Loading video...

Video Failed to Load

Go Home

Introducing TopoTaxi: A completely new approach to real-time character motion. TopoTaxi opens a game-changing direction for real-time animation. Instead of selecting from prebuilt animation clips or blending between fixed movement states, TopoTaxi generates a continuously evolving performance from the character’s current intent, movement, posture, style, and environment. Locomotion such...

TREE_Industries's profile picture

TREE Industries

2,236 subscribers

239,299 views • 6 days ago •via X (Twitter)

ArtsScience & TechnologyGaming
LIVE

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

At Unreal Fest Stockholm, Voice to Visuals brought together Unreal Engine’s most powerful animation tools, showing how expressive performances can come to life in real time. Using Take Recorder, Sequencer, MetaHuman Animator, Live Link Hub, and Performance Capture Manager — alongside Captury’s markerless motion capture — the demo showcased end-to-end performance capture and playback inside UE. From voice-driven lip sync to real-time retargeting across diverse characters, and even dynamic character swaps, this workflow demonstrates a new era of speed, creativity, and flexibility for animation and more!
1:21

At Unreal Fest Stockholm, Voice to Visuals brought together Unreal Engine’s most powerful animation tools, showing how expressive performances can come to life in real time. Using Take Recorder, Sequencer, MetaHuman Animator, Live Link Hub, and Performance Capture Manager — alongside Captury’s markerless motion capture — the demo showcased end-to-end performance capture and playback inside UE. From voice-driven lip sync to real-time retargeting across diverse characters, and even dynamic character swaps, this workflow demonstrates a new era of speed, creativity, and flexibility for animation and more!

Unreal Engine

13,763 views • 10 months ago

NVIDIA MotionBricks brings humanoid robots closer to natural, fluid movement The system combines a modular latent generative model with Smart Primitives, packing more than 350,000 motion skills into a single backbone. It runs in real time at up to 15,000 FPS with just 2ms latency. Navigation, object interaction, sitting, jumping, obstacle crossing, and even different movement styles can be composed zero-shot, like reusable motion modules. It is already being used for whole-body control on the Unitree G1 and serves as the motion layer for NVIDIA GR00T Whole-Body Control. What makes this interesting is the move from training individual behaviors toward building a shared library of motion capabilities. If that approach scales, robot movement could become more modular, transferable, and easier to deploy across different tasks and environments.
1:43

NVIDIA MotionBricks brings humanoid robots closer to natural, fluid movement The system combines a modular latent generative model with Smart Primitives, packing more than 350,000 motion skills into a single backbone. It runs in real time at up to 15,000 FPS with just 2ms latency. Navigation, object interaction, sitting, jumping, obstacle crossing, and even different movement styles can be composed zero-shot, like reusable motion modules. It is already being used for whole-body control on the Unitree G1 and serves as the motion layer for NVIDIA GR00T Whole-Body Control. What makes this interesting is the move from training individual behaviors toward building a shared library of motion capabilities. If that approach scales, robot movement could become more modular, transferable, and easier to deploy across different tasks and environments.

CyberRobo

11,089 views • 2 months ago

MotionBricks by NVIDIA. the all-in-one brain for character movement. No manual rigging/animation, you just let this AI handle the physics and style in real-time. - 15k FPS on RTX 5090! You could run an entire city of unique NPCs without breaking a sweat. - Smart Primitives. The AI fills in the natural-looking motion automatically. - Zero-Shot Skills. - Glitch-Free. Keeps movements stable.
0:55

MotionBricks by NVIDIA. the all-in-one brain for character movement. No manual rigging/animation, you just let this AI handle the physics and style in real-time. - 15k FPS on RTX 5090! You could run an entire city of unique NPCs without breaking a sweat. - Smart Primitives. The AI fills in the natural-looking motion automatically. - Zero-Shot Skills. - Glitch-Free. Keeps movements stable.

Wildminder

23,296 views • 2 months ago

🏃 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 views • 1 year ago

The same movement can tell a completely different story. A ballet dancer’s precision and control can become the force of a boxer in the ring. With PAI, there is no need to reshoot or start over - the motion stays consistent while the world around it transforms. Simply select a clip, add a reference, and watch it shift into something entirely new.
0:59

The same movement can tell a completely different story. A ballet dancer’s precision and control can become the force of a boxer in the ring. With PAI, there is no need to reshoot or start over - the motion stays consistent while the world around it transforms. Simply select a clip, add a reference, and watch it shift into something entirely new.

Utopai Studios

9,174,269 views • 4 months ago

I really want to show off the cutting edge tech the team is building and how we're turning AI image generation into real living environments using gaussian splats and at the :19 mark of this video you can see how we're blending splats together to create a real world. What this looks like from a gaming perspective is this all happens behind the players view to simulate a real world environment. As you move through the space, distance becomes a variable to consider on how images update and are experienced. We are creating a new reality in real time.
1:21

I really want to show off the cutting edge tech the team is building and how we're turning AI image generation into real living environments using gaussian splats and at the :19 mark of this video you can see how we're blending splats together to create a real world. What this looks like from a gaming perspective is this all happens behind the players view to simulate a real world environment. As you move through the space, distance becomes a variable to consider on how images update and are experienced. We are creating a new reality in real time.

𝔹𝕃𝕍ℂ𝕂𝕃!𝔾ℍ𝕋

25,084 views • 2 months ago

img2threejs 1.5.1 is out 🚀 Checkout: This release introduces a new approach to image → 3D → Three.js. Image → Tripo → img2threejs → reconstructed geometry → Three.js Instead of using the generated 3D model as the final asset, img2threejs uses it as a reference to rebuild the character into a representation that can be generated and rendered directly in Three.js. No Blender workflow, and no GLB required as the final output. The animation in the demo is still a bit rough because this release is focused on reconstruction, not animation. I’ll be improving that in the next release. Still experimental, but this is a big step toward where I want img2threejs to go.
1:02

img2threejs 1.5.1 is out 🚀 Checkout: This release introduces a new approach to image → 3D → Three.js. Image → Tripo → img2threejs → reconstructed geometry → Three.js Instead of using the generated 3D model as the final asset, img2threejs uses it as a reference to rebuild the character into a representation that can be generated and rendered directly in Three.js. No Blender workflow, and no GLB required as the final output. The animation in the demo is still a bit rough because this release is focused on reconstruction, not animation. I’ll be improving that in the next release. Still experimental, but this is a big step toward where I want img2threejs to go.

Nick

115,485 views • 11 days ago

so im trying Runway Aleph 2.0 on my own footage. this time i wanted to see how far i can push the scene without changing the original motion. i changed the character and some visual elements but the camera movement, timing and performance stay almost exactly the same. what i like is it only changes the part i ask for instead of regenerating the whole shot from scratch. i can test different creative directions from the same footage, which is really useful for ads or content production when you want multiple versions without having to reshoot everything again. one footage, multiple possibilities.
0:24

so im trying Runway Aleph 2.0 on my own footage. this time i wanted to see how far i can push the scene without changing the original motion. i changed the character and some visual elements but the camera movement, timing and performance stay almost exactly the same. what i like is it only changes the part i ask for instead of regenerating the whole shot from scratch. i can test different creative directions from the same footage, which is really useful for ads or content production when you want multiple versions without having to reshoot everything again. one footage, multiple possibilities.

DStudioproject

13,691 views • 3 months ago

For anybody who edits their own gaming videos, this is my yearly reminder that the easiest, "smooth" transition you can make is a match cut orrrr a mask cut. Match the motion/animation frame before the cut to -> after the cut. There is a limited number of animations in every game, so you're bound to find a similar frame between scene changes. OR If you run through a door, you can cut out (mask) the opening so you look like you ran into a new scene.
0:46

For anybody who edits their own gaming videos, this is my yearly reminder that the easiest, "smooth" transition you can make is a match cut orrrr a mask cut. Match the motion/animation frame before the cut to -> after the cut. There is a limited number of animations in every game, so you're bound to find a similar frame between scene changes. OR If you run through a door, you can cut out (mask) the opening so you look like you ran into a new scene.

B_randon

91,022 views • 1 year ago

I screened this latest AI short in Paris for the Prompt Club alongside a great showcase for French AI filmmaking talent. I think we have reached a tipping point where the quality of the models is no longer an obstacle to telling the story. Sure, there are problems with detail at distance, dynamic movement, and more than one character speaking or doing complex movement at the same time but nothing a director with awareness of the models can’t overcome. Kling motion control is a massive unlock, in this short I am playing all the characters so it’s quite broad because I am not an actor, but I have seen it used with professional actors and it captures real nuanced human performance, with everything that brings. I will be employing professional actors for my films in the future. This was made predominantly with Kling 2.5, and 2.6 motion with some seedance shots on the wider 2-shots. We are there, now go make your thing!
3:50

I screened this latest AI short in Paris for the Prompt Club alongside a great showcase for French AI filmmaking talent. I think we have reached a tipping point where the quality of the models is no longer an obstacle to telling the story. Sure, there are problems with detail at distance, dynamic movement, and more than one character speaking or doing complex movement at the same time but nothing a director with awareness of the models can’t overcome. Kling motion control is a massive unlock, in this short I am playing all the characters so it’s quite broad because I am not an actor, but I have seen it used with professional actors and it captures real nuanced human performance, with everything that brings. I will be employing professional actors for my films in the future. This was made predominantly with Kling 2.5, and 2.6 motion with some seedance shots on the wider 2-shots. We are there, now go make your thing!

Uncanny Harry AI

10,263 views • 7 months ago

A SOLO CREATOR CAN TURN ONE CHARACTER INTO A SMALL ANIMATION BUSINES The underrated part of this setup is not the first video, it's what happens after the character exists Claude can keep the story world consistent, write the next episode, create short scenes for TikTok, prepare voice lines, generate product-style descriptions, and turn the same character into Patreon drops, YouTube episodes, Gumroad asset packs, motion comics, and brand-safe explainer visuals Midjourney gives the character a visual identity. Runway gives it motion. ElevenLabs gives it a voice. Suno gives it a world to live inside. Make keeps the pipeline moving without treating every upload like a new project. That is why AI animation gets interesting The creator is not just making cartoons faster They are building reusable IP with a lower production cost than most people spend testing one ad campaign If one character works, it can become a channel, a series, a product library, and a monthly content machine Full article below
1:49

A SOLO CREATOR CAN TURN ONE CHARACTER INTO A SMALL ANIMATION BUSINES The underrated part of this setup is not the first video, it's what happens after the character exists Claude can keep the story world consistent, write the next episode, create short scenes for TikTok, prepare voice lines, generate product-style descriptions, and turn the same character into Patreon drops, YouTube episodes, Gumroad asset packs, motion comics, and brand-safe explainer visuals Midjourney gives the character a visual identity. Runway gives it motion. ElevenLabs gives it a voice. Suno gives it a world to live inside. Make keeps the pipeline moving without treating every upload like a new project. That is why AI animation gets interesting The creator is not just making cartoons faster They are building reusable IP with a lower production cost than most people spend testing one ad campaign If one character works, it can become a channel, a series, a product library, and a monthly content machine Full article below

Penguin

11,207 views • 2 months ago

This kinetic sculpture, titled Nested Loops, hangs inside The National Museum of Mathematics (MoMath) in New York. It demonstrates exactly how higher-dimensional forms can emerge from the coordinated motion of simple elements moving through time. The circles are pathways of motion…timing mechanisms that guide anchor points along curved trajectories. As the mechanism rotates, strings stretched between these moving anchor points remain under constant tension. Because a taut string always forms the shortest path between two points, each string becomes a straight line, even though the points guiding it are traveling along curves! This is the key insight…circular motion is generating linear geometry. The loops create movement, the strings reveal structure, and as these relationships shift in coordinated time, the eye begins to perceive cubic forms like edges, diagonals, and vertices, all emerging from what is fundamentally a flat plane with moving parts. A cube does not need to be physically present to be perceived. It can be implied through the alignment of edges, the intersection of planes, and the convergence of perspective. What you’re witnessing is a dimensional emergence…a lower-dimensional system producing the visual signature of a higher-dimensional object through synchronized motion. Change the speed of one circle relative to another, and an entirely different geometric form appears. The same strings, the same frame…but a new structure emerges from the new rhythm. This is why the sculpture feels almost alive. It’s revealing that form is relational, temporal, and emergent, so what we perceive as solid objects are often just stable harmonies of moving relationships, frozen in a moment of coherence. This piece asks you to consider: What aspects of your reality are you perceiving as solid, when they’re actually just coherent patterns of motion temporarily aligned? Did this shift how you see structure and emergence? ✨🙌🏾💫 Artist © Chuck Hoberman (MoMath, New York)
0:25

This kinetic sculpture, titled Nested Loops, hangs inside The National Museum of Mathematics (MoMath) in New York. It demonstrates exactly how higher-dimensional forms can emerge from the coordinated motion of simple elements moving through time. The circles are pathways of motion…timing mechanisms that guide anchor points along curved trajectories. As the mechanism rotates, strings stretched between these moving anchor points remain under constant tension. Because a taut string always forms the shortest path between two points, each string becomes a straight line, even though the points guiding it are traveling along curves! This is the key insight…circular motion is generating linear geometry. The loops create movement, the strings reveal structure, and as these relationships shift in coordinated time, the eye begins to perceive cubic forms like edges, diagonals, and vertices, all emerging from what is fundamentally a flat plane with moving parts. A cube does not need to be physically present to be perceived. It can be implied through the alignment of edges, the intersection of planes, and the convergence of perspective. What you’re witnessing is a dimensional emergence…a lower-dimensional system producing the visual signature of a higher-dimensional object through synchronized motion. Change the speed of one circle relative to another, and an entirely different geometric form appears. The same strings, the same frame…but a new structure emerges from the new rhythm. This is why the sculpture feels almost alive. It’s revealing that form is relational, temporal, and emergent, so what we perceive as solid objects are often just stable harmonies of moving relationships, frozen in a moment of coherence. This piece asks you to consider: What aspects of your reality are you perceiving as solid, when they’re actually just coherent patterns of motion temporarily aligned? Did this shift how you see structure and emergence? ✨🙌🏾💫 Artist © Chuck Hoberman (MoMath, New York)

🧬Maxpein🧬

48,005 views • 3 months ago

Not a preplanned motion sequence. A robot deciding mid-jump what to do next. [📍 paper + demo] Researchers just showed a humanoid doing real parkour using only onboard perception. No motion script, no fixed obstacle layout. The system is called Perceptive Humanoid Parkour (PHP). Instead of memorizing a path, the robot reads depth from its cameras and continuously chooses actions. Step, vault, climb, or roll depending on what geometry appears in front of it. To make that possible, they combine three ideas: First, they stitch together human motion clips into long movement references so the robot learns fluid transitions instead of isolated tricks. Second, they train tracking policies with reinforcement learning so contacts land at the right time and the robot keeps balance during dynamic moves. Finally, everything is distilled into one perception policy that runs directly from depth input to action selection. The result on a Unitree G1: about 3 m/s vaults wall climbs up to 1.25 m nearly one minute continuous obstacle traversal adapting when obstacles move What matters is not the tricks. It is the shift in capability. Earlier humanoids executed motions. This one navigates situations. Once robots react to geometry instead of replaying trajectories, environments stop needing to be predictable. Warehouses, homes, and outdoors suddenly become the same problem. Thanks for sharing, Zhen Wu! Paper + demo: ——— Weekly robotics and AI insights. Subscribe free:
0:29

Not a preplanned motion sequence. A robot deciding mid-jump what to do next. [📍 paper + demo] Researchers just showed a humanoid doing real parkour using only onboard perception. No motion script, no fixed obstacle layout. The system is called Perceptive Humanoid Parkour (PHP). Instead of memorizing a path, the robot reads depth from its cameras and continuously chooses actions. Step, vault, climb, or roll depending on what geometry appears in front of it. To make that possible, they combine three ideas: First, they stitch together human motion clips into long movement references so the robot learns fluid transitions instead of isolated tricks. Second, they train tracking policies with reinforcement learning so contacts land at the right time and the robot keeps balance during dynamic moves. Finally, everything is distilled into one perception policy that runs directly from depth input to action selection. The result on a Unitree G1: about 3 m/s vaults wall climbs up to 1.25 m nearly one minute continuous obstacle traversal adapting when obstacles move What matters is not the tricks. It is the shift in capability. Earlier humanoids executed motions. This one navigates situations. Once robots react to geometry instead of replaying trajectories, environments stop needing to be predictable. Warehouses, homes, and outdoors suddenly become the same problem. Thanks for sharing, Zhen Wu! Paper + demo: ——— Weekly robotics and AI insights. Subscribe free:

Ilir Aliu

22,080 views • 6 months ago

The clearest evidence that Nelson Chamisa learnt nothing and forgot everything during his two-year hiatus, after he unceremoniously ran away from the leadership of his party in January 2024, is that he says he’s back in active politics to form and lead yet another “new” movement which he "shockingly claims will be similar to the 'liberation movement, that had no president and no constitution': Journalist: "And is this an announcement of the coming in of a new political party, or it's going to be a general movement; exactly what is this?" Nelson Chamisa: "I think I must help you. I said it's not a political party. It's a movement. It is, and a movement is like the liberation movement. Who was the president of the liberation movement? What was the constitution of the liberation movement?" [full video:
0:24

The clearest evidence that Nelson Chamisa learnt nothing and forgot everything during his two-year hiatus, after he unceremoniously ran away from the leadership of his party in January 2024, is that he says he’s back in active politics to form and lead yet another “new” movement which he "shockingly claims will be similar to the 'liberation movement, that had no president and no constitution': Journalist: "And is this an announcement of the coming in of a new political party, or it's going to be a general movement; exactly what is this?" Nelson Chamisa: "I think I must help you. I said it's not a political party. It's a movement. It is, and a movement is like the liberation movement. Who was the president of the liberation movement? What was the constitution of the liberation movement?" [full video:

Prof Jonathan Moyo

61,143 views • 7 months ago

kimodo.cpp is live. NVIDIA's Kimodo, the best AI animation model right now, running natively on CPU or Vulkan. Type a sentence, get character animation, locally on your own machine. Before, you needed the whole PyTorch and CUDA stack standing up before you could generate a single motion. Now it is a native C++/GGML build that loads GGUF models and comes with a local web demo. No Python environment to fight. It gives you SMPL-X, and from there you retarget onto pretty much any skeleton you want, like Mixamo. Great piece of work Richard Palethorpe
0:37

kimodo.cpp is live. NVIDIA's Kimodo, the best AI animation model right now, running natively on CPU or Vulkan. Type a sentence, get character animation, locally on your own machine. Before, you needed the whole PyTorch and CUDA stack standing up before you could generate a single motion. Now it is a native C++/GGML build that loads GGUF models and comes with a local web demo. No Python environment to fight. It gives you SMPL-X, and from there you retarget onto pretty much any skeleton you want, like Mixamo. Great piece of work Richard Palethorpe

Stefan 3D AI

105,984 views • 12 days ago

Thoughts on transferable skills. I was surprised reading the comments to Riley’s question about best UI animation tool for web. To anyone interested in diving into motion design I would strongly recommend - aim to become a motion expert, not Jitter/Rive/Lottie specialist. If you start from the foundations, jumping into any animation tool will feel like a walk in the park. Keyframes, easing functions, transformations - same concepts are shared between all of them. Getting to know the foundations on the web means starting with CSS, Tailwind or React Motion. I’m often creating small motion concepts in Figma (see video) and then recreating them manually in code. Any language, it doesn’t matter because principles are the same. I recently made the switch to Swift and built a small animation tool for myself (see video) that I’ll discard after I’m done with the motion. This level of comfortableness with motion gives you unmatched flexibility. From that point, tools are just interfaces for expressing something you already deeply understand. This is not about performance or technical optimizations (Lottie files can outperform CSS equivalents), tools mentioned above really are great - it’s about developing transferable creative skill that lets you think across any medium, platform or tool.
0:48

Thoughts on transferable skills. I was surprised reading the comments to Riley’s question about best UI animation tool for web. To anyone interested in diving into motion design I would strongly recommend - aim to become a motion expert, not Jitter/Rive/Lottie specialist. If you start from the foundations, jumping into any animation tool will feel like a walk in the park. Keyframes, easing functions, transformations - same concepts are shared between all of them. Getting to know the foundations on the web means starting with CSS, Tailwind or React Motion. I’m often creating small motion concepts in Figma (see video) and then recreating them manually in code. Any language, it doesn’t matter because principles are the same. I recently made the switch to Swift and built a small animation tool for myself (see video) that I’ll discard after I’m done with the motion. This level of comfortableness with motion gives you unmatched flexibility. From that point, tools are just interfaces for expressing something you already deeply understand. This is not about performance or technical optimizations (Lottie files can outperform CSS equivalents), tools mentioned above really are great - it’s about developing transferable creative skill that lets you think across any medium, platform or tool.

Natko Hasic

64,045 views • 1 year ago

FOR THOSE WHO ARE CONFUSED… We experience TIME as a straight line, one moment after another, PAST TO PRESENT TO FUTURE. But that is only how it appears from inside the system. Beings in higher dimensions, what some call “ORACLES” OR “GODS,” do not experience time like this. They do not move through it. They observe it in its entirety. A closer analogy would be CHANNELS ON A SCREEN. What is playing on FOX and what is playing on CBS is not separate in existence, it is only separated by perspective. Both are happening at the same time, fully active, fully real. In the same way, what we call 1950 and what we call 2004 are not distant points moving away from each other. They are both present within the same total field of reality. From that level of awareness, nothing is being “waited on.” There is NO DELAY. There is only ACCESS. A shift of perception is all that is needed, like changing the channel. So if everything exists at once, then your FUTURE is not something that is coming toward you. It is something that already exists. The version of you 20 YEARS FROM NOW is already there. You have already CHOSEN THAT PATH, you have already GONE THROUGH WHAT COMES WITH IT, you have already LIVED THROUGH IT ALL. And what you are doing now is not creating it. You are MOVING THROUGH IT. Slowly remembering why you are there at all.
0:23

FOR THOSE WHO ARE CONFUSED… We experience TIME as a straight line, one moment after another, PAST TO PRESENT TO FUTURE. But that is only how it appears from inside the system. Beings in higher dimensions, what some call “ORACLES” OR “GODS,” do not experience time like this. They do not move through it. They observe it in its entirety. A closer analogy would be CHANNELS ON A SCREEN. What is playing on FOX and what is playing on CBS is not separate in existence, it is only separated by perspective. Both are happening at the same time, fully active, fully real. In the same way, what we call 1950 and what we call 2004 are not distant points moving away from each other. They are both present within the same total field of reality. From that level of awareness, nothing is being “waited on.” There is NO DELAY. There is only ACCESS. A shift of perception is all that is needed, like changing the channel. So if everything exists at once, then your FUTURE is not something that is coming toward you. It is something that already exists. The version of you 20 YEARS FROM NOW is already there. You have already CHOSEN THAT PATH, you have already GONE THROUGH WHAT COMES WITH IT, you have already LIVED THROUGH IT ALL. And what you are doing now is not creating it. You are MOVING THROUGH IT. Slowly remembering why you are there at all.

THE VOICE 🌹 🗣🎙🇺🇸🦅🌎⚓💜♠️CHRIST CONSCIOUSNESS

40,362 views • 2 months ago

What you’re seeing in this video is something no other smartphone can currently replicate besides Samsung, including the iPhone. Samsung Galaxy S26 Ultra, 4K 60fps HDR, fully handheld, with a smooth zoom transition from 1x to 2.9x. This is probably the closest thing to a professional camcorder-style zoom system on a smartphone today. Even the iPhone struggles to achieve this level of ultra slow, precise, and stable zoom movement. Most smartphones still rely on your finger movement to control zoom speed. The moment your finger slightly shifts, the zoom speed changes as well. Samsung’s approach is different. You simply hold your finger at a fixed position, and the phone continues zooming at a perfectly constant speed. It can move incredibly slowly, creating a much more linear and stable transition. The underlying logic is actually related to Samsung’s AI slow-motion technology. The core idea is real-time control over motion trajectory, speed variation, and frame-to-frame transition consistency. This is far beyond simply enlarging the image. The goal is to make the zoom feel continuous, smooth, and controllable throughout the entire movement. Right now, the only thing slightly interrupting the experience is the 3x telephoto switching point. When moving from 1x toward 5x, the lens transition breaks part of that seamless feeling. If the Galaxy S27 Ultra eventually removes the 3x telephoto camera, Samsung could potentially deliver a fully continuous and ultra smooth zoom transition from 1x all the way to 5x. For casual users, it may simply look “smoother.” For video creators, this is the kind of detail that creates a truly professional shooting experience.
0:32

What you’re seeing in this video is something no other smartphone can currently replicate besides Samsung, including the iPhone. Samsung Galaxy S26 Ultra, 4K 60fps HDR, fully handheld, with a smooth zoom transition from 1x to 2.9x. This is probably the closest thing to a professional camcorder-style zoom system on a smartphone today. Even the iPhone struggles to achieve this level of ultra slow, precise, and stable zoom movement. Most smartphones still rely on your finger movement to control zoom speed. The moment your finger slightly shifts, the zoom speed changes as well. Samsung’s approach is different. You simply hold your finger at a fixed position, and the phone continues zooming at a perfectly constant speed. It can move incredibly slowly, creating a much more linear and stable transition. The underlying logic is actually related to Samsung’s AI slow-motion technology. The core idea is real-time control over motion trajectory, speed variation, and frame-to-frame transition consistency. This is far beyond simply enlarging the image. The goal is to make the zoom feel continuous, smooth, and controllable throughout the entire movement. Right now, the only thing slightly interrupting the experience is the 3x telephoto switching point. When moving from 1x toward 5x, the lens transition breaks part of that seamless feeling. If the Galaxy S27 Ultra eventually removes the 3x telephoto camera, Samsung could potentially deliver a fully continuous and ultra smooth zoom transition from 1x all the way to 5x. For casual users, it may simply look “smoother.” For video creators, this is the kind of detail that creates a truly professional shooting experience.

Ice Universe

49,138 views • 3 months ago