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Let me explain what I'm doing here for those who are interested. I've been building a retro-style D3D12 game engine from scratch, and recently implemented a "Spatial Compression" effect. Essentially its a technique that makes distant geometry appear larger than standard perspective projection would, giving scenes a telephoto compression... feel without changing the camera FOV globally (to keep things "normal" when close to the camera). The goal: foreground geometry completely unchanged, objects beyond a configurable start distance progressively scaled up, with a smooth power-curve falloff. The solution: Once the full view-projection transform has been applied, I'm holding 2D screen coordinates. Camera orientation is already resolved at that point, so it's done its job. Scaling those coordinates outward from screen center is a pure 2D operation with no dependency on where the camera is pointing. The scale factor itself is derived from Euclidean world-space distance between the camera and the vertex (not a view-space value, which would rotate with the camera). Combined with the 2D application, both ingredients are fully rotation-invariant. Critically, only the XY screen coordinates are modified. Depth values are left completely untouched, so the depth buffer and any shadow calculations remain correct. I then tried inverting the effect for the opposite in interiors, leading to "Spatial Expansion".show more

Analog Dream Dev

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47,051 次观看 • 1 个月前 •via X (Twitter)

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For me, this was the moment when Halo went from being a War Story with futuristic elements to a Sci-fi Superhero Story. It’s an impossible shot. The camera flies around and through objects, time speeds up and slows down at random, the camera anticipates events that are scripted instead of reacting to capture them, there is no sense of space or proximity or cause and effect... It's like they gave the camera to Superman. That's all fine in a Superhero Story, but it breaks the stakes of a War Story. If the audience perspective is not grounded, then the stakes of the story are not grounded. It's exciting and flashy, but has as much impact as a kid playing with dolls.

For me, this was the moment when Halo went from being a War Story with futuristic elements to a Sci-fi Superhero Story. It’s an impossible shot. The camera flies around and through objects, time speeds up and slows down at random, the camera anticipates events that are scripted instead of reacting to capture them, there is no sense of space or proximity or cause and effect... It's like they gave the camera to Superman. That's all fine in a Superhero Story, but it breaks the stakes of a War Story. If the audience perspective is not grounded, then the stakes of the story are not grounded. It's exciting and flashy, but has as much impact as a kid playing with dolls.

Aozolai

317,793 次观看 • 9 个月前

Christopher Nolan convinced IMAX engineers to completely redesign their cameras just so he could film The Odyssey. "I called my friends at IMAX and I said, 'If ever we're going to make a film entirely in IMAX, this is The Odyssey. So, can you find a way to alleviate the limiting factor?'" "The limiting factor being the cameras are extremely loud." "We've never been able to capture dramatic scenes with an IMAX camera." "What they did is they came up with a way of blimping the camera." "Essentially a high-tech box that you put the camera into and it silences it." "It let us, for the first time ever, get the quiet scenes... and therefore be able to do the whole film."

Christopher Nolan convinced IMAX engineers to completely redesign their cameras just so he could film The Odyssey. "I called my friends at IMAX and I said, 'If ever we're going to make a film entirely in IMAX, this is The Odyssey. So, can you find a way to alleviate the limiting factor?'" "The limiting factor being the cameras are extremely loud." "We've never been able to capture dramatic scenes with an IMAX camera." "What they did is they came up with a way of blimping the camera." "Essentially a high-tech box that you put the camera into and it silences it." "It let us, for the first time ever, get the quiet scenes... and therefore be able to do the whole film."

Nichole

805,728 次观看 • 15 天前

$🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the *global* _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. **Convert the refraction direction vector to tangent space before adding it to the screen UV.** Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.$

🧑‍🏫 How to make a glass/refraction shader: 🍷 Refraction will ultimately have the effect that whatever is behind your mesh should appear distorted by the surface of the mesh itself. We're not going for external caustics projection, just modelling glass-like, distorting "transparency". 🌆 In Unity, you can sample the global _CameraOpaqueTexture (make sure it's enabled in your URP asset settings), which is what your scene looks like rendered without any transparent objects. In Shader Graph, you can simply use the Scene Colour node. 🔢 The UVs required for this texture are the normalized screen coordinates, so if we offset/warp/distort these coordinates and sample the texture, we ultimately produce a distorted image. We can offset the UVs by some normal map, as well as a refraction vector based on the direction from the camera -> the vertex/fragment (flip viewDir, which is otherwise vertex/fragment -> camera) and normals of the object. 📸 Input the (reversed) world space view direction and normal into HLSL refract. Convert the refraction direction vector to tangent space before adding it to the screen UV. Use the result to sample _CameraOpaqueTexture. refract(-worldViewDirection, worldNormal, eta); eta -> refraction ratio (from_IOR / to_IOR), > for air, 1.0 / indexOfRefraction (IOR). IOR of water = 1.33, glass = 1.54... 💡 You can also do naive "looks about right" hacks: fresnel -> normal from grayscale, which can be used for distortion. Or distort it any other way (without even specifically using refract at all), really... 🧠 Thus, even if your object is rendered as a transparent type (and vanilla Unity URP will require that it is), it is fully 'opaque' (max alpha), but it renders on its surface what is behind it, using the screen UV. If you distort those UVs by the camera view and normals of the surface it will be rendered on, it then appears like refractive glass on that surface. > Transparent render queue, but alpha = 1.0.

Mirza Beig

125,253 次观看 • 1 年前

A camera has been discovered that been live streaming 24 hours a day pointed directly at a children’s park It’s called Central Park of Maple Grove in Minnesota The camera is pointed directly at the splash pad where kids will be in their swimming suits “Am I overreacting or like thinking this is a bigger deal than it is? So there's a park, like a playground that I take my son to frequently, and it has a splash pad — I was on to like their website seeing what time it started or what time the splash pad opens up. And then I see on the website that there's a live camera option, so I clicked it — this camera is like directly at the splash pad, so I can see all these kids playing — Like, why is there a live camera 24/7 watching the children?” No you are not overreacting, the fact that it’s pointed directly at the splash pad zone is a big red flag I included actual images from the park in the video

A camera has been discovered that been live streaming 24 hours a day pointed directly at a children’s park It’s called Central Park of Maple Grove in Minnesota The camera is pointed directly at the splash pad where kids will be in their swimming suits “Am I overreacting or like thinking this is a bigger deal than it is? So there's a park, like a playground that I take my son to frequently, and it has a splash pad — I was on to like their website seeing what time it started or what time the splash pad opens up. And then I see on the website that there's a live camera option, so I clicked it — this camera is like directly at the splash pad, so I can see all these kids playing — Like, why is there a live camera 24/7 watching the children?” No you are not overreacting, the fact that it’s pointed directly at the splash pad zone is a big red flag I included actual images from the park in the video

Wall Street Apes

62,040 次观看 • 1 个月前

Youtuber Brittany Venti covers The Quartering, getting banned from the Ren Fair due to his weird, creepy behavior on a resurfaced livestream of him walking around the Ren Fair site, stating the following while filming: 1. pointing his camera at and calling women in close distance of Jeremy "MILFs" who are also holding their hand's with their children 2. pointing his camera at and calling a fat woman thick and saying "Rawr." 3. Pointing his camera at and walking behind a woman with her two kids while saying "that is what I am talking about," "she keeps it tight," and "you know she is DTF because she has kids." 4. points his camera at a nearly 10-year-old and moves his camera up and down as if hes checking her out. Brittany says that typically, the Renaissance Fair will not allow you to film and they will kick you out for it. She also says that it's pretty embarrassing to get banned from a place like the Ren Fair for being a sex pest. To which I agree.

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Youtuber Brittany Venti covers The Quartering, getting banned from the Ren Fair due to his weird, creepy behavior on a resurfaced livestream of him walking around the Ren Fair site, stating the following while filming: 1. pointing his camera at and calling women in close distance of Jeremy "MILFs" who are also holding their hand's with their children 2. pointing his camera at and calling a fat woman thick and saying "Rawr." 3. Pointing his camera at and walking behind a woman with her two kids while saying "that is what I am talking about," "she keeps it tight," and "you know she is DTF because she has kids." 4. points his camera at a nearly 10-year-old and moves his camera up and down as if hes checking her out. Brittany says that typically, the Renaissance Fair will not allow you to film and they will kick you out for it. She also says that it's pretty embarrassing to get banned from a place like the Ren Fair for being a sex pest. To which I agree.

Leigha Sapienti

60,394 次观看 • 2 个月前

** Sega Genesis 3D engine update 8.5 ** A smaller update - Scrolling left or right of the sprite based background is implemented along with X camera shifting of the 3d plane. The Exodus emulator has been used with sprite boxing enabled so you can see the background sprites making up the object ( their outlines ) and how they move to tilt the image . The background is made up of 112 sprites (51 are multiplexed in that number as the Genesis is limited to 80 without mulitplexing eg basically re-using sprite hardware as the screen is being drawn ) . In a 6 x 17 sprite grid of 16x32 pixel high sprites. If the tilt affect was not neccessary or only 1/2 the angle of tilt effect was needed, I could get away with 1/2 the number of sprites and just used 32x32 sprites instead. I think the tilt effect adds a bit to movement however. This is very similar to how a Neo Geo would build its backgrounds up - in 16 pixel strips however its sprites are tall as the screen or more but the concept of making backgrounds up in 16 pixel wide strips is similar. The NG uses sprites to build any background layers required. Here on the Genesis the reason is rendering is much faster using both the 3d planes and using a total sprite background for this engine. Initially i had a lot of things breaking when I tried to move the camera in the X dimension much , as i'd optimised the vertex transform path heavily and once beyond a certain camera offset the X value was wrapping around causing a lot of breakage in the rendering. Thankfully solved that issue without marginal impact to cpu . It still needs work , perspectives are a bit wrong etc but it won't be hard to fix. Also found some rendering speeds ups, about 8% by optimising fully onscreen quads and optimising the clearing of the frame buffers more efficiently. Toni Gálvez - Megastyle - BG. has been hard at work on HUD elements and more 3d models so will have something to show for that soon. #SGDK #SegaMegadrive #SegaGenesis

Sega Genesis 3D engine update 8.5 A smaller update - Scrolling left or right of the sprite based background is implemented along with X camera shifting of the 3d plane. The Exodus emulator has been used with sprite boxing enabled so you can see the background sprites making up the object ( their outlines ) and how they move to tilt the image . The background is made up of 112 sprites (51 are multiplexed in that number as the Genesis is limited to 80 without mulitplexing eg basically re-using sprite hardware as the screen is being drawn ) . In a 6 x 17 sprite grid of 16x32 pixel high sprites. If the tilt affect was not neccessary or only 1/2 the angle of tilt effect was needed, I could get away with 1/2 the number of sprites and just used 32x32 sprites instead. I think the tilt effect adds a bit to movement however. This is very similar to how a Neo Geo would build its backgrounds up - in 16 pixel strips however its sprites are tall as the screen or more but the concept of making backgrounds up in 16 pixel wide strips is similar. The NG uses sprites to build any background layers required. Here on the Genesis the reason is rendering is much faster using both the 3d planes and using a total sprite background for this engine. Initially i had a lot of things breaking when I tried to move the camera in the X dimension much , as i'd optimised the vertex transform path heavily and once beyond a certain camera offset the X value was wrapping around causing a lot of breakage in the rendering. Thankfully solved that issue without marginal impact to cpu . It still needs work , perspectives are a bit wrong etc but it won't be hard to fix. Also found some rendering speeds ups, about 8% by optimising fully onscreen quads and optimising the clearing of the frame buffers more efficiently. Toni Gálvez - Megastyle - BG. has been hard at work on HUD elements and more 3d models so will have something to show for that soon. #SGDK #SegaMegadrive #SegaGenesis

Shannon Birt

20,435 次观看 • 10 天前

I was playing around with my scaling code and thought it would be cool to play the current Lufthoheit service screen on a CRT on the tripple bypassed MD2 i got recently. I've made the code a bit more efficient and added a whole scale factor so now it scales 320 pixels wide x 4 times ( source art width ) . So the ship here is scaled 4x larger than the one we scale at the entrance to the cave level . I'm working on 5x next . Scaler and Rotater are written in 68k assembly for speed . Finally I got the non-safe interupts (eg register allocation / seperation ) to work which yielded a big speed gain . Basically you reserve some of the 68ks registers only for use in the Horizontal Interupts (hints) and other code outside the Hints must not use them during the Hints that are occuring every line. The Hints are doing the vertical scaling work . Its a bit tricky to syncronise and protect but finally it worked. The MDs VDP is scaling vertically (its still not free) , the 68k cpu is scaling the ship horizontally . The 68k does the asteroid rotation . #SegaGenesis #SegaMegadrive CYBERDEOUS - Crouzet Laurent Carsten666

I was playing around with my scaling code and thought it would be cool to play the current Lufthoheit service screen on a CRT on the tripple bypassed MD2 i got recently. I've made the code a bit more efficient and added a whole scale factor so now it scales 320 pixels wide x 4 times ( source art width ) . So the ship here is scaled 4x larger than the one we scale at the entrance to the cave level . I'm working on 5x next . Scaler and Rotater are written in 68k assembly for speed . Finally I got the non-safe interupts (eg register allocation / seperation ) to work which yielded a big speed gain . Basically you reserve some of the 68ks registers only for use in the Horizontal Interupts (hints) and other code outside the Hints must not use them during the Hints that are occuring every line. The Hints are doing the vertical scaling work . Its a bit tricky to syncronise and protect but finally it worked. The MDs VDP is scaling vertically (its still not free) , the 68k cpu is scaling the ship horizontally . The 68k does the asteroid rotation . #SegaGenesis #SegaMegadrive CYBERDEOUS - Crouzet Laurent Carsten666

Shannon Birt

11,643 次观看 • 1 年前

The robot’s “eyes” just received a big upgrade. LingBot-Depth 2.0, a depth-completion model with half the depth error just dropped. 12/16 benchmarks topped. Glass, mirrors, and transparent objects are so easy for us humans, but so hard for robots, because they do not behave like ordinary surfaces in a camera pipeline. A robot that misunderstands a balcony window or a table edge, will have a completely false planning inside a false world. Huge implecation. LingBot-Depth 2.0 takes an RGB image plus a broken depth map from a sensor and then outputs a cleaner depth map and a usable 3D point cloud. Numbers on LingBot-Depth 2.0 - Excels on glass, mirrors & transparent objects — where traditional depth cameras fail - Training data: 3M → 150M (50x scale-up) - 12 out of 16 first-place rankings on depth completion benchmarks - RMSE cut in half: 0.132 → 0.062 on the hardest indoor scenes LingBot-Vision trained on boundaries, because object edges carry the geometry robots need. No human boundary labels are used, which makes this approach easier to scale. The open-sourced LingBot-Vision is the general vision backbone, and LingBot-Depth 2.0 is the depth model built on it.

The robot’s “eyes” just received a big upgrade. LingBot-Depth 2.0, a depth-completion model with half the depth error just dropped. 12/16 benchmarks topped. Glass, mirrors, and transparent objects are so easy for us humans, but so hard for robots, because they do not behave like ordinary surfaces in a camera pipeline. A robot that misunderstands a balcony window or a table edge, will have a completely false planning inside a false world. Huge implecation. LingBot-Depth 2.0 takes an RGB image plus a broken depth map from a sensor and then outputs a cleaner depth map and a usable 3D point cloud. Numbers on LingBot-Depth 2.0 - Excels on glass, mirrors & transparent objects — where traditional depth cameras fail - Training data: 3M → 150M (50x scale-up) - 12 out of 16 first-place rankings on depth completion benchmarks - RMSE cut in half: 0.132 → 0.062 on the hardest indoor scenes LingBot-Vision trained on boundaries, because object edges carry the geometry robots need. No human boundary labels are used, which makes this approach easier to scale. The open-sourced LingBot-Vision is the general vision backbone, and LingBot-Depth 2.0 is the depth model built on it.

Rohan Paul

25,312 次观看 • 29 天前

Interesting turn of events with Nancy Guthrie case (mother of NBC host kidnapping) The woman the FBI got the Nest camera footage from didn’t have a Premium subscription Yet without a subscription, even being disabled, it was able to record and store footage “We are tracked, they are listening, they are watching, we are being recorded” What’s happening is even if you don’t have a subscription Google is recording and storing the footage from your doorbell camera, but you can only access it without a subscription You think it’s not being recorded and stored, but it is…. Even with the camera disabled, it was recording footage and able to be recovered… “Nancy Guthrie had a Nest camera, which is owned by Google, and law enforcement initially believed the doorbell footage was lost and said Nancy Guthrie did not have a premium subscription to access video from her doorbell camera — Now, according to Google, if a Nest camera is disabled, it can still record up to three hours of event video history without a subscription. So many are wondering, why did it take so long for this video to be released? Well, it takes time for authorities to basically recover this video from Google servers, since Nancy Guthrie did not have a premium subscription that offers special features for video history. And essentially, video is continuously recorded and saved with a subscription, but without a subscription, video is saved until it's overwritten. In this case, they thought because there was no subscription, it would have been erased and recorded over because it would be sort of a continuous situation. And then that's the real issue here. Look, we live in a surveillance economy and as much as we'd like to think that we can delete things and things will go away, and there are some apps that in fact make things go away, the truth of the matter is that we are tracked, They are listening, they are watching, we are being recorded.”

Interesting turn of events with Nancy Guthrie case (mother of NBC host kidnapping) The woman the FBI got the Nest camera footage from didn’t have a Premium subscription Yet without a subscription, even being disabled, it was able to record and store footage “We are tracked, they are listening, they are watching, we are being recorded” What’s happening is even if you don’t have a subscription Google is recording and storing the footage from your doorbell camera, but you can only access it without a subscription You think it’s not being recorded and stored, but it is…. Even with the camera disabled, it was recording footage and able to be recovered… “Nancy Guthrie had a Nest camera, which is owned by Google, and law enforcement initially believed the doorbell footage was lost and said Nancy Guthrie did not have a premium subscription to access video from her doorbell camera — Now, according to Google, if a Nest camera is disabled, it can still record up to three hours of event video history without a subscription. So many are wondering, why did it take so long for this video to be released? Well, it takes time for authorities to basically recover this video from Google servers, since Nancy Guthrie did not have a premium subscription that offers special features for video history. And essentially, video is continuously recorded and saved with a subscription, but without a subscription, video is saved until it's overwritten. In this case, they thought because there was no subscription, it would have been erased and recorded over because it would be sort of a continuous situation. And then that's the real issue here. Look, we live in a surveillance economy and as much as we'd like to think that we can delete things and things will go away, and there are some apps that in fact make things go away, the truth of the matter is that we are tracked, They are listening, they are watching, we are being recorded.”

Wall Street Apes

255,091 次观看 • 5 个月前

These are the retards that everyone says debunked the MH370 videos. Here they are making a bunch of false claims about the US Navy Gimbal video. This was made years after the videos were admitted to being real. Fat guy claims the rotation of the object is because of the camera turning, but the angles of rotation don't match so this can be ruled out just with a glance. This is not an original thought, he took this claim from Mick West. The shape is not defined by the camera either, that's not how any of this works.😂 Niko claims it's 'lens flare' which it's also not. Hilariously, he claims the light is perfectly reflecting off the object to the camera, but this is false because we know the objects are moving, no way the alignment would stay perfect. These are your 'VFX experts' who can't get a single fact right about any video they review. The stuff I'm pointing out is basic physics that requires no expertise. The Corridor Crew are complete idiots, but I'm supposed to defer to their terrible analysis because they pretend to be experts on youtube?

These are the retards that everyone says debunked the MH370 videos. Here they are making a bunch of false claims about the US Navy Gimbal video. This was made years after the videos were admitted to being real. Fat guy claims the rotation of the object is because of the camera turning, but the angles of rotation don't match so this can be ruled out just with a glance. This is not an original thought, he took this claim from Mick West. The shape is not defined by the camera either, that's not how any of this works.😂 Niko claims it's 'lens flare' which it's also not. Hilariously, he claims the light is perfectly reflecting off the object to the camera, but this is false because we know the objects are moving, no way the alignment would stay perfect. These are your 'VFX experts' who can't get a single fact right about any video they review. The stuff I'm pointing out is basic physics that requires no expertise. The Corridor Crew are complete idiots, but I'm supposed to defer to their terrible analysis because they pretend to be experts on youtube?

Ashton Forbes

62,786 次观看 • 1 年前

Mistral AI Releases Robostral Navigate: An 8B Model Enabling Robots to Navigate Complex Environments Hitting 76.6% on R2R-CE With One RGB Camera. No LiDAR. No depth sensor. No multi-camera rig. Here's how it works. 👇 1. Pointing, not metric commands The model predicts the pixel coordinates of the next target in the camera view, plus the arrival orientation. Working in pixel space keeps it robust to camera intrinsics and world scale. When the target leaves the frame, it falls back to local displacements ("2m forward, 1.5m left, turn 25°"). 2. Grounding-first No open-source VLM base. It starts from Mistral's grounding model (pointing, counting, localization). Navigation emerges once the model knows where things are. → ~400,000 trajectories across 6,000 simulated scenes 3. Prefix-caching for training A tree-based attention mask packs a full episode into one sequence — all time steps in a single forward pass. → 22× fewer training tokens; months of training done in days 4. Online RL on top After supervised training, CISPO adds trial-and-error learning to fight distribution shift from behavior cloning. → +3.2% success rate from RL alone 5. The numbers (R2R-CE, Matterport3D) → 76.6% success on validation unseen → +9.7 pts over best single-camera approach → +4.5 pts over best depth/multi-camera system The key takeaway: state-of-the-art continuous VLN without a sensor stack — grounding-init, pixel-space actions, prefix-cached SFT, and online RL, on one RGB camera. Full analysis: Technical details: Mistral AI Mistral AI for Developers

Mistral AI Releases Robostral Navigate: An 8B Model Enabling Robots to Navigate Complex Environments Hitting 76.6% on R2R-CE With One RGB Camera. No LiDAR. No depth sensor. No multi-camera rig. Here's how it works. 👇 1. Pointing, not metric commands The model predicts the pixel coordinates of the next target in the camera view, plus the arrival orientation. Working in pixel space keeps it robust to camera intrinsics and world scale. When the target leaves the frame, it falls back to local displacements ("2m forward, 1.5m left, turn 25°"). 2. Grounding-first No open-source VLM base. It starts from Mistral's grounding model (pointing, counting, localization). Navigation emerges once the model knows where things are. → ~400,000 trajectories across 6,000 simulated scenes 3. Prefix-caching for training A tree-based attention mask packs a full episode into one sequence — all time steps in a single forward pass. → 22× fewer training tokens; months of training done in days 4. Online RL on top After supervised training, CISPO adds trial-and-error learning to fight distribution shift from behavior cloning. → +3.2% success rate from RL alone 5. The numbers (R2R-CE, Matterport3D) → 76.6% success on validation unseen → +9.7 pts over best single-camera approach → +4.5 pts over best depth/multi-camera system The key takeaway: state-of-the-art continuous VLN without a sensor stack — grounding-init, pixel-space actions, prefix-cached SFT, and online RL, on one RGB camera. Full analysis: Technical details: Mistral AI Mistral AI for Developers

Marktechpost AI

39,955 次观看 • 21 天前

This new video, taken by NASA's Parker Solar Probe during its 21st close approach to the Sun, shows a stunning view of the Solar System from inside Mercury’s orbit. It captures solar phenomena like coronal streamers, a small coronal mass ejection, and high-energy particles streaking past the camera. Visible planets include Mercury, Venus, Saturn, Earth, Mars, and Jupiter. A comet, Tsuchinshan-ATLAS, briefly appears with its tail. These observations help us understand how the Sun affects space weather, satellites, astronauts, and Earth’s power grids. Parker Solar Probe is flying closer to the Sun than any spacecraft before it, eventually reaching within 6 million kilometers of the surface. Coronal streamers are bright, plasma-filled structures from the Sun’s outer atmosphere that stretch into space. High-energy particle streaks are due to solar energetic particles hitting the camera, essentially, you're watching radiation in real time. Tsuchinshan-ATLAS is a recently discovered comet, and its tail’s appearance in the video is a rare, spectacular moment. This data is crucial for understanding space weather, which can disrupt communication, GPS, and power systems on Earth.

This new video, taken by NASA's Parker Solar Probe during its 21st close approach to the Sun, shows a stunning view of the Solar System from inside Mercury’s orbit. It captures solar phenomena like coronal streamers, a small coronal mass ejection, and high-energy particles streaking past the camera. Visible planets include Mercury, Venus, Saturn, Earth, Mars, and Jupiter. A comet, Tsuchinshan-ATLAS, briefly appears with its tail. These observations help us understand how the Sun affects space weather, satellites, astronauts, and Earth’s power grids. Parker Solar Probe is flying closer to the Sun than any spacecraft before it, eventually reaching within 6 million kilometers of the surface. Coronal streamers are bright, plasma-filled structures from the Sun’s outer atmosphere that stretch into space. High-energy particle streaks are due to solar energetic particles hitting the camera, essentially, you're watching radiation in real time. Tsuchinshan-ATLAS is a recently discovered comet, and its tail’s appearance in the video is a rare, spectacular moment. This data is crucial for understanding space weather, which can disrupt communication, GPS, and power systems on Earth.

Erika 

38,506 次观看 • 1 年前

Edward Yang on his Filmmaking Style: "Interviewer: Do you have a specific visual or editing style that you feel communicates your viewpoint on a story? Yang: Not really. My philosophy is that everything is decided by the subject matter. If the subject matter needs to be tense, restless, upsetting, I would use shorter cuts and tighter camera angles. That's why the initial penetrating point is the important thing. If you detach camera angles and camera positions from the substance, things don't make sense at all. Every event has one best position observe from. Sometimes you have so many things time in a scene that your attention happening is diverted to at one in many ways, so you want to be in a neutral position, and it's better to sometimes look from a distance. You also have to be aware of the risk of using close-ups. You might lose important information viewer's attention if you restrict the to a very focused spot. We better have enough reason not to need to see the body language, the way the character interacts with the space he's in." (Edward Yang's interview with Robert Sklar, Cineaste, 2000) Clip from: Terrorizers (1986) Director: Edward Yang

Edward Yang on his Filmmaking Style: "Interviewer: Do you have a specific visual or editing style that you feel communicates your viewpoint on a story? Yang: Not really. My philosophy is that everything is decided by the subject matter. If the subject matter needs to be tense, restless, upsetting, I would use shorter cuts and tighter camera angles. That's why the initial penetrating point is the important thing. If you detach camera angles and camera positions from the substance, things don't make sense at all. Every event has one best position observe from. Sometimes you have so many things time in a scene that your attention happening is diverted to at one in many ways, so you want to be in a neutral position, and it's better to sometimes look from a distance. You also have to be aware of the risk of using close-ups. You might lose important information viewer's attention if you restrict the to a very focused spot. We better have enough reason not to need to see the body language, the way the character interacts with the space he's in." (Edward Yang's interview with Robert Sklar, Cineaste, 2000) Clip from: Terrorizers (1986) Director: Edward Yang

DepressedBergman

44,059 次观看 • 10 个月前

This is one of the more uncomfortable moments from my recent Sylvan Lake video. I was walking past a group of guys openly drinking on the beach. They were visibly drunk, and I hesitated to talk to them because it did not feel like a productive situation. I tried to keep walking, but one guy followed me a bit and wanted to speak his mind. At that point, the camera became a bit of a buffer. I let him talk, stayed calm, and tried to keep the situation from turning worse. This clip is not just about one drunk guy at the beach. It shows how risky it can be to talk openly about Alberta independence in public. Some people on the other side feel bold, untouchable, and completely convinced that they are automatically right. He does touch on a few notable topics, which is why I kept it in the main video for posterity. But my advice is simple: If you do not want to be on the internet, do not walk up to someone with a camera and start talking. Watch the full video here:

This is one of the more uncomfortable moments from my recent Sylvan Lake video. I was walking past a group of guys openly drinking on the beach. They were visibly drunk, and I hesitated to talk to them because it did not feel like a productive situation. I tried to keep walking, but one guy followed me a bit and wanted to speak his mind. At that point, the camera became a bit of a buffer. I let him talk, stayed calm, and tried to keep the situation from turning worse. This clip is not just about one drunk guy at the beach. It shows how risky it can be to talk openly about Alberta independence in public. Some people on the other side feel bold, untouchable, and completely convinced that they are automatically right. He does touch on a few notable topics, which is why I kept it in the main video for posterity. But my advice is simple: If you do not want to be on the internet, do not walk up to someone with a camera and start talking. Watch the full video here:

Jon Alberta Patriot

139,364 次观看 • 2 个月前

** MEGA Parodius Scaling Effects Part 1 ** One of the big challenges with the Parodius Megadrive port is Stage 8's boss - The puffer-fish *Pooyan* with his full screen scaling effect. The goal is to be very close to the arcade (with extras on top ) so I thought lets tackle it head on to see how close we can get. I was also keen to jump into another scaling code rabit hole haha. Pyron pulled out all the stops and got me the source frames and reworked the BG tiles for this test - a big thankyou to him , Vector Orbitex is busy working on Stage 2 tracks so the team is working hard all round on this port. The MD has no sprite / background GFX scaling hardware , however the VDPs Vertical scroll can be updated per scanline to help vertical scaling on backgrounds, but there is a cpu cost to manage all the interupts so thats not free either. With the Horizontal scaling there is no help at all , apart from a semi-friendly packed pixel format for the cpu to work with, its not quite chunky format but better than planar format still for scaling. So its falls back to the 68k CPU to do all of the horizontal expansion which is the largest cpu cost. Basically drawing strips of either 1x, 2x, 3x or 4x wide columns at speed. So we are one week into this Boss's routine and you can see from the below video the horizontal scaling is implented ( vertical will be in the next update ) . We are scaling from 1x to 4x in the video below in 74 steps for testing . The column distributions are always a bit painfull to do - thankfully they are all worked out now. This is the third scaler I have built and the goal was with this one to make it really flexible for use in other projects also, sometimes when you optimise something to the last degree all the flexibility gets taken out of it. Currenty scaling at 12-25 FPS update here, I had some rules against some optimisations which I would use and some I wouldn't , thankfully we are a bit ahead of the Arcades animation frame rate here still and I may yet find optimisations that fit within the scope. We have vertical scaling and sprite spikes to add yet so Im hoping i can find a few more optimisations to offset things when they are implemented also. In a scale frame update we are processing close to 42000 pixels in ram before using DMA to send to VRAM . Using a 41x16 (656 tile scale buffer) - single buffered for now due to its size in VRAM. So thats nearly 21k in tiles ! I had to re-organise ram a bit to support a buffer of that size for the stage. The scaling function is written in 68k assembly , with a little C code handling the Vertical interupt code ( so the game logic can actually run & DMA updates etc ) . The DMA routines are in assembly also and customised for large chunk size ( big blocks of tiles ) which suits the scaler. I had some race conditions to sort out where the cpu was faster than DMA (sending tiles from RAM to VRAM ) and in some cases where it wasn't so it had to be balanced. We may be able to add more detail into the top and bottom of the background yet but its low priority for now until all the other bits are in !! #SGDK #SegaMegadrive #Genesis #Parodius

MEGA Parodius Scaling Effects Part 1 One of the big challenges with the Parodius Megadrive port is Stage 8's boss - The puffer-fish Pooyan with his full screen scaling effect. The goal is to be very close to the arcade (with extras on top ) so I thought lets tackle it head on to see how close we can get. I was also keen to jump into another scaling code rabit hole haha. Pyron pulled out all the stops and got me the source frames and reworked the BG tiles for this test - a big thankyou to him , Vector Orbitex is busy working on Stage 2 tracks so the team is working hard all round on this port. The MD has no sprite / background GFX scaling hardware , however the VDPs Vertical scroll can be updated per scanline to help vertical scaling on backgrounds, but there is a cpu cost to manage all the interupts so thats not free either. With the Horizontal scaling there is no help at all , apart from a semi-friendly packed pixel format for the cpu to work with, its not quite chunky format but better than planar format still for scaling. So its falls back to the 68k CPU to do all of the horizontal expansion which is the largest cpu cost. Basically drawing strips of either 1x, 2x, 3x or 4x wide columns at speed. So we are one week into this Boss's routine and you can see from the below video the horizontal scaling is implented ( vertical will be in the next update ) . We are scaling from 1x to 4x in the video below in 74 steps for testing . The column distributions are always a bit painfull to do - thankfully they are all worked out now. This is the third scaler I have built and the goal was with this one to make it really flexible for use in other projects also, sometimes when you optimise something to the last degree all the flexibility gets taken out of it. Currenty scaling at 12-25 FPS update here, I had some rules against some optimisations which I would use and some I wouldn't , thankfully we are a bit ahead of the Arcades animation frame rate here still and I may yet find optimisations that fit within the scope. We have vertical scaling and sprite spikes to add yet so Im hoping i can find a few more optimisations to offset things when they are implemented also. In a scale frame update we are processing close to 42000 pixels in ram before using DMA to send to VRAM . Using a 41x16 (656 tile scale buffer) - single buffered for now due to its size in VRAM. So thats nearly 21k in tiles ! I had to re-organise ram a bit to support a buffer of that size for the stage. The scaling function is written in 68k assembly , with a little C code handling the Vertical interupt code ( so the game logic can actually run & DMA updates etc ) . The DMA routines are in assembly also and customised for large chunk size ( big blocks of tiles ) which suits the scaler. I had some race conditions to sort out where the cpu was faster than DMA (sending tiles from RAM to VRAM ) and in some cases where it wasn't so it had to be balanced. We may be able to add more detail into the top and bottom of the background yet but its low priority for now until all the other bits are in !! #SGDK #SegaMegadrive #Genesis #Parodius

Shannon Birt

25,545 次观看 • 6 个月前

This is BLITZ 🏍️ starring myself. I've tested a workflow that combines two of the best AI image editing models right now, Nano Banana and Seedream 4. Using these together feels like a superpower. Seedream 4 for instance generates much more dynamic camera angles BUT Nano Banana does a better job with overall consistency, so utilizing both is super beneficial. I wanted to create a sequence where I'm riding a Cyberbike with an electric booster that overclocks the motor to deliver short, high-risk bursts of extreme speed. The location is a white sand desert. I decided to also test Hailuo AI (MiniMax) start and end frame feature which in my opinion is one of the best since it understands so much about context and camera movement. Start and ends frames let you have much better control over camera movement but where Hailuo truly excels is that it understands speed and camera shake which are essential for any fast paced action sequences. The music was generated with Suno 4.5+ and some additional sound effects like the bike and wind in the desert were sourced from Artlist. Edited with Capcut. There's some more tips and tricks in the thread 👍👍

This is BLITZ 🏍️ starring myself. I've tested a workflow that combines two of the best AI image editing models right now, Nano Banana and Seedream 4. Using these together feels like a superpower. Seedream 4 for instance generates much more dynamic camera angles BUT Nano Banana does a better job with overall consistency, so utilizing both is super beneficial. I wanted to create a sequence where I'm riding a Cyberbike with an electric booster that overclocks the motor to deliver short, high-risk bursts of extreme speed. The location is a white sand desert. I decided to also test Hailuo AI (MiniMax) start and end frame feature which in my opinion is one of the best since it understands so much about context and camera movement. Start and ends frames let you have much better control over camera movement but where Hailuo truly excels is that it understands speed and camera shake which are essential for any fast paced action sequences. The music was generated with Suno 4.5+ and some additional sound effects like the bike and wind in the desert were sourced from Artlist. Edited with Capcut. There's some more tips and tricks in the thread 👍👍

Travis Davids

60,599 次观看 • 10 个月前

With the release of Kling AI 2.6, I was eager to put it up against one of its arch-rivals….Google Flow Veo 3.1. I ran four separate tests. First, I tested their ability to generate consistent and stable action shots. Second, I tested camera movement in a crowded scene. Third, I tested their ability to generate consistent facial details and emotion. Fourth, I wanted to see how well they can generated an interaction between two characters. Prompt 1: camera tracking shot, wide-shot. The camera tracks above as two nights ride on horses through a forest. The horses a galloping fast. The camera is tracking the knights from above. Prompt 2: Slow camera push in on a man eating Ramen at a Ramen house in Japan. The alley street is busy with people. Prompt 3: Close-up shot of a man on a sailboat. The man has a scared look on his face. After a short pause, the man says, "I'm gonna need a bigger boat” Prompt 4: Static camera. A man picks up a cookie from a plate and takes a bite. His dog looks up at him; eagerly wanting a bite of the cookie. The man turns, looks at the dog, and says, "no cookies for you mister” Verdict🏆: To be honest, I was surprised by Kling 2.6. While Veo 3.1 outperformed Kling 2.6 in the close-up shot test, it slightly underperformed in every other test. In the Veo 3.1 outputs, objects would randomly appear and camera movements were abrupt or didn’t adhere to the prompt. Don’t get me wrong, Kling 2.6 definitely had its flaws (its audio was quieter and often mismatched the prompt). That said, I was impressed with Kling 2.6 more than I imagined I would be. Although a somewhat small lead, I would give Kling 2.6 the slight advantage for this round of tests.

With the release of Kling AI 2.6, I was eager to put it up against one of its arch-rivals….Google Flow Veo 3.1. I ran four separate tests. First, I tested their ability to generate consistent and stable action shots. Second, I tested camera movement in a crowded scene. Third, I tested their ability to generate consistent facial details and emotion. Fourth, I wanted to see how well they can generated an interaction between two characters. Prompt 1: camera tracking shot, wide-shot. The camera tracks above as two nights ride on horses through a forest. The horses a galloping fast. The camera is tracking the knights from above. Prompt 2: Slow camera push in on a man eating Ramen at a Ramen house in Japan. The alley street is busy with people. Prompt 3: Close-up shot of a man on a sailboat. The man has a scared look on his face. After a short pause, the man says, "I'm gonna need a bigger boat” Prompt 4: Static camera. A man picks up a cookie from a plate and takes a bite. His dog looks up at him; eagerly wanting a bite of the cookie. The man turns, looks at the dog, and says, "no cookies for you mister” Verdict🏆: To be honest, I was surprised by Kling 2.6. While Veo 3.1 outperformed Kling 2.6 in the close-up shot test, it slightly underperformed in every other test. In the Veo 3.1 outputs, objects would randomly appear and camera movements were abrupt or didn’t adhere to the prompt. Don’t get me wrong, Kling 2.6 definitely had its flaws (its audio was quieter and often mismatched the prompt). That said, I was impressed with Kling 2.6 more than I imagined I would be. Although a somewhat small lead, I would give Kling 2.6 the slight advantage for this round of tests.

Curious Refuge

24,695 次观看 • 8 个月前

Another amazing update to CS2 so quickly. Screen shake while spraying has been dramatically reduced. You can very clearly feel the difference, it's almost like there's no shaking at all in the new version. This is a great improvement for the feel of spraying. I almost feel sick watching the old version. When spraying in CS2, players need to be able to feel the recoil, to know where they are in the spray, and to be able to adjust based on the enemy player's movement. I just played a full game with this, and the difference is night and day. Valve has been cooking like CRAZY lately. This is another of those updates that definitely should have been in the game from the very beginning.

Another amazing update to CS2 so quickly. Screen shake while spraying has been dramatically reduced. You can very clearly feel the difference, it's almost like there's no shaking at all in the new version. This is a great improvement for the feel of spraying. I almost feel sick watching the old version. When spraying in CS2, players need to be able to feel the recoil, to know where they are in the spray, and to be able to adjust based on the enemy player's movement. I just played a full game with this, and the difference is night and day. Valve has been cooking like CRAZY lately. This is another of those updates that definitely should have been in the game from the very beginning.

WarOwl

398,537 次观看 • 3 个月前