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I built a Three.js rendering study inspired by Tiny Glade’s painterly aesthetic, and got it running at 120fps in the browser. Over the past few weeks, I’ve been studying how stylized games achieve that soft, handcrafted look in real time. Tiny Glade was a huge inspiration, and I wanted...

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Ibrahim Boona

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58,625 views • 3 months ago •via X (Twitter)

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There's been a few cool updates recently. In particular, Rerun 0.33 released headless rendering. This, along with the Fable 5 release pushed me to work torwards making MAMMA realtime! I threw Fable at the problem, and it was able to take original implementation that was ~12 seconds / frame and get it all the way down to 40ms /frame, or nearly a 300x speedup 🏎️ How did I achieve this? TLDR: - Use rerun's headless rendering as supervision when optimizing - Save rrd file as test fixture to guide model optiziation with /goal - create an html artifact with headless rendering to provide detailed breakdown of what it did and how it actually looks like in the viewer There were a few critical bits to make sure that this ACTUALLY worked and that Fable didn't just cheat or delete something and declare victory. The first is that the original version used Rerun, this allowed us to save things to disk as an RRD file, meaning we could query the contents and use this as a sort of test fixture or golden artifact that held EXACTLY what all of the values should be. Then we can use this with /goal as a metric when doing the optimization to ensure there are no regressions. The second bit is the headless rendering, this gave us the ability to check that not only did the test fixture pass, but it also looked visually correct. This made a huge difference, and an awesome side affect of it is that we can use the headless rendering to create an implementations.html file. This gives a visual guide as to what the agent did (I walk through it in the video below) Along with this, we're working on an MCP server for rerun that allows full interactivity with the rerun viewer for your agent. So for example the agent can click, drag, move views, scroll timelines, ect. I used this to help the agent debug certain parts such as when the 2d sam masks didn't line up, or if the triangulated keypoints werent correctly matching with the optimized mesh. The agents could go, click into the view, scroll through the timeline and see where things went wrong. Fable + Headless Rendering + Rerun MCP == 300x speedup in less then a days work With these new tools, I'm planning on going back to my gaussian splatting implemntation and cleaning it up + making it fast!
1:33

There's been a few cool updates recently. In particular, Rerun 0.33 released headless rendering. This, along with the Fable 5 release pushed me to work torwards making MAMMA realtime! I threw Fable at the problem, and it was able to take original implementation that was ~12 seconds / frame and get it all the way down to 40ms /frame, or nearly a 300x speedup 🏎️ How did I achieve this? TLDR: - Use rerun's headless rendering as supervision when optimizing - Save rrd file as test fixture to guide model optiziation with /goal - create an html artifact with headless rendering to provide detailed breakdown of what it did and how it actually looks like in the viewer There were a few critical bits to make sure that this ACTUALLY worked and that Fable didn't just cheat or delete something and declare victory. The first is that the original version used Rerun, this allowed us to save things to disk as an RRD file, meaning we could query the contents and use this as a sort of test fixture or golden artifact that held EXACTLY what all of the values should be. Then we can use this with /goal as a metric when doing the optimization to ensure there are no regressions. The second bit is the headless rendering, this gave us the ability to check that not only did the test fixture pass, but it also looked visually correct. This made a huge difference, and an awesome side affect of it is that we can use the headless rendering to create an implementations.html file. This gives a visual guide as to what the agent did (I walk through it in the video below) Along with this, we're working on an MCP server for rerun that allows full interactivity with the rerun viewer for your agent. So for example the agent can click, drag, move views, scroll timelines, ect. I used this to help the agent debug certain parts such as when the 2d sam masks didn't line up, or if the triangulated keypoints werent correctly matching with the optimized mesh. The agents could go, click into the view, scroll through the timeline and see where things went wrong. Fable + Headless Rendering + Rerun MCP == 300x speedup in less then a days work With these new tools, I'm planning on going back to my gaussian splatting implemntation and cleaning it up + making it fast!

Pablo Vela

22,771 views • 1 month ago

Following ☄︎ work, I'm experimenting with some react three fiber with #threejs webGPU. We no longer need an EffectComposer to use post-processing effects in #r3f. Now, everything is done by composing TSL nodes. I created a small component that helps in rendering post-processing effects. All you need to do is import the effects you want and add them to the final composition. I will share the link to the demo and source code on Monday 😍. Another thing I want to highlight is how amazing the Screen Space Reflection effect is. It generates reflections not only on the ground, as we had before in r3f in webgl. It is able to calculate the reflections between the meshes. Look how beautiful the reflection of the lightsaber on Darth Vader's mask is. This is not something that is easy to calculate and this is exactly where WebGPU in threejs shines! Congratulations to everyone on the threejs team. I am increasingly impressed with WebGPU and TSL.
1:41

Following ☄︎ work, I'm experimenting with some react three fiber with #threejs webGPU. We no longer need an EffectComposer to use post-processing effects in #r3f. Now, everything is done by composing TSL nodes. I created a small component that helps in rendering post-processing effects. All you need to do is import the effects you want and add them to the final composition. I will share the link to the demo and source code on Monday 😍. Another thing I want to highlight is how amazing the Screen Space Reflection effect is. It generates reflections not only on the ground, as we had before in r3f in webgl. It is able to calculate the reflections between the meshes. Look how beautiful the reflection of the lightsaber on Darth Vader's mask is. This is not something that is easy to calculate and this is exactly where WebGPU in threejs shines! Congratulations to everyone on the threejs team. I am increasingly impressed with WebGPU and TSL.

Anderson Mancini

26,339 views • 1 year ago

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 views • 6 months ago

WOW. 😳 Apple just quietly won the 3D maps war at WWDC. Gaussian Splatting is coming to Apple Maps Flyover this fall. Apple Maps Flyover covers 300+ cities. Until yesterday, every single one was built on standard drone photogrammetry. The technology captures photos from the air and reconstructs 3D geometry from them. Gaussian Splatting does not reconstruct geometry. It represents the scene as millions of tiny 3D ellipsoids, each one carrying its own color and opacity information based on how light actually behaves in that location. The output is not a mesh model. It is a field of light. When you move through it, it does not crumble at the edges. The detail holds because it was never geometry to begin with. Apple has been hiring for this for years. Their SHARP model, published in research last year, generates photorealistic 3D scenes from a single image in under a second. Google has more sensor data than anyone. More Street View cars, more satellites, more capture history. On navigation accuracy and geodata depth, Google Maps is still ahead by most measures. But fidelity in 3D city rendering is a different competition, and Apple just set a bar in that. Most people will experience this in the fall without knowing the name of the technology. They will open Flyover, look at a city they know, and notice it looks different. Real, not rendered. That is the moment Gaussian Splatting stops being a research term and becomes something a billion people use. Bookmark this. It will look prescient by October.
0:24

WOW. 😳 Apple just quietly won the 3D maps war at WWDC. Gaussian Splatting is coming to Apple Maps Flyover this fall. Apple Maps Flyover covers 300+ cities. Until yesterday, every single one was built on standard drone photogrammetry. The technology captures photos from the air and reconstructs 3D geometry from them. Gaussian Splatting does not reconstruct geometry. It represents the scene as millions of tiny 3D ellipsoids, each one carrying its own color and opacity information based on how light actually behaves in that location. The output is not a mesh model. It is a field of light. When you move through it, it does not crumble at the edges. The detail holds because it was never geometry to begin with. Apple has been hiring for this for years. Their SHARP model, published in research last year, generates photorealistic 3D scenes from a single image in under a second. Google has more sensor data than anyone. More Street View cars, more satellites, more capture history. On navigation accuracy and geodata depth, Google Maps is still ahead by most measures. But fidelity in 3D city rendering is a different competition, and Apple just set a bar in that. Most people will experience this in the fall without knowing the name of the technology. They will open Flyover, look at a city they know, and notice it looks different. Real, not rendered. That is the moment Gaussian Splatting stops being a research term and becomes something a billion people use. Bookmark this. It will look prescient by October.

Shruti

19,832 views • 1 month ago

3D scanning and rendering is moving so fast - got my splats up and running and I'm mind blown getting ~100fps for this complex 3D scene ⬇️ 🤯 1. WAY faster than NeRF: For comparison, NeRFs would takes around 10 seconds per frame (!) Instead I'm zipping around with FPV controls without breaking a sweat - though I do crash a few times towards the end of the video lol 2. Old Meets New: Gaussian Splatting is cool in that it fuses classical graphics and deep learning techniques. Like NeRFs, this is still a radiance field - just without the slower (ne)ural rendering part. 3. Explicit Representation: Instead you represent a 3D scene as a collection of ellipsoidal "splats" called gaussians. Each gaussian has a position, size, and color. Rendering in real-time is done by projecting into the image plane and alpha blending. 4. Photorealistic Effects: Gaussian splatting use spherical harmonics to represent the view-dependent effects and lighting - allowing surfaces to change color when viewed from different angles, enabling greater photorealism. It doesn't use a neural network, but the training loop is similar to deep learning. 5. Enables Direct Editing: But it's not just speed - with Gaussian Splatting you also get 3D editing support! So you can select, move, and delete stuff, even relight stuff. This type of editing has been more tedious to do with NeRFs and their implicit black box representations. 📲 More tests cooking! Much more to unpack here including simpler explanations. If you enjoyed this post, you might enjoy my feed: Bilawal Sidhu
0:35

3D scanning and rendering is moving so fast - got my splats up and running and I'm mind blown getting ~100fps for this complex 3D scene ⬇️ 🤯 1. WAY faster than NeRF: For comparison, NeRFs would takes around 10 seconds per frame (!) Instead I'm zipping around with FPV controls without breaking a sweat - though I do crash a few times towards the end of the video lol 2. Old Meets New: Gaussian Splatting is cool in that it fuses classical graphics and deep learning techniques. Like NeRFs, this is still a radiance field - just without the slower (ne)ural rendering part. 3. Explicit Representation: Instead you represent a 3D scene as a collection of ellipsoidal "splats" called gaussians. Each gaussian has a position, size, and color. Rendering in real-time is done by projecting into the image plane and alpha blending. 4. Photorealistic Effects: Gaussian splatting use spherical harmonics to represent the view-dependent effects and lighting - allowing surfaces to change color when viewed from different angles, enabling greater photorealism. It doesn't use a neural network, but the training loop is similar to deep learning. 5. Enables Direct Editing: But it's not just speed - with Gaussian Splatting you also get 3D editing support! So you can select, move, and delete stuff, even relight stuff. This type of editing has been more tedious to do with NeRFs and their implicit black box representations. 📲 More tests cooking! Much more to unpack here including simpler explanations. If you enjoyed this post, you might enjoy my feed: Bilawal Sidhu

Bilawal Sidhu

337,090 views • 2 years ago

This is one of the wildest things I have built with AI so far 😱 Asked Claude Fable 5 to create a fully interactive 3D crime investigation board using Three.js and it did it in ONE Prompt. It took one more prompt to give it a polished UI inspired by a reference design that I created with GPT Image. What surprised me most was not how it looked. It was how it worked. Fable built a complete Verlet rope physics system with 46 particles in every thread. It handled gravity, damping, distance constraints and all other features of file upload, text and everything. The threads/ropes even lift naturally with pinned evidence instead of clipping through it. I never asked it to implement any of that. I only described the experience I wanted. Maybe that's how we should work with AI. Instead of writing long long specs, we should explain what we want as an experience and let AI do its thing. Anyway, every day Fable 5 raises the bar for what I think AI can build. More to this Live: Code:
0:49

This is one of the wildest things I have built with AI so far 😱 Asked Claude Fable 5 to create a fully interactive 3D crime investigation board using Three.js and it did it in ONE Prompt. It took one more prompt to give it a polished UI inspired by a reference design that I created with GPT Image. What surprised me most was not how it looked. It was how it worked. Fable built a complete Verlet rope physics system with 46 particles in every thread. It handled gravity, damping, distance constraints and all other features of file upload, text and everything. The threads/ropes even lift naturally with pinned evidence instead of clipping through it. I never asked it to implement any of that. I only described the experience I wanted. Maybe that's how we should work with AI. Instead of writing long long specs, we should explain what we want as an experience and let AI do its thing. Anyway, every day Fable 5 raises the bar for what I think AI can build. More to this Live: Code:

The Bugged Dev

100,042 views • 11 days ago

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.
0:40

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,531 views • 1 year ago

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount
0:44

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount

Rassoul Edji

268,448 views • 1 year ago

2026 = The end of upscaling? One of generative AI's biggest drawbacks was the resolution, and I'm not talking about the output resolution as 1080p would be enough for most of the projects. I'm talking about the "internal" resolution of how these models work, that makes small faces distorted in your generations, the ones that will make a wide-shot impossible because the small details will morph and of course with some models text rendering is not possible. Upscaling with AI was always a strange case, local upscalers sometimes lacked the quality compared to the closed source competitors, but those can be pretty pricey and the results are sometimes way too "creative". So I was very, very interested when Kling AI announced native, not upscaled 4K generation but wanted to have a good method test it. Again, I never missed the 4K output resolution with genAI, but I missed the nuanced detail rendering of the engines and the lack of that made it impossible to create for example very wide shots with tiny details. So I fired up some image models to generate stills inspired by Morocco and see how Kling behaves, now in 4K. Some notable moments: 00:22 - Skin and eye texture, the movements, the little coins in the headdress 01:18 - The reflection in the water 01:39 - The reflection in the eye, and the scarf textures 02:10 - Check all the details on the rails 02:20 - Water particles and leaves 02:29 - The rendering of the rusty parts of the rail 02:50 - How the waves change the reflection in the foreground 02:55 - The cloud movement in the background
3:19

2026 = The end of upscaling? One of generative AI's biggest drawbacks was the resolution, and I'm not talking about the output resolution as 1080p would be enough for most of the projects. I'm talking about the "internal" resolution of how these models work, that makes small faces distorted in your generations, the ones that will make a wide-shot impossible because the small details will morph and of course with some models text rendering is not possible. Upscaling with AI was always a strange case, local upscalers sometimes lacked the quality compared to the closed source competitors, but those can be pretty pricey and the results are sometimes way too "creative". So I was very, very interested when Kling AI announced native, not upscaled 4K generation but wanted to have a good method test it. Again, I never missed the 4K output resolution with genAI, but I missed the nuanced detail rendering of the engines and the lack of that made it impossible to create for example very wide shots with tiny details. So I fired up some image models to generate stills inspired by Morocco and see how Kling behaves, now in 4K. Some notable moments: 00:22 - Skin and eye texture, the movements, the little coins in the headdress 01:18 - The reflection in the water 01:39 - The reflection in the eye, and the scarf textures 02:10 - Check all the details on the rails 02:20 - Water particles and leaves 02:29 - The rendering of the rusty parts of the rail 02:50 - How the waves change the reflection in the foreground 02:55 - The cloud movement in the background

László Gaál

17,514 views • 2 months ago

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.
0:36

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 views • 5 months ago

The public reaction to a video of a Melbourne woman being stabbed while walking to work has been one of horror and dismay, as Victorians come to terms with the failures of both government and police to address the out of control crime wave. So it comes as no surprise for many of us to learn that this attack happened weeks ago, and at some level whether government or police it was decided to keep information about the dangers faced by the public in Melbourne hidden. This is especially insulting considering that Jacinta Allan was on television just days ago telling the public how safe they are in Victoria, when it's obvious that is the furthest thing from the truth at the moment. This woman was lucky to have survived, with the knife missing her heart by inches, while still rendering her in hospital for three days with a punctured lung. How many more Victorians have to suffer and die before the Allan government and Victoria Police come clean about their failures, or start taking real action to keep the community safe from these criminals running wild on bail?
3:37

The public reaction to a video of a Melbourne woman being stabbed while walking to work has been one of horror and dismay, as Victorians come to terms with the failures of both government and police to address the out of control crime wave. So it comes as no surprise for many of us to learn that this attack happened weeks ago, and at some level whether government or police it was decided to keep information about the dangers faced by the public in Melbourne hidden. This is especially insulting considering that Jacinta Allan was on television just days ago telling the public how safe they are in Victoria, when it's obvious that is the furthest thing from the truth at the moment. This woman was lucky to have survived, with the knife missing her heart by inches, while still rendering her in hospital for three days with a punctured lung. How many more Victorians have to suffer and die before the Allan government and Victoria Police come clean about their failures, or start taking real action to keep the community safe from these criminals running wild on bail?

Rukshan Fernando

64,638 views • 9 months ago

Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.
0:20

Destiny 2 left a permanent mark on my life. The memories I’ve made with this game, both as a player and as someone lucky enough to work on it, will forever stay with me. Not just because of late nights running King’s Fall with friends, or grinding out the Crucible Glorious Seal in solo queue like a complete maniac, but because Destiny 2 challenged me, shaped me, and pushed me toward becoming the creative I am today. My journey into digital art and photography started back in 2007, when I began taking screenshots in Halo 3 and entering Bungie community art contests. The relationships I built during that time eventually opened the door to an opportunity with Bungie’s Gameplay Capture team in 2014, helping the team capture footage for a new game called Destiny. I had no idea then that a commendably short two-week contract would turn into an incredible 12-year journey with this franchise. I originally came to Bungie hoping to pursue environmental concept art, but along the way I had the opportunity to work on marketing art and quickly fell in love with it. Creating marketing art for a franchise like Destiny challenged me in so many different ways. It forced me to expand my technical, creative, and communication skill sets, constantly adapt, and keep learning new tools and workflows just to keep pace with the live-service beast that was Destiny 2. It means a lot to be able to look back and say with confidence that I had a visual impact on Destiny 2; but the most meaningful part of it all was getting to work alongside and learn from so many incredible artists at Bungie, and seeing firsthand just how much care, effort, and humanity it takes to make work like this possible. It’s hard to fully capture how much energy, skill, and collaboration goes into every visual part of a game like Destiny 2. That work is shaped by artists from different backgrounds, experiences, disciplines, and perspectives. Each of them, including me, left a small part of themselves in what they created. To me, that’s what makes a game like Destiny 2 feel truly meaningful and memorable. Especially now, in a world increasingly saturated with content and driven by instant output and gratification through AI, I keep coming back to the value of process. For me, and for so many of my peers, it was never only about arriving at the final image. It was about the journey it took to get there. The late nights. The iteration. The problem-solving. The trust. The shared pursuit of trying to make something special. To my peers, I’m deeply proud of what we built together, but even more grateful for how we built it. We challenged each other, inspired each other, and kept showing up for one another through every high and low, as Destiny 2 has had many. That kind of shared effort leaves a lasting mark. What we made mattered. What we gave mattered. And the impact of what we built together will stay with us, and this community, for a long time. Shoutout to the current and former members of Creative Studios, the VizD team, and the many Bungie developers and marketers who helped shape this chapter of my life. I’m especially grateful to the teammates who believed in me, encouraged me to embrace failure and new beginnings as essential parts of artistic growth, and pushed me to take on challenges even when they felt beyond my reach. You showed me that the strength of a team will always surpass that of any individual hero. As my work on #Destiny2 comes to a close and I look toward the future, I plan to spend the next few weeks sharing some of the pieces I had the chance to create or art direct that mean the most to me. For now, I’ll leave you all with a collage of some of my personal favorite pieces to work on across Destiny 2’s lifetime. These projects mean so much to me because many of them started as personal passion projects or late-night concept sketches, inspired by playing early builds of Destiny 2 and by the incredible work of our development team.

Biwald

72,538 views • 1 month ago

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000
1:54

Edward Yang on the impact of watching Aguirre, the Wrath of God (1972): "I found a job in Seattle at a research laboratory that contracted to do classified defense projects in microcomputers. I was among the first generation of designers and applicators for microcomputers and microprocessors. By the time I turned thirty I was pretty well established, with a team of seven or eight guys working on some very interesting projects. Later on I made the association that designing is like writing, and I realized that this background helped me a lot. After a couple of years as an engineer, of course, the routine bored me. One night, I was driving after work in downtown Seattle, and I saw a billboard outside a movie theater with the words, German New Wave, and the title, Aguirre: The Wrath of God. It made me curious, so I went in. I was fortunate. I came out a different person. That two hours just blew me away. It restored my sense of competence that I could be a filmmaker. This is what I thought a film should be. Film school would never teach you to make those kind of shots. That was one of the crucial moments of my life. I had turned thirty, I thought I was getting old, and three more years passed before I got the chance to work on a film project with a friend who asked me to write a script for him. I went back to Taipei, and also visited Hong Kong for the first time, and the film was shot in Japan. I got an offer to write and direct a made-for-TV movie in Taiwan, so I didn't go back to Seattle." — The Engineer of Modern Perplexity: An Interview with Edward Yang by Robert Sklar, published in Cineaste, Vol. 25, No. 3 in 2000

RadiantFilm

93,086 views • 8 months ago

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

58,769 views • 10 months ago

The sense of presence in VR is something amazing. And it is what convinces me that sooner or later, VR will succeed. VR is now in one of its down moments. That's why, in these harsh days, I wanted to get back to feeling what made me fall in love with this technology: presence and immersion. I took some very good-looking PCVR experiences, like Half-Life: Alyx, or AirCar, and tried them at the maximum resolution possible on my Dell Pro Max T2 Tower, featuring an #NVIDIA RTX 6000 graphics card. Until a few months ago, I was using my old laptop, which started to show throttling issues, so I was used to lowering the render resolution, while this time, I was moving the slider up and up. The results have been astonishing: even a demo like AirCar made me in awe again, and Half-Life: Alyx was as immersive as I have ever tried it. As much as I love standalone VR, because I think it helped a lot in democratizing the technology, the WOW sensation that you can try on PCVR today is still unbeatable. Probably a good compromise between the two can be cloud rendering, but we still have to wait for it to become a reality. The sense of being somewhere else is a wonderful sensation, and everyone I demoed VR to all these years has been amazed by it, too. And every day, something makes me feel "there" (like today), I remember why I love this technology and why one day it will have a higher adoption. Sure, there are a lot of problems to solve, but I'm convinced one day it will happen. When? Well, it is always 5 to 10 years, every year... #VirtualReality #VR #technology [Disclaimer: I mentioned the PC model because I'm a #DellProPrecision ambassador, and I have been given the PC to do tests and experiments and share my results. There is no monetary compensation or sales affiliation related to this post]
0:29

The sense of presence in VR is something amazing. And it is what convinces me that sooner or later, VR will succeed. VR is now in one of its down moments. That's why, in these harsh days, I wanted to get back to feeling what made me fall in love with this technology: presence and immersion. I took some very good-looking PCVR experiences, like Half-Life: Alyx, or AirCar, and tried them at the maximum resolution possible on my Dell Pro Max T2 Tower, featuring an #NVIDIA RTX 6000 graphics card. Until a few months ago, I was using my old laptop, which started to show throttling issues, so I was used to lowering the render resolution, while this time, I was moving the slider up and up. The results have been astonishing: even a demo like AirCar made me in awe again, and Half-Life: Alyx was as immersive as I have ever tried it. As much as I love standalone VR, because I think it helped a lot in democratizing the technology, the WOW sensation that you can try on PCVR today is still unbeatable. Probably a good compromise between the two can be cloud rendering, but we still have to wait for it to become a reality. The sense of being somewhere else is a wonderful sensation, and everyone I demoed VR to all these years has been amazed by it, too. And every day, something makes me feel "there" (like today), I remember why I love this technology and why one day it will have a higher adoption. Sure, there are a lot of problems to solve, but I'm convinced one day it will happen. When? Well, it is always 5 to 10 years, every year... #VirtualReality #VR #technology [Disclaimer: I mentioned the PC model because I'm a #DellProPrecision ambassador, and I have been given the PC to do tests and experiments and share my results. There is no monetary compensation or sales affiliation related to this post]

TonyVT SkarredGhost

28,906 views • 3 months ago

PROMPT DROP 🚨 for Creators & NFT Collectors. 🎨 Minting the Self: Genesis of the Living Canvas🪽 The prompt is optimised to inherit the style, colour palette, and personality of your character. 💀 Drop your creations below 🌐 Keen to see what you mint 👀 🚨PROMPT👇🏼 Use the provided PFP/NFT character as the primary reference. The character must remain fully recognizable and true to its original design—preserve exact facial features, proportions, textures, materials, color palette, accessories, and overall personality. All elements in the scene must adapt to and harmonize with the character’s unique visual style—whether that is cartoon, anime, voxel, hyper-realistic, or stylized 3D. Create a hyper-detailed fine art studio scene where the character stands before a massive canvas. The painting on the canvas is a fully completed, master-level version of the same character, rendered in a refined, elevated interpretation of its original style. The character’s signature identity feature (mask, face, helmet, eyes, or defining trait) must be 100% complete, sharp, and highly detailed—serving as the focal anchor of the composition. They hold a paintbrush dripping with material true to their world (oil paint, neon energy, pixels, liquid chrome, etc.), and the colors precisely match their original palette—visually linking the act of painting to the formation of their body. The studio environment subtly inherits the character’s aesthetic and personality: Color grading aligns with the character’s palette (dark, vibrant, pastel, neon, etc.) Props and materials reflect their universe (futuristic, street, fantasy, minimal, luxury) Lighting style matches their mood (soft cinematic, harsh contrast, neon glow, ethereal light) A large window casts natural or stylized light consistent with the character’s world, enhancing texture, depth, and atmosphere. Paint or material drips from both the canvas and the character, seamlessly blending creator and creation, reality and artwork. Style Output: ultra-detailed, cinematic composition, faithful to the character’s original art direction, enhanced with fine art realism and high-end 3D rendering, 8K resolution, museum-quality lighting, rich textures, depth of field, and tactile detail.
0:35

PROMPT DROP 🚨 for Creators & NFT Collectors. 🎨 Minting the Self: Genesis of the Living Canvas🪽 The prompt is optimised to inherit the style, colour palette, and personality of your character. 💀 Drop your creations below 🌐 Keen to see what you mint 👀 🚨PROMPT👇🏼 Use the provided PFP/NFT character as the primary reference. The character must remain fully recognizable and true to its original design—preserve exact facial features, proportions, textures, materials, color palette, accessories, and overall personality. All elements in the scene must adapt to and harmonize with the character’s unique visual style—whether that is cartoon, anime, voxel, hyper-realistic, or stylized 3D. Create a hyper-detailed fine art studio scene where the character stands before a massive canvas. The painting on the canvas is a fully completed, master-level version of the same character, rendered in a refined, elevated interpretation of its original style. The character’s signature identity feature (mask, face, helmet, eyes, or defining trait) must be 100% complete, sharp, and highly detailed—serving as the focal anchor of the composition. They hold a paintbrush dripping with material true to their world (oil paint, neon energy, pixels, liquid chrome, etc.), and the colors precisely match their original palette—visually linking the act of painting to the formation of their body. The studio environment subtly inherits the character’s aesthetic and personality: Color grading aligns with the character’s palette (dark, vibrant, pastel, neon, etc.) Props and materials reflect their universe (futuristic, street, fantasy, minimal, luxury) Lighting style matches their mood (soft cinematic, harsh contrast, neon glow, ethereal light) A large window casts natural or stylized light consistent with the character’s world, enhancing texture, depth, and atmosphere. Paint or material drips from both the canvas and the character, seamlessly blending creator and creation, reality and artwork. Style Output: ultra-detailed, cinematic composition, faithful to the character’s original art direction, enhanced with fine art realism and high-end 3D rendering, 8K resolution, museum-quality lighting, rich textures, depth of field, and tactile detail.

BiBi

11,129 views • 3 months ago

Two data points dropped in the last few months that should terrify every software company that thinks its codebase is a moat. First, one engineer at Cloudflare, working with Claude via AI agents, rebuilt 94% of Next.js, one of the most widely used frontend frameworks on the internet, built over 10 years by a large engineering team in a single week. Total cost was $1,100 in API tokens. The result, called Vinext, is a drop-in replacement that builds production apps up to 4x faster and produces client bundles 57% smaller and customers are already running it in production. Second is Cursor CEO Michael Truell deployed a swarm of hundreds of GPT-5.2 agents that ran uninterrupted for an entire week and built a fully functional web browser from scratch called FastRender. 3 million lines of code, thousands of files and a custom Rust rendering engine with HTML parsing, CSS layout, text shaping, and a custom JavaScript VM. Total cost was roughly $30,000. For context, Google has spent billions of dollars and decades of engineering building Chrome. And the benchmarks say by next year, you will be able to one-shot prompt anything. The moat that software companies spent decades building, the complexity of their codebase, the years it would take a competitor to replicate it, the switching costs that moat assumed humans were the unit of production. AI does not care how long it took you to build it, it only cares how long it takes to rebuild it. And right now, the answer is one week.
1:05

Two data points dropped in the last few months that should terrify every software company that thinks its codebase is a moat. First, one engineer at Cloudflare, working with Claude via AI agents, rebuilt 94% of Next.js, one of the most widely used frontend frameworks on the internet, built over 10 years by a large engineering team in a single week. Total cost was $1,100 in API tokens. The result, called Vinext, is a drop-in replacement that builds production apps up to 4x faster and produces client bundles 57% smaller and customers are already running it in production. Second is Cursor CEO Michael Truell deployed a swarm of hundreds of GPT-5.2 agents that ran uninterrupted for an entire week and built a fully functional web browser from scratch called FastRender. 3 million lines of code, thousands of files and a custom Rust rendering engine with HTML parsing, CSS layout, text shaping, and a custom JavaScript VM. Total cost was roughly $30,000. For context, Google has spent billions of dollars and decades of engineering building Chrome. And the benchmarks say by next year, you will be able to one-shot prompt anything. The moat that software companies spent decades building, the complexity of their codebase, the years it would take a competitor to replicate it, the switching costs that moat assumed humans were the unit of production. AI does not care how long it took you to build it, it only cares how long it takes to rebuild it. And right now, the answer is one week.

Milk Road AI

16,781 views • 3 months ago

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010
6:40

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 views • 24 days ago

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)
1:23

Hirokazu Koreeda on how he directs Children: "Interviewer: I think 'Shoplifters' (2018) is very remarkable in showing different sides of a city and like you said, people who are pretty much invisible, but I do want to also commend you on another thing, is you often work with young actors, and they always tend to have a significant role in many of your films. How do you go about finding such dynamic young actors, and why do you often put these young people at the center of each one of your stories? Koreeda: First of all, I would say that I tend to make what I would call family dramas, and of course, you have to have children if you’re creating a family, but that’s how it started, but I found that as I did it, I became really interested. It became very interesting and fun to work with these children, and for example, the two children in this film, neither of them had any acting experience at all before this film. I brought them in, and what I find when you bring these children in, and you work with them is that the adult actors change. They become much more lively and natural in the way that they act, and I guess, at some point, I realized this, and I guess, became really attracted to the idea of having children and the impact that it had. Interviewer: Do you find that there is any struggle in terms of working with young actors, or in this case, young children who have not actually acted before? Koreeda: Just to clarify, I have worked with children in many of my films, and all of them have never had experienced before. I always go out and pick non-acting children to work in my films, so just, I wanted to put that out there. In terms of the struggle, it does take time. You have to give extra time to work with these children. When I choose these children, I have an audition, and I pick out who I want to the audition, and then when we get to set, I never give them the script. No child that I’ve worked with has been given a script beforehand, and when I get to the actual part where they’re going to be acting, I give them the lines myself, and work with them and coach them. What I find is that it’s actually really enjoyable, both for them and for myself that way. I also, because I’ve been doing this now for several years, I tend to have a fairly high success rate in choosing children that are able to work with me in that way. Interviewer: That’s fascinating, and it also shows how you are able to create such authentic performances from these child actors over and over again in so many of your films. I think it’s a unique gift that you have, and it’s something that very few directors, I think, here in the United States do. Koreeda: It’s true, I guess by working with these children, I learned. I discovered that the best way to do it was just to communicate verbally their lines, rather than giving them in a written format, and over time, this really worked, and so I just kept doing it. But, interestingly, I loved the movie 'Kramer vs Kramer' (1979), directed by Robert Benton, and one time I bought the movie with all the extra, the making of and everything, and I went over it, and I found through that, that in fact, the child in that movie was also given his lines every day by the assistant director each morning when they came in to set, so I discovered that it wasn’t just me that was doing this." (Koreeda's interview with Scott Menzel, We Live Entertainment, 2018)

DepressedBergman

49,522 views • 6 months ago

here's how I got into futures trading for the first time and ran my account from $3k to $600k. so I just came across my old IG story highlight from around this time last year. no stoplosses just longing BTC and majors at every pullback at one point I was up and down $300k-$700k on some days, yet still didn't have a real idea on any system for myself. this was the true definition of left curving, before left curving became a term. learned a lot from this run, and I know I can do it again. the hard part about this was that I was sharing updates inside kaizen when i was on this tear, but i was still learning myself and unsure of what i was doing. i've been spending the last few weeks really exploring and learning the whole trading niche. i thought for the longest time, my biggest disdvantage was that i didn't have the trading experience and background a lot of the guys in the space already have, but i've come to realize this is gonna be my edge. as im learning, i have the best perspective as a beginner and can make sense of complicated topics. in 2026 I hope to be one of the few creators who can really democratize trading for mass retail in a responsible (non - gambly way). Currently in my student learning arc and studying some of the best traders I know while building tools, frameworks, & utilizing AI in between all that. if anyone has any tips or recommend any other traders with proven reliable systems in futures and crypto - feel free to connect or shoot me a dm! i'm eager to learn as much as i can here so we can build something phenomenal
0:58

here's how I got into futures trading for the first time and ran my account from $3k to $600k. so I just came across my old IG story highlight from around this time last year. no stoplosses just longing BTC and majors at every pullback at one point I was up and down $300k-$700k on some days, yet still didn't have a real idea on any system for myself. this was the true definition of left curving, before left curving became a term. learned a lot from this run, and I know I can do it again. the hard part about this was that I was sharing updates inside kaizen when i was on this tear, but i was still learning myself and unsure of what i was doing. i've been spending the last few weeks really exploring and learning the whole trading niche. i thought for the longest time, my biggest disdvantage was that i didn't have the trading experience and background a lot of the guys in the space already have, but i've come to realize this is gonna be my edge. as im learning, i have the best perspective as a beginner and can make sense of complicated topics. in 2026 I hope to be one of the few creators who can really democratize trading for mass retail in a responsible (non - gambly way). Currently in my student learning arc and studying some of the best traders I know while building tools, frameworks, & utilizing AI in between all that. if anyone has any tips or recommend any other traders with proven reliable systems in futures and crypto - feel free to connect or shoot me a dm! i'm eager to learn as much as i can here so we can build something phenomenal

Brian Jung

86,287 views • 7 months ago