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LupineField Sinking Town Animation Meme! Something simple because why not! (also to use alight motion again ehe) #SmilingCritters #SmilingCrittersAU #LupineFieldSC #catnap #dogday #kickinchicken #hoppyhopscotch #craftycorn #harleysawyer #kissymissy #theprototype #animation

Cara 🍉🇵🇸 (Vgen Comms Open!)

2,058 subscribers

19,627 次观看 • 1 年前 •via X (Twitter)

艺术 #SmilingCritters #SmilingCrittersAU #LupineFieldSC #catnap #dogday #kickinchicken #hoppyhopscotch #craftycorn #harleysawyer #kissymissy #theprototype #animation

Anya Rossi• Live Now

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9 条评论

Rai diculous 的头像

Rai diculous1 年前

AWESOME!!!

Cara ||🍉🇵🇸 的头像

Cara ||🍉🇵🇸1 年前

AHDHAH THANK YOU! 🪻💜💜\⁠(⁠๑⁠╹⁠◡⁠╹⁠๑⁠)⁠ﾉ

Horror Gorillas 的头像

Horror Gorillas2 年前

Are You A Horror Movie Lover And Have A Cat? Get Your Funny 'I Love Horror Movies And My Cat' T-Shirt Today!

🍉 🅑🅛🅔🅗 🍉 的头像

🍉 🅑🅛🅔🅗 🍉1 年前

YOOOOO This paper cutout like animation is so sick ! Everytime you cook you serve nothing but a masterpiece Cara ✨️ 👀 Kudos for you and your talent <3

Cara ||🍉🇵🇸 的头像

Cara ||🍉🇵🇸1 年前

Aaa thank you so much! ⊂⁠(⁠´⁠･⁠◡⁠･⁠⊂⁠ ⁠)⁠∘⁠˚⁠˳⁠° I'll try cook more

ChewieStanArt ✝️☀️🌈 的头像

ChewieStanArt ✝️☀️🌈1 年前

Real emotion in this honestly 👌💯 Absolute PEAK!

Cara ||🍉🇵🇸 的头像

Cara ||🍉🇵🇸1 年前

～⁠(⁠つ⁠ˆ⁠Д⁠ˆ⁠)⁠つ⁠｡⁠☆

$\\Chriztøpher.FLA// 的头像$

\\Chriztøpher.FLA//1 年前

ITS AMAZING!!1111!

Cara ||🍉🇵🇸 的头像

Cara ||🍉🇵🇸1 年前

THANK YOU!!!11!!!1! ╰⁠(⁠⸝⁠⸝⁠⸝⁠´⁠꒳⁠`⁠⸝⁠⸝⁠⸝⁠)⁠╯ 💜💜🪻🪻

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FINALLY DONE WITH MY SECOND EVER ANIMATION!!! This one featuring Zoie Anonin🔞 's persona! Had the idea for this animation and since Anonin requested something with Riamu i thought why not use them two :] Also wanna give thanks to nametaken0 🇺🇸 🎉 Swell Reads for doing the sfx work for me <3333

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FINALLY DONE WITH MY SECOND EVER ANIMATION!!! This one featuring Zoie Anonin🔞 's persona! Had the idea for this animation and since Anonin requested something with Riamu i thought why not use them two :] Also wanna give thanks to nametaken0 🇺🇸 🎉 Swell Reads for doing the sfx work for me <3333

TePeS

67,524 次观看 • 2 年前

I just created a suspense animation around Meme Madness!! Honestly, this took me way longer than I expected, but I enjoyed every bit of it. Had to make something special for Meme Madness because why not? 😂 I hope you like it Kosgood Cade I’m not even going to say too much… just watch till the end guys!! Anything for the Meme Madness, right? 🔥 Who’s getting ready for the madness?

I just created a suspense animation around Meme Madness!! Honestly, this took me way longer than I expected, but I enjoyed every bit of it. Had to make something special for Meme Madness because why not? 😂 I hope you like it Kosgood Cade I’m not even going to say too much… just watch till the end guys!! Anything for the Meme Madness, right? 🔥 Who’s getting ready for the madness?

Jessica♡🛡

10,255 次观看 • 27 天前

Any animators/developers know why Ubisoft just doesn't switch to JALI to use for facial animation cutscenes in Assassin's Creed? It's what Cyberpunk 2077 uses and it's one the most impressive uses of technology i've seen. I don't think it's something licensed to CDPR, because Don't Nod uses it for Lost Records. Is it because of Ubisoft's Anvil engine having it's own internal systems and tools for character animation? JALI is 10x better than their current procedural generated process. I watched the AC Odyssey GDC 2019 cutscene presentation, and it's not good. Great from a business perspective to save on costs and time, but horrendous from the perspective of playing the game as a consumer. It started with Odyssey and has carried over since in every game, and somehow it's gotten worse with AC Shadows. It needs to change.

Any animators/developers know why Ubisoft just doesn't switch to JALI to use for facial animation cutscenes in Assassin's Creed? It's what Cyberpunk 2077 uses and it's one the most impressive uses of technology i've seen. I don't think it's something licensed to CDPR, because Don't Nod uses it for Lost Records. Is it because of Ubisoft's Anvil engine having it's own internal systems and tools for character animation? JALI is 10x better than their current procedural generated process. I watched the AC Odyssey GDC 2019 cutscene presentation, and it's not good. Great from a business perspective to save on costs and time, but horrendous from the perspective of playing the game as a consumer. It started with Odyssey and has carried over since in every game, and somehow it's gotten worse with AC Shadows. It needs to change.

The Hidden One

260,113 次观看 • 9 个月前

If you're any kind of creator, listen to me. You do not need AI to create 2D or 3D animation or art. Honestly, you dont even need to know HOW to animate yourself. Sometimes, all you need is an idea, a vision, patience, and the right artist who can bring that vision to life. And if you cant afford an artist yet, thats okay too. You can always learn, practice, fail, and improve yourself so that way you can spearhead your own projects. Another option is also just saving your money so you can "indie" fund your project. I’ve done both. Ive hired animators, and Ive also learned how to do it myself because, honestly, I got tired of waiting on people. I got tired of being disappointed by speed, quality, communication, or work ethic. Personally for me, at some point, it became a "Fine ill do it myself" type of situation and literally "picked up the pencil" myself. And I did. It took years. A lot of frustration, a lot of late nights, a lot of self doubt, but every step forward came from actually showing up for myself and my work. No shortcuts. Not pretending im an animator. actually being one. Not letting a machine, make my journey FOR me. What drives me is passion, discipline, and doing the work over and over again because I love animation. The best part is looking back and seeing that my work improved because of ME. Because I kept going. because I gave enough of a shit to get better, thats real human growth, no AI needed. You can do it too. Start from nothing. become something.

If you're any kind of creator, listen to me. You do not need AI to create 2D or 3D animation or art. Honestly, you dont even need to know HOW to animate yourself. Sometimes, all you need is an idea, a vision, patience, and the right artist who can bring that vision to life. And if you cant afford an artist yet, thats okay too. You can always learn, practice, fail, and improve yourself so that way you can spearhead your own projects. Another option is also just saving your money so you can "indie" fund your project. I’ve done both. Ive hired animators, and Ive also learned how to do it myself because, honestly, I got tired of waiting on people. I got tired of being disappointed by speed, quality, communication, or work ethic. Personally for me, at some point, it became a "Fine ill do it myself" type of situation and literally "picked up the pencil" myself. And I did. It took years. A lot of frustration, a lot of late nights, a lot of self doubt, but every step forward came from actually showing up for myself and my work. No shortcuts. Not pretending im an animator. actually being one. Not letting a machine, make my journey FOR me. What drives me is passion, discipline, and doing the work over and over again because I love animation. The best part is looking back and seeing that my work improved because of ME. Because I kept going. because I gave enough of a shit to get better, thats real human growth, no AI needed. You can do it too. Start from nothing. become something.

Dev-Artemis Animation

213,583 次观看 • 3 个月前

Hungary's FM Szijjártó also had a great answer when asked about his country's relation with China, calling China "a huge chance and a huge opportunity" and revealing (which I didn't know) that actually the key reason why the Chinese invest in Hungary is "because of the Germans", i.e. to supply German companies that also have production facilities in Hungary. This was also brilliant: "Here again rationality is needed. We look at China, the cooperation with China as a chance, as an opportunity, as something that helps Hungary economy grow, as something that helps Hungarian economy to move to the next dimension, to be upgraded technologically speaking And when I listen to those who say China is a threat, then I raise my question: don't those countries have secret services or something? Because we have our secret services, we have our national security structure and if this structure signals any threat or danger to us regarding some action, then we don't do that. So what happens between us and China is absolutely, absolutely advantageous from the perspective of our national interest and national economy. What would not be in our national interest because of security reasons for example, then we would not do it. So I mean this is so simple from our perspective." I really wish this type of rationality was more generalized in Europe instead of the mind-numbing "good vs evil" ideology that's so pervasive at the moment...

Hungary's FM Szijjártó also had a great answer when asked about his country's relation with China, calling China "a huge chance and a huge opportunity" and revealing (which I didn't know) that actually the key reason why the Chinese invest in Hungary is "because of the Germans", i.e. to supply German companies that also have production facilities in Hungary. This was also brilliant: "Here again rationality is needed. We look at China, the cooperation with China as a chance, as an opportunity, as something that helps Hungary economy grow, as something that helps Hungarian economy to move to the next dimension, to be upgraded technologically speaking And when I listen to those who say China is a threat, then I raise my question: don't those countries have secret services or something? Because we have our secret services, we have our national security structure and if this structure signals any threat or danger to us regarding some action, then we don't do that. So what happens between us and China is absolutely, absolutely advantageous from the perspective of our national interest and national economy. What would not be in our national interest because of security reasons for example, then we would not do it. So I mean this is so simple from our perspective." I really wish this type of rationality was more generalized in Europe instead of the mind-numbing "good vs evil" ideology that's so pervasive at the moment...

Arnaud Bertrand

111,420 次观看 • 2 年前

One reason I wish I could train Sora locally is because about 25% of generations glitch up pretty hard and turn into what I call "Nightmare World." I'll use the same prompt over and over and get like 5 Nightmare World generations in a row. Then suddenly I'll get a perfect generation. I still can't figure out why this happens or how to fix it. A simple thumbs up/thumbs down button would help weed out Nightmare World (or explore it, if you want). I've tried negative prompts, simplifying prompts, refreshing, and all kinds of stuff but I can't figure out how to eliminate this glitch. One theory I have is this is the AI equivalent of "sketching" - After several abysmal generations I'll suddenly, without altering the prompt, get one that's better than ever before. Like the animation upgrades suddenly. So then I'll just keep running it and running it and get a really good streak of beautiful animation. And then out of nowhere it will switch back to Nightmare World again. It's a very interesting phenomenon that really should be looked into!

One reason I wish I could train Sora locally is because about 25% of generations glitch up pretty hard and turn into what I call "Nightmare World." I'll use the same prompt over and over and get like 5 Nightmare World generations in a row. Then suddenly I'll get a perfect generation. I still can't figure out why this happens or how to fix it. A simple thumbs up/thumbs down button would help weed out Nightmare World (or explore it, if you want). I've tried negative prompts, simplifying prompts, refreshing, and all kinds of stuff but I can't figure out how to eliminate this glitch. One theory I have is this is the AI equivalent of "sketching" - After several abysmal generations I'll suddenly, without altering the prompt, get one that's better than ever before. Like the animation upgrades suddenly. So then I'll just keep running it and running it and get a really good streak of beautiful animation. And then out of nowhere it will switch back to Nightmare World again. It's a very interesting phenomenon that really should be looked into!

Emily Youcis

47,694 次观看 • 7 个月前

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I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

Startracker 🔺

20,181 次观看 • 7 个月前

This is Candace straight up saying in a video released today that Charlie initially wanted to “use Erika to make another girl jealous.” Not only does this contradict Charlie’s entire persona and the character we came to respect him for, it also contradicts Charlie’s own retelling of the story, on multiple occasions. To hear Charlie tell it, he had dinner with Erika with the purported possibility of hiring her, but he was so taken with her at that initial dinner that he said he couldn’t hire her because he wanted to date her. Erika’s reply was something along the lines of suggesting friendship initially, and it was Charlie who essentially said, “I have enough friends. I want to date you.” Which is honestly pretty sexy, just to be frank. Again, that is Charlie’s own retelling, on multiple occasions. So why was Charlie lying to us repeatedly?

This is Candace straight up saying in a video released today that Charlie initially wanted to “use Erika to make another girl jealous.” Not only does this contradict Charlie’s entire persona and the character we came to respect him for, it also contradicts Charlie’s own retelling of the story, on multiple occasions. To hear Charlie tell it, he had dinner with Erika with the purported possibility of hiring her, but he was so taken with her at that initial dinner that he said he couldn’t hire her because he wanted to date her. Erika’s reply was something along the lines of suggesting friendship initially, and it was Charlie who essentially said, “I have enough friends. I want to date you.” Which is honestly pretty sexy, just to be frank. Again, that is Charlie’s own retelling, on multiple occasions. So why was Charlie lying to us repeatedly?

Natalie Jean Beisner

60,874 次观看 • 3 个月前

I want to post my animation The Ascent of Alfred this morning- animated in Flash and After Effects from Feb-Nov 2016 and released right before the election. This time of year reminds me of the thrill of bringing this to completion 8 years ago. It captures the meme magic of /pol/ in a way that no other piece of art does, I don't think.. that time was truly something you had to be there for; it's hard to describe the synchronicities and sense of divine intervention. Not only did I learn AE as I created the work, but I was also getting redpilled during those 9 months, emerging as a National Socialist by the time it was done. Releasing this piece a week before Trump's victory and having it screened at an event in NYC on election night as the votes rolled in was definitely one of my peak moments of existence. I plan on making something of this caliber again soon.. I can feel myself gearing up to it, especially as the AI has landed in my hands. Please enjoy, especially in the midst of a new, hilarious, and very memetic election cycle.

I want to post my animation The Ascent of Alfred this morning- animated in Flash and After Effects from Feb-Nov 2016 and released right before the election. This time of year reminds me of the thrill of bringing this to completion 8 years ago. It captures the meme magic of /pol/ in a way that no other piece of art does, I don't think.. that time was truly something you had to be there for; it's hard to describe the synchronicities and sense of divine intervention. Not only did I learn AE as I created the work, but I was also getting redpilled during those 9 months, emerging as a National Socialist by the time it was done. Releasing this piece a week before Trump's victory and having it screened at an event in NYC on election night as the votes rolled in was definitely one of my peak moments of existence. I plan on making something of this caliber again soon.. I can feel myself gearing up to it, especially as the AI has landed in my hands. Please enjoy, especially in the midst of a new, hilarious, and very memetic election cycle.

Emily Youcis

60,637 次观看 • 1 年前

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

38,221 次观看 • 1 年前

🚨 WHY ARE THERE OVER 400 PUBLISHED PAPERS ON IVERMECTIN AND CANCER? Because researchers discovered something unexpected. Ivermectin doesn't just target parasites. According to preclinical research, it appears to interact with cancer cells through multiple biological pathways. One of the most discussed? 📌 Cancer Stem Cells These are the cells believed to survive treatment, remain dormant for years, and potentially contribute to recurrence and spread. According to Dr. William Makis: 💊 Chemotherapy primarily targets rapidly dividing cancer cells. 💊 Ivermectin has been studied for its potential effects on cancer stem cells. That's why some researchers believe the combination deserves attention. But that's only part of the story. Researchers have also investigated ivermectin's potential ability to: ✅ Target cancer stem cells ✅ Influence tumor signaling pathways ✅ Alter cancer cell behavior ✅ Reverse chemotherapy resistance One of the most fascinating findings involves chemotherapy resistance. Over time, some cancer cells develop the ability to push chemotherapy drugs back out of the cell. Researchers have reported that ivermectin may interfere with these resistance mechanisms, potentially making cancer cells susceptible again. And then there's Fenbendazole and Mebendazole. While Ivermectin is being studied for one set of mechanisms, Fenbendazole and Mebendazole appear to work differently. Researchers have investigated their potential ability to: 📌 Block glucose transporters on cancer cells 📌 Reduce the cell's ability to use glucose as fuel 📌 Interfere with pathways associated with tumor growth Think about that. Different compounds. Different mechanisms. The same goal. That's why scientists continue publishing study after study. Not because these compounds are a fad. Because researchers keep uncovering new biological pathways worth investigating. And that's why the conversation around Ivermectin, Fenbendazole, and Mebendazole continues to grow. 💊 If you’re looking into these drugs, check out Ivermectin, Fenbendazole, and Mebendazole from RXMEDS.STORE. #Ivermectin #Fenbendazole #Mebendazole #CancerResearch #CancerStemCells #RepurposedDrugs #CancerBiology #RxMeds

🚨 WHY ARE THERE OVER 400 PUBLISHED PAPERS ON IVERMECTIN AND CANCER? Because researchers discovered something unexpected. Ivermectin doesn't just target parasites. According to preclinical research, it appears to interact with cancer cells through multiple biological pathways. One of the most discussed? 📌 Cancer Stem Cells These are the cells believed to survive treatment, remain dormant for years, and potentially contribute to recurrence and spread. According to Dr. William Makis: 💊 Chemotherapy primarily targets rapidly dividing cancer cells. 💊 Ivermectin has been studied for its potential effects on cancer stem cells. That's why some researchers believe the combination deserves attention. But that's only part of the story. Researchers have also investigated ivermectin's potential ability to: ✅ Target cancer stem cells ✅ Influence tumor signaling pathways ✅ Alter cancer cell behavior ✅ Reverse chemotherapy resistance One of the most fascinating findings involves chemotherapy resistance. Over time, some cancer cells develop the ability to push chemotherapy drugs back out of the cell. Researchers have reported that ivermectin may interfere with these resistance mechanisms, potentially making cancer cells susceptible again. And then there's Fenbendazole and Mebendazole. While Ivermectin is being studied for one set of mechanisms, Fenbendazole and Mebendazole appear to work differently. Researchers have investigated their potential ability to: 📌 Block glucose transporters on cancer cells 📌 Reduce the cell's ability to use glucose as fuel 📌 Interfere with pathways associated with tumor growth Think about that. Different compounds. Different mechanisms. The same goal. That's why scientists continue publishing study after study. Not because these compounds are a fad. Because researchers keep uncovering new biological pathways worth investigating. And that's why the conversation around Ivermectin, Fenbendazole, and Mebendazole continues to grow. 💊 If you’re looking into these drugs, check out Ivermectin, Fenbendazole, and Mebendazole from RXMEDS.STORE. #Ivermectin #Fenbendazole #Mebendazole #CancerResearch #CancerStemCells #RepurposedDrugs #CancerBiology #RxMeds

RXMEDS.STORE

16,612 次观看 • 3 个月前

This BlenderFusion paper basically says "screw trying to describe 3D edits through text" and just... use Blender :-) The idea is pretty straightforward -- instead of trying to cram 3D understanding into a diffusion model, use depth estimation & segmentation to project 2D images into 2.5D meshes, edit them in actual 3D software, then use a fine-tuned diffusion model to make the results photorealistic again. The clever bit is their "dual-stream architecture" -- the model sees both the original scene AND the edited Blender render in parallel, learning to preserve what matters while fixing the inevitable artifacts from transforming imperfect 2.5D/3D reconstructions. They train it with smart masking strategies so it learns when to ignore the original scene (for removals/replacements) and can manipulate objects independently of camera motion. What you get is pretty impressive control -- not just moving objects around, but changing materials, deforming shapes, swapping backgrounds, all while maintaining visual coherence. Neural Assets (one of my favorite papers last year) tried to crack this with learned object tokens, but it struggled with overlapping objects and loses fine details (due to low res DINO encodings). BlenderFusion just sidesteps the whole problem -- want to rotate something 173.5 degrees? Just rotate it in Blender. Want to duplicate an object 8 times? Copy paste away. The diffusion model's only job is making it look photorealistic, not figuring out the 3D underpinnings. The catch? Lacks temporal consistency for animation. Each viewpoint is generated independently, so while a single edit looks great, smoothly animating a car or camera down the street won't work -- you'd get flickering and inconsistencies between frames. That said, this approach is so much more intuitive for finer grain image editing than trying to describe your changes in text prompts. It's the kind of thing that makes you wonder why we're trying to do everything inside neural networks when perfectly good 3D tools already exist -- giving you the best of both worlds.

This BlenderFusion paper basically says "screw trying to describe 3D edits through text" and just... use Blender :-) The idea is pretty straightforward -- instead of trying to cram 3D understanding into a diffusion model, use depth estimation & segmentation to project 2D images into 2.5D meshes, edit them in actual 3D software, then use a fine-tuned diffusion model to make the results photorealistic again. The clever bit is their "dual-stream architecture" -- the model sees both the original scene AND the edited Blender render in parallel, learning to preserve what matters while fixing the inevitable artifacts from transforming imperfect 2.5D/3D reconstructions. They train it with smart masking strategies so it learns when to ignore the original scene (for removals/replacements) and can manipulate objects independently of camera motion. What you get is pretty impressive control -- not just moving objects around, but changing materials, deforming shapes, swapping backgrounds, all while maintaining visual coherence. Neural Assets (one of my favorite papers last year) tried to crack this with learned object tokens, but it struggled with overlapping objects and loses fine details (due to low res DINO encodings). BlenderFusion just sidesteps the whole problem -- want to rotate something 173.5 degrees? Just rotate it in Blender. Want to duplicate an object 8 times? Copy paste away. The diffusion model's only job is making it look photorealistic, not figuring out the 3D underpinnings. The catch? Lacks temporal consistency for animation. Each viewpoint is generated independently, so while a single edit looks great, smoothly animating a car or camera down the street won't work -- you'd get flickering and inconsistencies between frames. That said, this approach is so much more intuitive for finer grain image editing than trying to describe your changes in text prompts. It's the kind of thing that makes you wonder why we're trying to do everything inside neural networks when perfectly good 3D tools already exist -- giving you the best of both worlds.

Bilawal Sidhu

34,440 次观看 • 1 年前

Thank you, Katherine Loftus (NoteMyObjection), for confirming that your cousin Molly works as a victim witness advocate in the Norfolk County District Attorney’s Office. That’s relevant context for viewers as they evaluate your content and consider any potential bias. As for the rest, this is being framed as something it isn’t. When you position yourself as an “unapologetically honest” legal voice and platform witnesses, transparency is crucial. You don’t get to benefit from that credibility while dismissing reasonable questions about bias as “malicious.” And to be clear, my video does not meet any legal definition of malice. Criticism one may not like does not equate to maliciousness. As an attorney, you know this. You say you don’t use sources, but relationships, proximity, and access are relevant whether you choose to label them that way or not. That’s reality, especially when you’re speaking on cases tied to the same office your family is connected to. Again, that’s not an attack, it is however context your audience deserves. You also stated in your interview that having a strong opinion in this case leads people to attack looks instead of substance. Yet in your most recent video, you did exactly that. I don’t go there, because it’s not my style. I hold myself to a higher standard than reducing an argument to personal attacks, especially when the criticism is about substance, not appearance. So the claim that “this side” avoids substance doesn’t really hold up when you’re doing the opposite. As for the block, I explicitly stated in my video why I blocked you: mocking what I went through and continue to deal with. I believe in being transparent with my audience. What is hypocritical, though, is deciding some people are victims of harassment while others are experiencing the same things (home visits, employer calls, public confrontations, threats) are dismissed as “drama.” It’s also notable that in your interview with Kerry, none of that behavior was addressed. Perhaps next time do a little more research into the person you’re interviewing? Many of us are dying to know why your interviewee was calling herself and Jen McCabe “detectives,” and why a victim witness advocate out of the same DA’s office referred to them as “the best detectives around.”

Thank you, Katherine Loftus (NoteMyObjection), for confirming that your cousin Molly works as a victim witness advocate in the Norfolk County District Attorney’s Office. That’s relevant context for viewers as they evaluate your content and consider any potential bias. As for the rest, this is being framed as something it isn’t. When you position yourself as an “unapologetically honest” legal voice and platform witnesses, transparency is crucial. You don’t get to benefit from that credibility while dismissing reasonable questions about bias as “malicious.” And to be clear, my video does not meet any legal definition of malice. Criticism one may not like does not equate to maliciousness. As an attorney, you know this. You say you don’t use sources, but relationships, proximity, and access are relevant whether you choose to label them that way or not. That’s reality, especially when you’re speaking on cases tied to the same office your family is connected to. Again, that’s not an attack, it is however context your audience deserves. You also stated in your interview that having a strong opinion in this case leads people to attack looks instead of substance. Yet in your most recent video, you did exactly that. I don’t go there, because it’s not my style. I hold myself to a higher standard than reducing an argument to personal attacks, especially when the criticism is about substance, not appearance. So the claim that “this side” avoids substance doesn’t really hold up when you’re doing the opposite. As for the block, I explicitly stated in my video why I blocked you: mocking what I went through and continue to deal with. I believe in being transparent with my audience. What is hypocritical, though, is deciding some people are victims of harassment while others are experiencing the same things (home visits, employer calls, public confrontations, threats) are dismissed as “drama.” It’s also notable that in your interview with Kerry, none of that behavior was addressed. Perhaps next time do a little more research into the person you’re interviewing? Many of us are dying to know why your interviewee was calling herself and Jen McCabe “detectives,” and why a victim witness advocate out of the same DA’s office referred to them as “the best detectives around.”

BoozeyBeauty

42,758 次观看 • 4 个月前

This is Zephyr 💔 A gentle soul… deeply broken. He was kept tied on a leash—something no cat should ever endure—and then thrown away when he was no longer wanted. Now he is safe with us… but he is not okay. He doesn’t eat, he doesn’t drink… even catnip cannot comfort him. Because no matter how they are treated… they still love their family. They wait… they miss… they don’t understand why they were left behind. Zephyr also has a limp in his back leg… his body and heart both need healing. We need your help. If you can sponsor his neutering, treatment, and care, you can give him a chance to heal. And if you can offer him a loving home… please come forward. He deserves a life where he is never abandoned again. Please share his story 🤍 💳 PayPal: ❤️ Construction GoFundMe: 🔗 Linktree: (If you face any issue donating, please use our Linktree for multiple options.)

This is Zephyr 💔 A gentle soul… deeply broken. He was kept tied on a leash—something no cat should ever endure—and then thrown away when he was no longer wanted. Now he is safe with us… but he is not okay. He doesn’t eat, he doesn’t drink… even catnip cannot comfort him. Because no matter how they are treated… they still love their family. They wait… they miss… they don’t understand why they were left behind. Zephyr also has a limp in his back leg… his body and heart both need healing. We need your help. If you can sponsor his neutering, treatment, and care, you can give him a chance to heal. And if you can offer him a loving home… please come forward. He deserves a life where he is never abandoned again. Please share his story 🤍 💳 PayPal: ❤️ Construction GoFundMe: 🔗 Linktree: (If you face any issue donating, please use our Linktree for multiple options.)

Tahira Animal Welfare Foundation - TAWF

11,891 次观看 • 4 个月前

BREAKING: SpaceXAI just published a new blog showing how one of their designers uses always-on Grok Bot agents to bring ideas to life. 🤖 How the agents work Each agent has its own computer, memory and tools. They can take work from an initial idea to a finished artifact and continue working while the designer is AFK. The agents can also huddle together, delegate parts of a project and combine everything into one result. 🧑‍💻 Meet the designer’s Bots • Experiments makes uncertain ideas tangible before anyone decides whether they are practical or belong on the roadmap • Motion God prototypes interactions based on descriptions of how the movement should feel • Figma Bro handles repetitive production work using exact information from real Figma files • Devbot answers engineering questions and helps the other agents understand how an idea could actually be built 💡 Turning ideas into testable prototypes The designer wanted to explore ways of making Grok Bot accessible from anywhere on a Mac. Experiments created three concepts: • Bot living inside the Mac’s notch • Bot appearing from the desktop corner on hover • Bot following the cursor like a companion Experiments then delegated the character movement to Motion God and the desktop implementation questions to Devbot before combining their work into prototypes the designer could actually test. These concepts did not ship exactly as explored. That was not the purpose. The goal was to make each idea real enough to determine whether it felt helpful, distracting or somewhere in between. 🎬 Designing motion with real production assets For a promotional video, the designer wanted Grok Bot to appear, notice the app window and bounce into place. Instead of recreating the character from a screenshot, Motion God worked with the actual animation specification already used by the product. It built a local playground where the designer could: • Adjust timing, springs and distance • Change scale and easing • Give simple feedback such as “Bounce is too exaggerated” • Immediately watch the updated sequence The designer did not need to know whether a transition should last 280 or 340 milliseconds before seeing it. The agent made it possible to direct the motion by feel, just like working with a human collaborator. 🎨 Removing repetitive Figma work For Grok Bot’s onboarding flow, the team had 20 starter-Bot descriptions, including ideas such as “Chief of Staff” and “Inbox Triage.” The designer created one auto-layout component and asked Figma Bro to populate the remaining cards with differentiated portraits and supporting details. Figma Bro also searched for the correct tool logos and placed them according to how likely new users were to use them. Through Figma, it could inspect exact: • Positions and dimensions • Spacing and typography • Fills and strokes • Frames and component structures This prevents small inconsistencies from multiplying while preserving the actual design file as the source of truth. The main takeaway: This is not one-prompt, one-shot design. Grok Bot tightens the loop between idea, prototype, feedback and improvement. It helps designers explore more possibilities, respond at higher fidelity and spend more attention judging which version truly feels right. Grok Bot does not replace human judgment. It creates more opportunities to use it. Blog Link:

BREAKING: SpaceXAI just published a new blog showing how one of their designers uses always-on Grok Bot agents to bring ideas to life. 🤖 How the agents work Each agent has its own computer, memory and tools. They can take work from an initial idea to a finished artifact and continue working while the designer is AFK. The agents can also huddle together, delegate parts of a project and combine everything into one result. 🧑‍💻 Meet the designer’s Bots • Experiments makes uncertain ideas tangible before anyone decides whether they are practical or belong on the roadmap • Motion God prototypes interactions based on descriptions of how the movement should feel • Figma Bro handles repetitive production work using exact information from real Figma files • Devbot answers engineering questions and helps the other agents understand how an idea could actually be built 💡 Turning ideas into testable prototypes The designer wanted to explore ways of making Grok Bot accessible from anywhere on a Mac. Experiments created three concepts: • Bot living inside the Mac’s notch • Bot appearing from the desktop corner on hover • Bot following the cursor like a companion Experiments then delegated the character movement to Motion God and the desktop implementation questions to Devbot before combining their work into prototypes the designer could actually test. These concepts did not ship exactly as explored. That was not the purpose. The goal was to make each idea real enough to determine whether it felt helpful, distracting or somewhere in between. 🎬 Designing motion with real production assets For a promotional video, the designer wanted Grok Bot to appear, notice the app window and bounce into place. Instead of recreating the character from a screenshot, Motion God worked with the actual animation specification already used by the product. It built a local playground where the designer could: • Adjust timing, springs and distance • Change scale and easing • Give simple feedback such as “Bounce is too exaggerated” • Immediately watch the updated sequence The designer did not need to know whether a transition should last 280 or 340 milliseconds before seeing it. The agent made it possible to direct the motion by feel, just like working with a human collaborator. 🎨 Removing repetitive Figma work For Grok Bot’s onboarding flow, the team had 20 starter-Bot descriptions, including ideas such as “Chief of Staff” and “Inbox Triage.” The designer created one auto-layout component and asked Figma Bro to populate the remaining cards with differentiated portraits and supporting details. Figma Bro also searched for the correct tool logos and placed them according to how likely new users were to use them. Through Figma, it could inspect exact: • Positions and dimensions • Spacing and typography • Fills and strokes • Frames and component structures This prevents small inconsistencies from multiplying while preserving the actual design file as the source of truth. The main takeaway: This is not one-prompt, one-shot design. Grok Bot tightens the loop between idea, prototype, feedback and improvement. It helps designers explore more possibilities, respond at higher fidelity and spend more attention judging which version truly feels right. Grok Bot does not replace human judgment. It creates more opportunities to use it. Blog Link:

DogeDesigner

62,707 次观看 • 7 天前

Adil moved to San Francisco and caught Sam Altman on the street within 48 hours. He asked him the funniest thing he'd seen someone do with @ChatGPTapp. The video hit half a million views. Half the comments were "how did you do that." The other half were "why'd you ask such a stupid question." That's kind of the whole point of what he's building. Before SF, Adil Mania. was the "TikTok startup guy" in France. Millions of views, celebrity interviews, the French Shark Tank on TikTok. Then he quit at the top in 2023, because everything looked perfect from the outside and something was wrong on the inside. He took a break, and came back with something more global. Now he runs Silicon Mania, and the mission is simple: MAKE TECH FUN AGAIN. His read is that tech markets itself terribly: people are scared of Waymos and suspicious of AI not because the products are bad, but because nobody tells the story well."It's a marketing problem, not a product problem." His advice for anyone who wants to build what he's building: There's space. Hollywood has thousands of studios. Tech has maybe five people making it fun. We need hundreds. Don't come to SF to start. Start anywhere. Come here to make it big. 𝐓𝐈𝐌𝐄𝐒𝐓𝐀𝐌𝐏𝐒 (00:00) Intro (01:30) The Buzzer & Silicon Mania's Latest Drop (04:00) The TikTok Startup Guy in France (07:00) Why He Quit at the Top in 2023 (10:00) Build Space, Farza & the Road to SF (13:00) Interviewing Arnault, Macron & Getting Punched by a Bodyguard (17:00) How to Approach Anyone for an Interview (20:00) Catching Sam Altman 48 Hours Off the Plane (24:00) "Make Tech Fun Again" & Use the Waymos (28:00) The City Should Be a City, Not a Hotel (32:00) How He Makes the Recaps (Nano Banana + Grok) (36:00) Why Companies Should Reach Out to Creators (40:00) A67Z Company, the Netflix Method & Building for the GOATs (44:00) Deadlines Over Perfection (48:00) $40K a Month & the Trap of Chasing Money (52:00) Be Alone (Not Lonely) (56:00) Be Yourself — There's Only One You This is a Composio "Agents at Work" podcast, where I chat with founders building the next leap of AI. Follow for more :)

Adil moved to San Francisco and caught Sam Altman on the street within 48 hours. He asked him the funniest thing he'd seen someone do with @ChatGPTapp. The video hit half a million views. Half the comments were "how did you do that." The other half were "why'd you ask such a stupid question." That's kind of the whole point of what he's building. Before SF, Adil Mania. was the "TikTok startup guy" in France. Millions of views, celebrity interviews, the French Shark Tank on TikTok. Then he quit at the top in 2023, because everything looked perfect from the outside and something was wrong on the inside. He took a break, and came back with something more global. Now he runs Silicon Mania, and the mission is simple: MAKE TECH FUN AGAIN. His read is that tech markets itself terribly: people are scared of Waymos and suspicious of AI not because the products are bad, but because nobody tells the story well."It's a marketing problem, not a product problem." His advice for anyone who wants to build what he's building: There's space. Hollywood has thousands of studios. Tech has maybe five people making it fun. We need hundreds. Don't come to SF to start. Start anywhere. Come here to make it big. 𝐓𝐈𝐌𝐄𝐒𝐓𝐀𝐌𝐏𝐒 (00:00) Intro (01:30) The Buzzer & Silicon Mania's Latest Drop (04:00) The TikTok Startup Guy in France (07:00) Why He Quit at the Top in 2023 (10:00) Build Space, Farza & the Road to SF (13:00) Interviewing Arnault, Macron & Getting Punched by a Bodyguard (17:00) How to Approach Anyone for an Interview (20:00) Catching Sam Altman 48 Hours Off the Plane (24:00) "Make Tech Fun Again" & Use the Waymos (28:00) The City Should Be a City, Not a Hotel (32:00) How He Makes the Recaps (Nano Banana + Grok) (36:00) Why Companies Should Reach Out to Creators (40:00) A67Z Company, the Netflix Method & Building for the GOATs (44:00) Deadlines Over Perfection (48:00) $40K a Month & the Trap of Chasing Money (52:00) Be Alone (Not Lonely) (56:00) Be Yourself — There's Only One You This is a Composio "Agents at Work" podcast, where I chat with founders building the next leap of AI. Follow for more :)

Julia Fedorin

13,685 次观看 • 1 个月前

Chinese space startup, Nayuta Space released renders of wanting to belly flop the booster and land it horizontally. Let me break down why I don't think that's the best idea: 1. The booster is already designed to be structurally adequate vertically on ascent, so having the descent phase have landing loads horizontally adds a lot of extra mass and considerations. 2. The animation shows the booster flying more horizontally which is not something dihedral actuating flaps would be good at. They're good for maintaining orientation belly-ish first when they are perpendicular to wind flow, not parallel. In fact, I'll bet grid fins and using the fuselage as a lifting surface might have better cross range capabilities. 3. Although vertical landings look difficult, they're actually quite controllable, with physics similar to balancing a broomstick. Landing horizontally along a huge moment arm and several engines actually leaves little room for error. 4. Obviously landing horizontally requires additional engines that have no other use in flight, this is extra dry mass that takes away from the performance of the vehicle. Plus your main engines pull propellant through the bottom of your tanks, so if there'd have to be additional tanks or at least extra considerations to have tanks that can be used in the horizontal regime. 5. The booster doesn't experience that great of peak temperature during reentry because it's peak velocity during reentry is much lower, which is why you see rockets like Starship and Electron able to survive pencil diving back through the atmosphere without a reentry burn. Thanks for coming to my TED talk. Best of luck Nayuta space, prove me wrong!

Chinese space startup, Nayuta Space released renders of wanting to belly flop the booster and land it horizontally. Let me break down why I don't think that's the best idea: 1. The booster is already designed to be structurally adequate vertically on ascent, so having the descent phase have landing loads horizontally adds a lot of extra mass and considerations. 2. The animation shows the booster flying more horizontally which is not something dihedral actuating flaps would be good at. They're good for maintaining orientation belly-ish first when they are perpendicular to wind flow, not parallel. In fact, I'll bet grid fins and using the fuselage as a lifting surface might have better cross range capabilities. 3. Although vertical landings look difficult, they're actually quite controllable, with physics similar to balancing a broomstick. Landing horizontally along a huge moment arm and several engines actually leaves little room for error. 4. Obviously landing horizontally requires additional engines that have no other use in flight, this is extra dry mass that takes away from the performance of the vehicle. Plus your main engines pull propellant through the bottom of your tanks, so if there'd have to be additional tanks or at least extra considerations to have tanks that can be used in the horizontal regime. 5. The booster doesn't experience that great of peak temperature during reentry because it's peak velocity during reentry is much lower, which is why you see rockets like Starship and Electron able to survive pencil diving back through the atmosphere without a reentry burn. Thanks for coming to my TED talk. Best of luck Nayuta space, prove me wrong!

Everyday Astronaut

329,413 次观看 • 1 年前