process that grief later. That was tough. Dax Shepard: Fuck.
2:37

Scott Eastwood shares his traumatic experience of not being able to grieve after his girlfriend died in an airbag accident Dax Shepard: Yeah. This is the crazy one of the craziest ways I've ever heard someone's died. Scott Eastwood: Yeah. Dax Shepard: Is her airbag went off and it was defective. Scott Eastwood: Yeah, yeah, they had a, um, a recall on the airbag, and, uh... and, and what would have been a, uh, a fender bender... Dax Shepard: Yeah. Scott Eastwood: ...uh, you know, probably most people would survive. Yeah, she, uh... she was essentially shot by the airbag. Monica Padman: Oh, my god. That's horrifying. Dax Shepard: And... Monica Padman: So sad. Dax Shepard: How are you juggling what I would imagine... like, for me, if I were you at 28... Scott Eastwood: Yeah. That sounds about right. Dax Shepard: Did you had you just finished Fury? Scott Eastwood: I was on another film set at the time. Dax Shepard: You were. Scott Eastwood: I was on another film set. And as you know, being on a film set when someone passes or something happens, it's really tough because, and this had happened before, actually. I had lost, um... lost Paul Walker on Fury, and he was one of my... Dax Shepard: Oh, you guys were... Monica Padman: Oh, my god. Dax Shepard: ...close friends? Uh-huh. Scott Eastwood: ...close friends. When you're on a film set, you don't have time to grieve because the show must go on. Dax Shepard: You might be shooting the happiest scene your character has an hour after you hear this. Monica Padman: Ugh. Scott Eastwood: Exactly, yeah. So, you can't fly home. You're stuck. you've got to work. And it actually happened—well, I got the call actually during a filming day. Um... and I think I did a, you know, a classic defense mechanism, just punt that to later. Dax Shepard: Compartmentalized. Scott Eastwood: Compartmentalized that to later. Dax Shepard: Yeah, "That's going to be miserable and we're going to deal with that at some point that's not today." Scott Eastwood: Yeah. Yeah, brutal having to deal with that and then, and then, um... yeah, not being able to go through that. I grieved later. Dax Shepard: Yeah. Scott Eastwood: I grieved later, um... You know, I think, and that's not a great thing because I think you do want to grieve with the people that are around that you know, that were part of their lives as well. Dax Shepard: Yeah! Scott Eastwood: Yeah. That's like an important part of the grieving process. Dax Shepard: I agree. It's kind of the... sweetest, nicest part. And then you go to the funeral, and you think that's going to be miserable, but it's like, no, you see all these people are dealing with the same thing. It can be weirdly beautiful if you get to do that part. Scott Eastwood: Yeah. Yeah. And see, I never got to do it, and I actually, uh... I think I compartmentalized it so much I couldn't go to the... Well, I don't actually remember if I actually couldn't because of filming or if I just completely blacked it out, but... Yeah, I had to process that grief later. That was tough. Dax Shepard: Fuck.

Emmy🧡

159,641 次观看 • 23 天前

🏃 Movement + Animation Update: Following feedback on the Official Trailer from December, we've been further tuning and polishing Stuffy's movement to make it more responsive and fluid. We hope this video is a promising glimpse of our much-requested progress in this area! What's New? - Stuffy is now ~10% smaller, granting more playable space and control (to accurately fit inside of a 'layered' segment, land tight jumps, etc.) - Stuffy's run speed was increased, and with better acceleration. - Stuffy now reacts to 'extreme' rising and falling velocities, so they'll flail around dramatically when popping out of a Blink Bubble, bouncing on a Trampoline, or falling from big jumps. - We've updated and added all-new animations and the method of blending them. This includes animations for idle jump and land, running jump and land, quick turn while running, and more. - We've increased Stuffy's max jump height, strength, and overall weight. - We've also increased the global gravity for less floaty physics. - A more visible drop shadow was added to help judge landing. Why these changes? From our own testing and public feedback, we realized the physics were not properly tuned after a big refactoring made in 2023... resulting in a floaty look. Sadly, the fixes weren't investigated in time for the trailer! Our goal was always to improve the animation blending and movement style. Thanks to your feedback, we were able to pinpoint the biggest problems and begin fixing them. 💖 Our work isn't done! You'll notice some bugs in the video. 🐞 We plan to continue polishing the movement with time, including new animations that help Stuffy react to the environment even better. However, this is a step in the right direction and it feels much nicer to use (and look at)! You'll also spot some of the Wardrobe in action!
0:49

🏃 Movement + Animation Update: Following feedback on the Official Trailer from December, we've been further tuning and polishing Stuffy's movement to make it more responsive and fluid. We hope this video is a promising glimpse of our much-requested progress in this area! What's New? - Stuffy is now ~10% smaller, granting more playable space and control (to accurately fit inside of a 'layered' segment, land tight jumps, etc.) - Stuffy's run speed was increased, and with better acceleration. - Stuffy now reacts to 'extreme' rising and falling velocities, so they'll flail around dramatically when popping out of a Blink Bubble, bouncing on a Trampoline, or falling from big jumps. - We've updated and added all-new animations and the method of blending them. This includes animations for idle jump and land, running jump and land, quick turn while running, and more. - We've increased Stuffy's max jump height, strength, and overall weight. - We've also increased the global gravity for less floaty physics. - A more visible drop shadow was added to help judge landing. Why these changes? From our own testing and public feedback, we realized the physics were not properly tuned after a big refactoring made in 2023... resulting in a floaty look. Sadly, the fixes weren't investigated in time for the trailer! Our goal was always to improve the animation blending and movement style. Thanks to your feedback, we were able to pinpoint the biggest problems and begin fixing them. 💖 Our work isn't done! You'll notice some bugs in the video. 🐞 We plan to continue polishing the movement with time, including new animations that help Stuffy react to the environment even better. However, this is a step in the right direction and it feels much nicer to use (and look at)! You'll also spot some of the Wardrobe in action!

Restitched 🧵🧸

17,161 次观看 • 1 年前

[SEASON UPDATE] 🔥 Firestorm The Major Content Update – Season 32 – for #WarThunderMobile is now in the #game: — New top-rank vehicles and their blueprints in seasonal Trophies. — A new season of the long-term event with unique vehicles in the Trophies. — A new season of the Battle Pass. — Team balancer. 🛠 Changes — A number of changes have been made to the post-battle statistics window, including the addition of a separate tab for task completion progress, sorted by event type. — The ability to view ads has been added to the post-battle statistics window: you can increase your battle reward by 30% by watching a video. — For the #tank campaign, the vehicle card in the research tech tree now displays upgrades from crew training for the slot in which the vehicle is equipped. — A number of fixes have been made to the replay functionality. — A bug that caused the number of rare vehicles to be incorrectly calculated in a player’s personal statistics has been fixed. Now only collectible units are counted, while hidden (not yet added) units are no longer counted. 📚 More details: #wtm #ships #aircraft
1:26

[SEASON UPDATE] 🔥 Firestorm The Major Content Update – Season 32 – for #WarThunderMobile is now in the #game: — New top-rank vehicles and their blueprints in seasonal Trophies. — A new season of the long-term event with unique vehicles in the Trophies. — A new season of the Battle Pass. — Team balancer. 🛠 Changes — A number of changes have been made to the post-battle statistics window, including the addition of a separate tab for task completion progress, sorted by event type. — The ability to view ads has been added to the post-battle statistics window: you can increase your battle reward by 30% by watching a video. — For the #tank campaign, the vehicle card in the research tech tree now displays upgrades from crew training for the slot in which the vehicle is equipped. — A number of fixes have been made to the replay functionality. — A bug that caused the number of rare vehicles to be incorrectly calculated in a player’s personal statistics has been fixed. Now only collectible units are counted, while hidden (not yet added) units are no longer counted. 📚 More details: #wtm #ships #aircraft

War Thunder Mobile

14,836 次观看 • 4 个月前

'A tight-knit group of drivers more close than I would imagine any other generation' Q: When you won in Barcelona, there was a kind of enthusiasm among the fans, among the viewers, among the commentators, but also among all your colleagues, all the drivers, which is quite unusual and exceptional now. "Oh yeah, I wasn't expecting that for sure, and it was really appreciated, because I think ultimately I have so much respect for all the drivers that show up every weekend, experience the highs and lows, the criticism, the positives, and they still continue to show up with a brave face and do what they do to the best of their ability. We're competitors and we all want to beat each other on track, and none of us are happy with not finishing ahead of the other, but to see we have the GPA as a tight-knit group of drivers more close than I would imagine any other generation, maybe at least in the last 20 years. So it was really special to see the support from them."
1:18

'A tight-knit group of drivers more close than I would imagine any other generation' Q: When you won in Barcelona, there was a kind of enthusiasm among the fans, among the viewers, among the commentators, but also among all your colleagues, all the drivers, which is quite unusual and exceptional now. "Oh yeah, I wasn't expecting that for sure, and it was really appreciated, because I think ultimately I have so much respect for all the drivers that show up every weekend, experience the highs and lows, the criticism, the positives, and they still continue to show up with a brave face and do what they do to the best of their ability. We're competitors and we all want to beat each other on track, and none of us are happy with not finishing ahead of the other, but to see we have the GPA as a tight-knit group of drivers more close than I would imagine any other generation, maybe at least in the last 20 years. So it was really special to see the support from them."

sim 🇧🇷🇲🇽🇸🇳🇫🇷🇭🇹

93,533 次观看 • 2 个月前

HANGZHOU SIGNING AND SALES MEETING SUPPORT · PART 8 | 350 DRONE FORGING PERFORMANCE The idea of preparing a drone support for you has actually sprouted quietly as early as last year's birthday. We wanted to light up a night sky that belongs to you on that special day. However, at that time, limited by funds, geography and implementation conditions, this wish has never been realised. Since then, before every meeting in China, we have tried to promote the landing of drone support, but we have always been stranded again and again by multiple factors such as venue, approval and time. In fact, we never imagined that you would come to the scene in person. Originally, we planned to issue a support announcement on the day of the performance, invite Hangzhou offline Paca to watch, and start the live broadcast synchronously, so that more online Paca can witness it together. But the day before the performance, we received a notice from the organiser that you may clock in according to the schedule. At the same time, we were specially told not to release any support information in advance. Because the performance site is located in one of the landmark areas of Hangzhou, the flow of people is dense, and government activities will be held near the performance site on that day, the size of the crowd and the order of the scene must be strictly controlled. In order to avoid any possible negative effects, we finally decided to record and release with aerial images after the drone performance. It's rare that it's not a red-eye flight when we came to Hangzhou this time. It was almost six o'clock in the evening when we landed. We thought that your trip would be very busy today. You had to check in at the hotel, eat, and prepare for the next day's work, so we never expected that you would really appear. But you still came. Go directly from the airport to the drone show site No moment to stay and rest I personally witnessed the night sky that lights up for you. This night, 350 drones outlined ten pictures in the night sky: The starting point for us to know you - DR.Prem There is a symbol related to your role - violin With your name There is a phoenix in the meaning of your name. With your animal sculpt "Little Alpaca" With us - Paca There are also you and us All this You have seen it with your own eyes. And your smile It is the most beautiful starry sky we have ever seen. Tell me "I didn't expect someone to do this for me. Thank you again." And we also want to say Thank you I like you every day. Infected by your persistence, hard work, seriousness and kindness Unconsciously We are also with your company. Become a better self slowly. Become that Braver, more determined, and more loving the world "Better me" Because of your jumping heart, we It's the best gift you gave us. Everything we're doing Never need any response from you. Just hope When you encounter a low point one day in the future Don't be discouraged I can remember the drone light show this night. I remember that there used to be many people Attracted by your light, staying for you I also believe that there will be more people. Continue to understand you, like you and support you. May this memory At a certain moment Become your strength The future is long. And we It will always be ginnynatnicha #ginnynatnicha #ginnyspaca
1:01

HANGZHOU SIGNING AND SALES MEETING SUPPORT · PART 8 | 350 DRONE FORGING PERFORMANCE The idea of preparing a drone support for you has actually sprouted quietly as early as last year's birthday. We wanted to light up a night sky that belongs to you on that special day. However, at that time, limited by funds, geography and implementation conditions, this wish has never been realised. Since then, before every meeting in China, we have tried to promote the landing of drone support, but we have always been stranded again and again by multiple factors such as venue, approval and time. In fact, we never imagined that you would come to the scene in person. Originally, we planned to issue a support announcement on the day of the performance, invite Hangzhou offline Paca to watch, and start the live broadcast synchronously, so that more online Paca can witness it together. But the day before the performance, we received a notice from the organiser that you may clock in according to the schedule. At the same time, we were specially told not to release any support information in advance. Because the performance site is located in one of the landmark areas of Hangzhou, the flow of people is dense, and government activities will be held near the performance site on that day, the size of the crowd and the order of the scene must be strictly controlled. In order to avoid any possible negative effects, we finally decided to record and release with aerial images after the drone performance. It's rare that it's not a red-eye flight when we came to Hangzhou this time. It was almost six o'clock in the evening when we landed. We thought that your trip would be very busy today. You had to check in at the hotel, eat, and prepare for the next day's work, so we never expected that you would really appear. But you still came. Go directly from the airport to the drone show site No moment to stay and rest I personally witnessed the night sky that lights up for you. This night, 350 drones outlined ten pictures in the night sky: The starting point for us to know you - DR.Prem There is a symbol related to your role - violin With your name There is a phoenix in the meaning of your name. With your animal sculpt "Little Alpaca" With us - Paca There are also you and us All this You have seen it with your own eyes. And your smile It is the most beautiful starry sky we have ever seen. Tell me "I didn't expect someone to do this for me. Thank you again." And we also want to say Thank you I like you every day. Infected by your persistence, hard work, seriousness and kindness Unconsciously We are also with your company. Become a better self slowly. Become that Braver, more determined, and more loving the world "Better me" Because of your jumping heart, we It's the best gift you gave us. Everything we're doing Never need any response from you. Just hope When you encounter a low point one day in the future Don't be discouraged I can remember the drone light show this night. I remember that there used to be many people Attracted by your light, staying for you I also believe that there will be more people. Continue to understand you, like you and support you. May this memory At a certain moment Become your strength The future is long. And we It will always be ginnynatnicha #ginnynatnicha #ginnyspaca

GinnyNatnicha_CN🇨🇳

75,350 次观看 • 4 个月前

lando talking about how special it feels for him to win constructors’ titles after starting with the team in tougher times and their dominance 🥹❤️‍🩹 “i mean another one is just a great thing. it's another constructor feels the same as the first, because to get the first was quite an achievement if you still look at where we were just three years ago. we've overtaken every team in terms of development. we've outdone them by a long way in terms of development, and in a time when it's almost harder to do than ever, with more restrictions and less wind tunnel time, all of those different things, budget cap, that's really been more in our favor over the last five years comparing to the budget that the other teams could run at. but in a time when it should be more difficult than ever to dominate, that's exactly what the team have done and given us, by a long way, the best car on the grid. i mean, it's always a very nice thing to say. every driver that gets to say that always puts a smile on your face. but we've also done very well as a team in terms of drivers between oscar and myself pushing each other and delivering every single weekend. and you don't see that on any other team. so i think we're also very proud of that as drivers. but for me, i've been with mclaren since i started. especially it was a very different time and different place then to where we are now. so that journey makes it more special to know the downs because that's a lot of what it was back then to see the rise that we've had to see the teamwork, the changes, the atmosphere difference and the leadership from zak, from andrea especially, has turned things around and made us as a team the best in the world. and that's something that many people don't ever get to say”
1:53

lando talking about how special it feels for him to win constructors’ titles after starting with the team in tougher times and their dominance 🥹❤️‍🩹 “i mean another one is just a great thing. it's another constructor feels the same as the first, because to get the first was quite an achievement if you still look at where we were just three years ago. we've overtaken every team in terms of development. we've outdone them by a long way in terms of development, and in a time when it's almost harder to do than ever, with more restrictions and less wind tunnel time, all of those different things, budget cap, that's really been more in our favor over the last five years comparing to the budget that the other teams could run at. but in a time when it should be more difficult than ever to dominate, that's exactly what the team have done and given us, by a long way, the best car on the grid. i mean, it's always a very nice thing to say. every driver that gets to say that always puts a smile on your face. but we've also done very well as a team in terms of drivers between oscar and myself pushing each other and delivering every single weekend. and you don't see that on any other team. so i think we're also very proud of that as drivers. but for me, i've been with mclaren since i started. especially it was a very different time and different place then to where we are now. so that journey makes it more special to know the downs because that's a lot of what it was back then to see the rise that we've had to see the teamwork, the changes, the atmosphere difference and the leadership from zak, from andrea especially, has turned things around and made us as a team the best in the world. and that's something that many people don't ever get to say”

ray

35,603 次观看 • 10 个月前

𝙂𝙞𝙜𝙖 𝘽𝙖𝙚𝙡𝙯 | 𝙃𝙤𝙡𝙤𝙡𝙞𝙫𝙚 𝙂𝙞𝙖𝙣𝙩𝙚𝙨𝙨 𝘼𝙣𝙞𝙢𝙖𝙩𝙞𝙤𝙣 ---------------------------------------------------- After months working this animation from June to September, and a lot of delays. The animation is finally here, with some better upgrades and making a better animation with some details I decided to give. Plus, there's a greenscreen scene that I wanted to experiment but someday I'll explain the whole thing what is wrong that I feel like... bad for it. But, I hope this is worth it to experiment with this animation, and the greenscreen. Which someday in the future, I'll be making better of greenscreen so, stay tune for this. And thank you guys, for your patience and supporting me to make this animation as possible. Also, support me on P-site, to see my whole works that I do of renders I post in there. ---------------------------------------------------- CREDITS AND STUFF Animation Directed by: ChibuProduction3D. Storyboard by: ChibuProduction3D. Audio Composed by: ChibuProduction3D. Assets and Sounds SFX used from GTS Pack by: @/RensGts Animation made with Blender 4.4.3 LTS. ChibuProduction as myself (for the IRL Scene). Music Used on the Ending: Tifa's Theme - FINAL FANTASY VII (Composed by Nobuo Uematsu). Greenscreen Camera Assistant Recording and Filmed by: BlukDen ---------------------------------------------------- #SizeTwitter #giantess #巨女
3:12

𝙂𝙞𝙜𝙖 𝘽𝙖𝙚𝙡𝙯 | 𝙃𝙤𝙡𝙤𝙡𝙞𝙫𝙚 𝙂𝙞𝙖𝙣𝙩𝙚𝙨𝙨 𝘼𝙣𝙞𝙢𝙖𝙩𝙞𝙤𝙣 ---------------------------------------------------- After months working this animation from June to September, and a lot of delays. The animation is finally here, with some better upgrades and making a better animation with some details I decided to give. Plus, there's a greenscreen scene that I wanted to experiment but someday I'll explain the whole thing what is wrong that I feel like... bad for it. But, I hope this is worth it to experiment with this animation, and the greenscreen. Which someday in the future, I'll be making better of greenscreen so, stay tune for this. And thank you guys, for your patience and supporting me to make this animation as possible. Also, support me on P-site, to see my whole works that I do of renders I post in there. ---------------------------------------------------- CREDITS AND STUFF Animation Directed by: ChibuProduction3D. Storyboard by: ChibuProduction3D. Audio Composed by: ChibuProduction3D. Assets and Sounds SFX used from GTS Pack by: @/RensGts Animation made with Blender 4.4.3 LTS. ChibuProduction as myself (for the IRL Scene). Music Used on the Ending: Tifa's Theme - FINAL FANTASY VII (Composed by Nobuo Uematsu). Greenscreen Camera Assistant Recording and Filmed by: BlukDen ---------------------------------------------------- #SizeTwitter #giantess #巨女

ChibuProduction3D EN/LATAM (Comms Open)

15,048 次观看 • 9 个月前

warning: this video may contain green bug happenings... viewer discrecion is adviced... what should you do in the event of a green bug attack? most would hide, seek shelter, or maybe curl up and cry; but for one woman, all she knew was to fight back. ms sandra funke, 36, uploaded the shocking footage you see here, shortly after waking up at the hospital. the post description states that she had begun filming shortly after the spetument first attacked; the video shows as the green bug, initially restrained, manages to break free and tackle her, before skittering off, likely to prepare for a second attack. funke states that this continued for several minutes before the green bug grew bored and left. funke went inside to call 911, passing out from injuries shortly thereafter. emergency crews arrived to the scene within minutes of her call. she remains in the hospital today, and is currently expected to make a full recovery. funke credits her survival to a set of bugjutsu classes she took last summer. while some of us may be as brave as ms funke, we strongly encourage everyone, regardless of combat readiness, to keep a green bug kit on their person at all times, and to avoid confrontation by keeping distance whenever possible. as always, make sure to remember SMACK: - S - stop the bug’s advance using a bucket, cage, mesh, or other bug-resistant container. - M - mute the bug’s distress signal. approved green bug kits are now required to contain a signal and noise blocking device with enough charge to last for 30 minutes or more. turn on your device and place it within 6 feet of the buge. - A - assess the situation. green bug hotlines are staffed and ready to take your call. - C - call for help. phone someone who can assist with containment procedures. - K - kill the bug. use evil weed from your buge kit. in a pinch, normal weed will tranquilize the spetument for a few minutes.
0:21

warning: this video may contain green bug happenings... viewer discrecion is adviced... what should you do in the event of a green bug attack? most would hide, seek shelter, or maybe curl up and cry; but for one woman, all she knew was to fight back. ms sandra funke, 36, uploaded the shocking footage you see here, shortly after waking up at the hospital. the post description states that she had begun filming shortly after the spetument first attacked; the video shows as the green bug, initially restrained, manages to break free and tackle her, before skittering off, likely to prepare for a second attack. funke states that this continued for several minutes before the green bug grew bored and left. funke went inside to call 911, passing out from injuries shortly thereafter. emergency crews arrived to the scene within minutes of her call. she remains in the hospital today, and is currently expected to make a full recovery. funke credits her survival to a set of bugjutsu classes she took last summer. while some of us may be as brave as ms funke, we strongly encourage everyone, regardless of combat readiness, to keep a green bug kit on their person at all times, and to avoid confrontation by keeping distance whenever possible. as always, make sure to remember SMACK: - S - stop the bug’s advance using a bucket, cage, mesh, or other bug-resistant container. - M - mute the bug’s distress signal. approved green bug kits are now required to contain a signal and noise blocking device with enough charge to last for 30 minutes or more. turn on your device and place it within 6 feet of the buge. - A - assess the situation. green bug hotlines are staffed and ready to take your call. - C - call for help. phone someone who can assist with containment procedures. - K - kill the bug. use evil weed from your buge kit. in a pinch, normal weed will tranquilize the spetument for a few minutes.

Myths and Stories

25,726 次观看 • 5 个月前

Indigo Park Chapter 1 - Version 1.1 is here! This is our attempt to get Chapter 1 a TINY bit closer to what we want Chapter 2 to be like quality wise. -Completely redone first person animations -New Secrets to find -Some improved environments -Improved controller support -Viewbob & Camera Lag toggles -The cat returns -Handful of bug fixes and changes Again, Chapter 1 still has tons of flaws & this isn't a complete overhaul, but it's a step in the right direction without remaking the entire chapter. Enjoy! We'll probably have a few more bug fix updates since this changed a LOT internally, but it's now time for us to go HARD on Chapter 2.
1:06

Indigo Park Chapter 1 - Version 1.1 is here! This is our attempt to get Chapter 1 a TINY bit closer to what we want Chapter 2 to be like quality wise. -Completely redone first person animations -New Secrets to find -Some improved environments -Improved controller support -Viewbob & Camera Lag toggles -The cat returns -Handful of bug fixes and changes Again, Chapter 1 still has tons of flaws & this isn't a complete overhaul, but it's a step in the right direction without remaking the entire chapter. Enjoy! We'll probably have a few more bug fix updates since this changed a LOT internally, but it's now time for us to go HARD on Chapter 2.

Mason | UniqueGeese

46,200 次观看 • 1 年前

I modelled the head, face, and battle mask for Optimus Prime for #Transformers ROTB. I also designed his new "centurion" open battle mask look along with it's animation. The director wanted the face to resemble the face from the 2007 Transformers film as ROTB was a soft-prequel to it but also wanted it to be tweaked to fit the new design and for us to give it some new unique features. This is where we came up with the new mask design which doesn't get entirely hidden when open. Instead, it gets stored on the side of his cheeks, like a Roman centurions helmet. The head design is derived from his model from the 2018 Bumblebee film to keep some consistency with that film too as ROTB was also a soft-sequel to Bumblebee. There are new pieces, adjusted proportions, and reworks to detailing in ROTBs version. The face proportions are modified from the 2007 face to be a lot wider and beefier, matching his new head shape and look. I redesigned and built the eyes from scratch using our kitbash pieces like I did for all the Maximals and Mirage. The studio decided against going for the holographic eyes look from the 2018 Bumblebee film but rather wanted a more simple look in between the 2007 and the 2018 eyes. I added a lot of small mechanical details to his battle mask animation which we unfortunately never get to see in the film. For example, I designed a fully functional mechanism which pushes his chin piece back when his mask closes. This was very cool when it was visible, our Animation Director and VFX Supervisors were super excited about it, but unfortunately no shot showed it off in the final film. It was a lot of fun to help model and design Optimus Prime for this film. I'm happy I got to contribute to such an iconic character. CREDITS: Video: Paramount, MPC, WetaFX Ruairidh MacNeill modelled the body for Optimus
0:23

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

Rassoul Edji

388,573 次观看 • 1 年前

Seedance 2.0 is allowing us to enter a new era of music video creation. Here is how I created HONEY. It was a quick test to see how well this workflow holds up. 🐝 1 - Write your song and generate the music with Suno 5.5. 2 - Use an image generator of your choice. For HONEY I combined both Grok Imagine for aesthetics and Nano Banana Pro for refined editing. 3 - In Capcut I import my audio and just save out a blank video video containing the audio. This step is important because this video file containing audio will now be used with Seedance 2.0 as a video reference with Omni. This allows the AI to apply automatic and realistic lipsync and movement to the music, it's extremely powerful! 4 - Once I have a both my image and video with audio as reference, I use Seedance 2.0 Omni and upload my starting image and then the video reference with the audio. 5 - From here I'm simply prompting like normal, specifying what's happening in my scene with detailed instructions, mentioning multi shots and camera angle changes and then specifying that the person is singing along to the song. I type out the lyrics that are present to have better lipsync accuracy. 6 - Once I have generated a video and like the result, I do video to video, so i upload that video that just got generated and type "The scene continues" and prompt new actions to take place. This allows you to expand on a narrative. These new shots can be used as B-ROLL and since I uploaded my video as reference I have full consistency of everything it saw in the video. This is also extremely powerful. 7 - This is actually the most difficult part. Edit in Capcut. This is where you need to understand pacing and shot selection from all the scenes you generated to bring it all together. You must be strategic with the editing. Goodluck! I'll probably record a video tutorial at some point as it's easier to see what is being done.
0:46

Seedance 2.0 is allowing us to enter a new era of music video creation. Here is how I created HONEY. It was a quick test to see how well this workflow holds up. 🐝 1 - Write your song and generate the music with Suno 5.5. 2 - Use an image generator of your choice. For HONEY I combined both Grok Imagine for aesthetics and Nano Banana Pro for refined editing. 3 - In Capcut I import my audio and just save out a blank video video containing the audio. This step is important because this video file containing audio will now be used with Seedance 2.0 as a video reference with Omni. This allows the AI to apply automatic and realistic lipsync and movement to the music, it's extremely powerful! 4 - Once I have a both my image and video with audio as reference, I use Seedance 2.0 Omni and upload my starting image and then the video reference with the audio. 5 - From here I'm simply prompting like normal, specifying what's happening in my scene with detailed instructions, mentioning multi shots and camera angle changes and then specifying that the person is singing along to the song. I type out the lyrics that are present to have better lipsync accuracy. 6 - Once I have generated a video and like the result, I do video to video, so i upload that video that just got generated and type "The scene continues" and prompt new actions to take place. This allows you to expand on a narrative. These new shots can be used as B-ROLL and since I uploaded my video as reference I have full consistency of everything it saw in the video. This is also extremely powerful. 7 - This is actually the most difficult part. Edit in Capcut. This is where you need to understand pacing and shot selection from all the scenes you generated to bring it all together. You must be strategic with the editing. Goodluck! I'll probably record a video tutorial at some point as it's easier to see what is being done.

Travis Davids

19,236 次观看 • 4 个月前

This is probably the most complex workflow I’ve ever built, only with open-source tools. It took my 4 days. It takes four inputs: author, title, and style; and generates a full visual animated story in one click in ComfyUI . I worked on it for four days. There are still some bugs, but here’s the first preview. Here’s a quick breakdown: - The four inputs are sent to LLMs with precise instructions to generate: first, prompts for images and image modifications; second, prompts for animations; third, prompts for generating music. - All voices are generated from the text and timed precisely, as they determine the length of each animation segment. - The first image and video are generated to serve as the title, but also as the guide for all other images created for the video. - Titles and subtitles are also added automatically in Comfy. - I also developed a lot of custom nodes for minor frame calculations, mostly to match audio and video. - The full system is a large loop that, for each line of text, generates an image and then a video from that image. The loop was the hardest part to build in this workflow, so it can process either a 20-second video or a 2-minute video with the same input. - There are multiple combinations of LLMs that try to understand the text in the best way to provide the best prompts for images and video. - The final video is assembled entirely within ComfyUI. - The music is generated based on the LLM output and matches the exact timing of the full animation. - Done! For reference, this workflow uses a lot of models and only works on an RTX 6000 Pro with plenty of RAM. My goal is not to replace humans, as I’ll try to explain later, this workflow is highly controlled and can be adapted or reworked at any point by real artists! My aim was to create a tool that can animate text in one go, allowing the AI some freedom while keeping a strict flow. I don’t know yet how I’ll share this workflow with people, I still need to polish it properly, but maybe through Patreon. Anyway, I hope you enjoy my research, and let’s always keep pushing further! :)
0:55

This is probably the most complex workflow I’ve ever built, only with open-source tools. It took my 4 days. It takes four inputs: author, title, and style; and generates a full visual animated story in one click in ComfyUI . I worked on it for four days. There are still some bugs, but here’s the first preview. Here’s a quick breakdown: - The four inputs are sent to LLMs with precise instructions to generate: first, prompts for images and image modifications; second, prompts for animations; third, prompts for generating music. - All voices are generated from the text and timed precisely, as they determine the length of each animation segment. - The first image and video are generated to serve as the title, but also as the guide for all other images created for the video. - Titles and subtitles are also added automatically in Comfy. - I also developed a lot of custom nodes for minor frame calculations, mostly to match audio and video. - The full system is a large loop that, for each line of text, generates an image and then a video from that image. The loop was the hardest part to build in this workflow, so it can process either a 20-second video or a 2-minute video with the same input. - There are multiple combinations of LLMs that try to understand the text in the best way to provide the best prompts for images and video. - The final video is assembled entirely within ComfyUI. - The music is generated based on the LLM output and matches the exact timing of the full animation. - Done! For reference, this workflow uses a lot of models and only works on an RTX 6000 Pro with plenty of RAM. My goal is not to replace humans, as I’ll try to explain later, this workflow is highly controlled and can be adapted or reworked at any point by real artists! My aim was to create a tool that can animate text in one go, allowing the AI some freedom while keeping a strict flow. I don’t know yet how I’ll share this workflow with people, I still need to polish it properly, but maybe through Patreon. Anyway, I hope you enjoy my research, and let’s always keep pushing further! :)

Lovis Odin

58,841 次观看 • 11 个月前

🧵1/3 I partnered with Kling to make a promo for their new 3.0 model. I came up with the concept, created it and delivered it all on my own in 3 days of early access, I wanted to make something that showed how Kling could be used to tell a diverse range of stories in a diverse range of styles. I've honestly been blown away be how incredible the model is and I haven't even scratched the surface of features like the new 3.0 OMNI model. For me Kling 2.6 was already best in class for most things but 3.0 sees massive improvements to video quality and detail (no need to add grain to mask imperfections) and prompt adherence. Also you can time your generations to be as long as 15 seconds and as short as 3, this is fantastic for pacing your scenes. Read on to find out more about the new Performance and Multi shot features!👇
1:26

🧵1/3 I partnered with Kling to make a promo for their new 3.0 model. I came up with the concept, created it and delivered it all on my own in 3 days of early access, I wanted to make something that showed how Kling could be used to tell a diverse range of stories in a diverse range of styles. I've honestly been blown away be how incredible the model is and I haven't even scratched the surface of features like the new 3.0 OMNI model. For me Kling 2.6 was already best in class for most things but 3.0 sees massive improvements to video quality and detail (no need to add grain to mask imperfections) and prompt adherence. Also you can time your generations to be as long as 15 seconds and as short as 3, this is fantastic for pacing your scenes. Read on to find out more about the new Performance and Multi shot features!👇

Uncanny Harry AI

29,194 次观看 • 6 个月前

Timing is everything, isn’t it? And sometimes being in the right place at the right time feels well, timely, or even predetermined. With wildlife photography, it’s all about being in the right place at the right time. The more you know about your subject, the better because it increases your chances of being where you need to be when you need to be there. There is also an element of just letting go and taking what is given to you. It’s always best to have no expectations at all when it comes to wildlife. On this morning, everything did fall perfectly into place, and I was able to capture this dreamy scene of a beautiful Dalmatian pelican and its reflection on smooth water as it came in for a landing. Oh yeah, the glorious snow-capped mountains in the back were definitely a treat too. The days prior to this, that mountain range was hidden by clouds. I didn’t even know it was there. 🤪
0:20

Timing is everything, isn’t it? And sometimes being in the right place at the right time feels well, timely, or even predetermined. With wildlife photography, it’s all about being in the right place at the right time. The more you know about your subject, the better because it increases your chances of being where you need to be when you need to be there. There is also an element of just letting go and taking what is given to you. It’s always best to have no expectations at all when it comes to wildlife. On this morning, everything did fall perfectly into place, and I was able to capture this dreamy scene of a beautiful Dalmatian pelican and its reflection on smooth water as it came in for a landing. Oh yeah, the glorious snow-capped mountains in the back were definitely a treat too. The days prior to this, that mountain range was hidden by clouds. I didn’t even know it was there. 🤪

Mark Smith Photography

32,668 次观看 • 1 年前

New Tools for a New Era. Coding agents like Claude and Cursor have dramatically reduced the time it takes to go from idea to functional software. But the experience of designing and refining with them sucks. One reason for this is that while the terminal is an incredible tool for communicating direction with language, it is a terrible tool for defining and exploring visual and interactive objects. Here is one idea for how we might fix a small part of that. In the old world, when you wanted to create a transition or animation in your app, you would type some code, refresh your local server, and click to run your animation. It probably wasn't right, because after all no one can know what 'cubic-bezier(0.3, 0.05, 0.45, 1)' really feels like when you read it. You need to see it. Feel it. Interact with it in a real world context. So you'd edit some values, save, refresh, and keep guessing and checking until it felt right. Today, you can write a quick, single-use tool that's a visual studio for designing animations. You can then configure some components and containers common in all apps, and explore different animations in real time, adjusting key properties, and getting it just right. Then, you can copy a highly detailed prompt (or export a skill containing all your animations) that captures your intent and direction with perfect clarity. Paste this into your terminal and your agent instantly implements it everywhere. To me, this is an improvement over the old world, and a better way to work in today's. I'm extremely excited to see the ways in which our ability to rapidly create software will shape how we design software tomorrow. Feedback, ideas, and critiques welcome!
0:30

New Tools for a New Era. Coding agents like Claude and Cursor have dramatically reduced the time it takes to go from idea to functional software. But the experience of designing and refining with them sucks. One reason for this is that while the terminal is an incredible tool for communicating direction with language, it is a terrible tool for defining and exploring visual and interactive objects. Here is one idea for how we might fix a small part of that. In the old world, when you wanted to create a transition or animation in your app, you would type some code, refresh your local server, and click to run your animation. It probably wasn't right, because after all no one can know what 'cubic-bezier(0.3, 0.05, 0.45, 1)' really feels like when you read it. You need to see it. Feel it. Interact with it in a real world context. So you'd edit some values, save, refresh, and keep guessing and checking until it felt right. Today, you can write a quick, single-use tool that's a visual studio for designing animations. You can then configure some components and containers common in all apps, and explore different animations in real time, adjusting key properties, and getting it just right. Then, you can copy a highly detailed prompt (or export a skill containing all your animations) that captures your intent and direction with perfect clarity. Paste this into your terminal and your agent instantly implements it everywhere. To me, this is an improvement over the old world, and a better way to work in today's. I'm extremely excited to see the ways in which our ability to rapidly create software will shape how we design software tomorrow. Feedback, ideas, and critiques welcome!

joshpuckett

82,065 次观看 • 7 个月前