Video wird geladen...

Video konnte nicht geladen werden

Zur Startseite

Made with Hacksaw by Savannah #aftereffects #aescripts #hacksaw Rework sound design by ravendesk from “Praxis” by Anton L.cut Also he used plugins : 1.Hacksaw 2. Pixel sorter From aescripts+aeplugins The sound design was crafted to build tension and desire, as the piece functions as a trailer. My objective was...

aescripts's profile picture

aescripts+aeplugins

45,723 subscribers

17,359 Aufrufe • vor 5 Monaten •via X (Twitter)

#aftereffects#aescripts#hacksaw
LIVE

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

When I was 8 years old, my favorite thing in the world was making mixtapes for my Walkman from my big sister’s CDs. That evolved into Lego stop-motion videos, and later, I fell down the rabbit hole of editing Naruto anime clips to Evanescence & Linkin Park beats. Looking back, it’s obvious: Sound and Video were always the main drivers in my life. I think that obsession also led me to my true love: Motion Design. A huge shoutout to Kevin who showed me +10 years ago the world of Motion Design. And honestly, look at where we are now. Who would have thought that there would be such a massive hype around Motion Design and UI promo videos? From giants like Airbnb to the new generation of creators like sutoxoriginals. The visual standard in 2026 is insane. But there was always one part of the process that felt like a grind to me: Sound Design. I love the result, but I hated the process. I was spending 4-5 hours per project just searching for the right sound effects. "Key typing effect" "Mouse click" "Subtle Whoosh" and so on.. So, I decided to fix it. I sat down with a Dev friend and we spent the last few weekends building a native AI tool right inside After Effects. The concept is simple: SoundDesigner AI watches your video. It understands the vibe and exactly what’s happening and when its happening. It sees a clock ticking or a text appearing, and it generates the perfect sound for it in seconds, synced to the action in your timeline. I’ve been using it on my own projects for a few days now, and it’s wild. My sound design workflow went actually from 5 hours to 20 minutes. We are launching this in February (fingers crossed for the approval at aescripts+aeplugins) If you want to see where this goes and try it out yourself, drop me a DM
0:30

When I was 8 years old, my favorite thing in the world was making mixtapes for my Walkman from my big sister’s CDs. That evolved into Lego stop-motion videos, and later, I fell down the rabbit hole of editing Naruto anime clips to Evanescence & Linkin Park beats. Looking back, it’s obvious: Sound and Video were always the main drivers in my life. I think that obsession also led me to my true love: Motion Design. A huge shoutout to Kevin who showed me +10 years ago the world of Motion Design. And honestly, look at where we are now. Who would have thought that there would be such a massive hype around Motion Design and UI promo videos? From giants like Airbnb to the new generation of creators like sutoxoriginals. The visual standard in 2026 is insane. But there was always one part of the process that felt like a grind to me: Sound Design. I love the result, but I hated the process. I was spending 4-5 hours per project just searching for the right sound effects. "Key typing effect" "Mouse click" "Subtle Whoosh" and so on.. So, I decided to fix it. I sat down with a Dev friend and we spent the last few weekends building a native AI tool right inside After Effects. The concept is simple: SoundDesigner AI watches your video. It understands the vibe and exactly what’s happening and when its happening. It sees a clock ticking or a text appearing, and it generates the perfect sound for it in seconds, synced to the action in your timeline. I’ve been using it on my own projects for a few days now, and it’s wild. My sound design workflow went actually from 5 hours to 20 minutes. We are launching this in February (fingers crossed for the approval at aescripts+aeplugins) If you want to see where this goes and try it out yourself, drop me a DM

Markus Gavrilov

20,299 Aufrufe • vor 8 Monaten

The study, conducted by music experts led by Dr. Rachael Durkin at Northumbria University, applied the principles of organology and acoustics to determine that mayonnaise can produce or modify sound in a controlled and intentional way. When used purposely to create sound, mayonnaise meets the criteria to be treated as an instrument rather than just a condiment. Researchers found that whether in a jar, a squeeze bottle, or alone, mayonnaise’s acoustic properties are measurable and reproducible, and the intentional action of a player generating sound with it is what grants it musical status. The concept originated as a meme from the SpongeBob SquarePants cartoon, and Hellmann’s collaborated with creator Andy Arthur Smith to compose a track made entirely from mayonnaise generated sounds, turning a playful idea into an evidence based musical experiment.
1:00

The study, conducted by music experts led by Dr. Rachael Durkin at Northumbria University, applied the principles of organology and acoustics to determine that mayonnaise can produce or modify sound in a controlled and intentional way. When used purposely to create sound, mayonnaise meets the criteria to be treated as an instrument rather than just a condiment. Researchers found that whether in a jar, a squeeze bottle, or alone, mayonnaise’s acoustic properties are measurable and reproducible, and the intentional action of a player generating sound with it is what grants it musical status. The concept originated as a meme from the SpongeBob SquarePants cartoon, and Hellmann’s collaborated with creator Andy Arthur Smith to compose a track made entirely from mayonnaise generated sounds, turning a playful idea into an evidence based musical experiment.

IMbali-enhle!💜

34,325 Aufrufe • vor 6 Monaten

A man was working at home when he suddenly heard a soft whining sound behind him. At first, he thought it was his dog resting on the couch. But when he turned around, she was completely still-and looked just as surprised by the sound. What made the moment even more emotional was that the noise sounded exactly like their oldest Chihuahua, who had sadly passed away just two weeks earlier. It was the same familiar whine he used to make when he wanted attention and love. The sound felt so real and so close. What do you think this was? Was he trying to send a message to his daddy from the other side? Or was it his way of saying, "I'm still here"?
0:42

A man was working at home when he suddenly heard a soft whining sound behind him. At first, he thought it was his dog resting on the couch. But when he turned around, she was completely still-and looked just as surprised by the sound. What made the moment even more emotional was that the noise sounded exactly like their oldest Chihuahua, who had sadly passed away just two weeks earlier. It was the same familiar whine he used to make when he wanted attention and love. The sound felt so real and so close. What do you think this was? Was he trying to send a message to his daddy from the other side? Or was it his way of saying, "I'm still here"?

Wicker

361,499 Aufrufe • vor 7 Monaten

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.
0:48

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.

Rassoul Edji

130,138 Aufrufe • vor 1 Jahr

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.
0:56

"The Sound of Silence" is an iconic folk-rock song by the American duo Simon & Garfunkel. It was written by Paul Simon and released as a single in 1965. The song's haunting melody and evocative lyrics made it a timeless classic that continues to resonate with audiences across generations. The genesis of "The Sound of Silence" can be traced back to Paul Simon's early days as a songwriter in the early 1960s. He wrote the original version of the song when he was just 21 years old and it was initially titled "The Sounds of Silence." The song was included in their debut album, "Wednesday Morning, 3 A.M," released in 1964. However, the album had limited success, and Simon & Garfunkel's future as a duo was uncertain. Despite the lackluster performance of their debut album, the song's potential caught the attention of Tom Wilson, a producer at Columbia Records. Without Simon or Garfunkel's knowledge, he decided to remix "The Sound of Silence," adding electric instruments and drums to the acoustic version. This new version gave the song a more contemporary and dynamic sound, capitalizing on the folk-rock movement that was gaining popularity at the time. In January 1966, the remixed version of "The Sound of Silence" was released as a single, and it quickly began to climb the charts. The song struck a chord with listeners, as its lyrics tapped into feelings of isolation, alienation, and the struggle to communicate in an increasingly disconnected world. The opening lines, "Hello darkness, my old friend, I've come to talk with you again," instantly captured the imaginations of listeners and set the tone for the rest of the song. As "The Sound of Silence" gained traction, Simon & Garfunkel's popularity surged, and they went on to release more successful albums, becoming one of the most influential and celebrated musical acts of the 1960s. The song's success also played a significant role in propelling the folk-rock genre into the mainstream. Over the years, "The Sound of Silence" has been covered by numerous artists, further cementing its status as a timeless classic. Its enduring appeal lies in its ability to evoke deep emotions and contemplation, making it relevant in different historical and cultural contexts. The song's legacy has been immortalized in popular culture, appearing in films, television shows, and advertisements, further solidifying its status as a song that transcends time and resonates with people from all walks of life. Its powerful message about the importance of meaningful communication in a world filled with noise and distraction continues to be relevant and poignant to this day.

Historic Vids

3,178,838 Aufrufe • vor 3 Jahren

Fauci was in on it all along. “There is no question that there will be a challenge to the upcoming administration in the arena of infectious diseases………..but also there will be a surprise outbreak.” Anthony Fauci Georgetown Town University January 2017. •••••••••••••••••••••••••••••••• In one of his last acts in office Joe Biden has pardoned Anthony Fauci for crimes he’s not yet charged with. The crime of course is colluding with the CIA and Ric Bright from BARDA to design and release Covid-19 upon the world. The purpose was to remove Trump from Office by closing down the USA to justify using a high number of postal ballots to instil Joe Biden who was demented, corrupt and owned by the deep state. The goal was to start a conflict with Russia to blow up the Nordstream pipeline and stop Russian gas being sold to Europe thus enriching the Oil Companies and Big Banks. (Big Pharma and the media got the vaccines and related advertising). The other purpose was to create a false flag in Gaza to start another conflict so the CIA controlled puppets Al-Queda could take out Syria which would enable the sale of energy to Europe from the Middle East via Syria. Trump wont reverse any of this by the way. The war with Russia might stop but the elites have got what they want which is control of the world’s energy markets and the power to enforce the use of the petrodollar. This will protect the U.S. Bond market albeit only for a limited time as the edifice of the Western economies start to crumble. While it’s no doubt Joe Biden and his crime family (also pardoned) are the biggest criminals in the world, he has at least exposed just how corrupt Washington is and how powerful and ruthless the deep state is. Quote from:
2:19

Fauci was in on it all along. “There is no question that there will be a challenge to the upcoming administration in the arena of infectious diseases………..but also there will be a surprise outbreak.” Anthony Fauci Georgetown Town University January 2017. •••••••••••••••••••••••••••••••• In one of his last acts in office Joe Biden has pardoned Anthony Fauci for crimes he’s not yet charged with. The crime of course is colluding with the CIA and Ric Bright from BARDA to design and release Covid-19 upon the world. The purpose was to remove Trump from Office by closing down the USA to justify using a high number of postal ballots to instil Joe Biden who was demented, corrupt and owned by the deep state. The goal was to start a conflict with Russia to blow up the Nordstream pipeline and stop Russian gas being sold to Europe thus enriching the Oil Companies and Big Banks. (Big Pharma and the media got the vaccines and related advertising). The other purpose was to create a false flag in Gaza to start another conflict so the CIA controlled puppets Al-Queda could take out Syria which would enable the sale of energy to Europe from the Middle East via Syria. Trump wont reverse any of this by the way. The war with Russia might stop but the elites have got what they want which is control of the world’s energy markets and the power to enforce the use of the petrodollar. This will protect the U.S. Bond market albeit only for a limited time as the edifice of the Western economies start to crumble. While it’s no doubt Joe Biden and his crime family (also pardoned) are the biggest criminals in the world, he has at least exposed just how corrupt Washington is and how powerful and ruthless the deep state is. Quote from:

Gerard Rennick

70,489 Aufrufe • vor 1 Jahr

Details shared by - Neeraj Narula I was travelling in my Honda City from Murthal to Sonepat for a meeting with my colleague and was trying to overtake a long size trailer truck while descending from a flyover. While I was almost crossing it, the Trailer suddenly sverve to right to save a Thar in its front which suddenly slowed down due to water on the road. I applied brake instantly and was able to stop my car well within 3-4 seconds from 45 kmph to 0. As you are able to see in the video, I was saved from inches from a possible direct collision in front of my car. Fortunately there was no vehicle close at my rear so was saved from back as well. I think the trailer turned too sharp to right that it tilted it's tractor in opposite direction because of its momentum of heavy trailer. Fortunately there was no harm to anyone and everyone was safe and no collision happened whatsoever. The Trailer and it's Driver somehow taken his trailer to the side after 2-3 minutes of this incident. The learning is that controlled speed and attentiveness on highways always keeps you safe because while on highways, a critical situation can arise any moment as it happened with me. And ofcourse as you always suggest importance of Dashcam, thanks to my Dashcam was able to replay the whole incident and analyse what actually happened. #DriveResponsibly
0:58

Details shared by - Neeraj Narula I was travelling in my Honda City from Murthal to Sonepat for a meeting with my colleague and was trying to overtake a long size trailer truck while descending from a flyover. While I was almost crossing it, the Trailer suddenly sverve to right to save a Thar in its front which suddenly slowed down due to water on the road. I applied brake instantly and was able to stop my car well within 3-4 seconds from 45 kmph to 0. As you are able to see in the video, I was saved from inches from a possible direct collision in front of my car. Fortunately there was no vehicle close at my rear so was saved from back as well. I think the trailer turned too sharp to right that it tilted it's tractor in opposite direction because of its momentum of heavy trailer. Fortunately there was no harm to anyone and everyone was safe and no collision happened whatsoever. The Trailer and it's Driver somehow taken his trailer to the side after 2-3 minutes of this incident. The learning is that controlled speed and attentiveness on highways always keeps you safe because while on highways, a critical situation can arise any moment as it happened with me. And ofcourse as you always suggest importance of Dashcam, thanks to my Dashcam was able to replay the whole incident and analyse what actually happened. #DriveResponsibly

Prateek Singh

539,254 Aufrufe • vor 2 Jahren

In the Andante movement of Mozart's Piano Concerto No. 21, the "beauty" doesn't lie in a single note, nor in a single expressive moment. It stems from how the entire musical material is organized as a continuous process of tension and resolution, where each event is both the result of what has happened and the condition for what will come next. On the surface, listeners are easily captivated by the softness of the melody, the dialogue between the piano and the orchestra, or the subtle harmonic nuances. However, this is only the phenomenal level. The deeper level lies not in "what the music is," but in "the principles by which the music operates to create the sense of inevitable movement." In Mozart's thinking, no note exists independently. Each sound always carries the aftershock of the previous note and simultaneously creates a tendency towards the next note. It is this continuous movement between tension and release that makes music no longer a series of disconnected events, but a logical flow of movement, where every detail has a reason for existing within the whole. The tension-release mechanism in life Importantly, this mechanism is not unique to music, but reflects a broader structure in human experience. In social relationships, conflict creates an imbalance between people; the process of understanding and adjustment helps restore the stability of the relationship. In biology, the body reacts to threat with a state of tension, and returns to equilibrium when the threat is removed. In psychology, the state of expectation creates mild tension, and completion brings a feeling of relief. At every level, the same pattern can be seen: an unstable state is moved towards a stable state. However, it is important not to understand music as a “simulation of life,” but rather that both music and life can be described by the same principle of organizing experience. Music: where mechanism is refined into structure In classical music, especially in Mozart's compositional thinking, the tension-release mechanism is transformed into a clearly structured language. An unstable note creates a tendency toward a stable note. A chromatic movement creates a sense of deviance from the center. An appoggiatura creates a sense of delay. A modulation to a minor key expands the instability of the entire structure. All these elements do not exist in isolation, but are organized into multi-layered tension-release cycles: microscopic in each note, mesoscopic in each phrase, and macroscopic in the entire structure of the musical movement. The key point is: Mozart did not use these mechanisms to create surprise effects, but to create the feeling that every movement is inherently necessary. This is what creates the seamless and natural flow of the music. Therefore, the beauty in Andante does not lie in a single element, nor in a single compositional technique, but in the tension-release mechanism being organized into a unified system throughout multiple levels of musical structure. At the detailed level, it is present in the relationship between notes and harmonic movement. At the intermediate level, it shapes the structure of each musical phrase. At the overall level, it governs the entire progression of the movement as a unified moving whole. Mozart did not create beauty by eliminating tension, but by organizing unstable states so that they continuously facilitate, guide, and transform into more stable states, thereby forming a dynamic balance throughout the entire musical structure. When these three levels operate simultaneously, the listener no longer perceives "artificiality," but experiences a seemingly natural and continuous flow of movement. It is in this state that the deepest aesthetic value is formed: a sense of a tight, consistent, and inevitable internal order within the sonic timeline.
5:19

In the Andante movement of Mozart's Piano Concerto No. 21, the "beauty" doesn't lie in a single note, nor in a single expressive moment. It stems from how the entire musical material is organized as a continuous process of tension and resolution, where each event is both the result of what has happened and the condition for what will come next. On the surface, listeners are easily captivated by the softness of the melody, the dialogue between the piano and the orchestra, or the subtle harmonic nuances. However, this is only the phenomenal level. The deeper level lies not in "what the music is," but in "the principles by which the music operates to create the sense of inevitable movement." In Mozart's thinking, no note exists independently. Each sound always carries the aftershock of the previous note and simultaneously creates a tendency towards the next note. It is this continuous movement between tension and release that makes music no longer a series of disconnected events, but a logical flow of movement, where every detail has a reason for existing within the whole. The tension-release mechanism in life Importantly, this mechanism is not unique to music, but reflects a broader structure in human experience. In social relationships, conflict creates an imbalance between people; the process of understanding and adjustment helps restore the stability of the relationship. In biology, the body reacts to threat with a state of tension, and returns to equilibrium when the threat is removed. In psychology, the state of expectation creates mild tension, and completion brings a feeling of relief. At every level, the same pattern can be seen: an unstable state is moved towards a stable state. However, it is important not to understand music as a “simulation of life,” but rather that both music and life can be described by the same principle of organizing experience. Music: where mechanism is refined into structure In classical music, especially in Mozart's compositional thinking, the tension-release mechanism is transformed into a clearly structured language. An unstable note creates a tendency toward a stable note. A chromatic movement creates a sense of deviance from the center. An appoggiatura creates a sense of delay. A modulation to a minor key expands the instability of the entire structure. All these elements do not exist in isolation, but are organized into multi-layered tension-release cycles: microscopic in each note, mesoscopic in each phrase, and macroscopic in the entire structure of the musical movement. The key point is: Mozart did not use these mechanisms to create surprise effects, but to create the feeling that every movement is inherently necessary. This is what creates the seamless and natural flow of the music. Therefore, the beauty in Andante does not lie in a single element, nor in a single compositional technique, but in the tension-release mechanism being organized into a unified system throughout multiple levels of musical structure. At the detailed level, it is present in the relationship between notes and harmonic movement. At the intermediate level, it shapes the structure of each musical phrase. At the overall level, it governs the entire progression of the movement as a unified moving whole. Mozart did not create beauty by eliminating tension, but by organizing unstable states so that they continuously facilitate, guide, and transform into more stable states, thereby forming a dynamic balance throughout the entire musical structure. When these three levels operate simultaneously, the listener no longer perceives "artificiality," but experiences a seemingly natural and continuous flow of movement. It is in this state that the deepest aesthetic value is formed: a sense of a tight, consistent, and inevitable internal order within the sonic timeline.

🎼🌺Music Love♥️

12,224 Aufrufe • vor 2 Monaten

Robert Bresson on the power of sound: "The eye is lazy. The ear, on the contrary, is inventive—it’s much more attentive, whereas the eye is content to receive, other than in exceptional cases when it too invents, but by fantasizing. The ear is, in some sense, far more evocative and profound. The whistle of a train, for example, can call to mind the image of an entire station: sometimes of a precise station you know, sometimes of the atmosphere of a station, or of tracks with a stopped train... The possible evocations are innumerable. What’s good about this, this sound, is that it leaves the viewer free. And that’s what we must strive toward: leaving the viewer as free as possible. And at the same time, you have to make him learn to love it. You have to make him love the way you render things. That is: show him the things in the order and in the way in which you want to see them and feel them; make him see them, by presenting them, the way you see them and feel them yourself; and do all of this while leaving him a very great liberty, while making him free. Now, this freedom is greater with sound than it is with imagery." — Robert Bresson interviewed by Jean-Luc Godard for Cahiers du Cinéma in 1966 ⬇️ Pickpocket (1959).
4:12

Robert Bresson on the power of sound: "The eye is lazy. The ear, on the contrary, is inventive—it’s much more attentive, whereas the eye is content to receive, other than in exceptional cases when it too invents, but by fantasizing. The ear is, in some sense, far more evocative and profound. The whistle of a train, for example, can call to mind the image of an entire station: sometimes of a precise station you know, sometimes of the atmosphere of a station, or of tracks with a stopped train... The possible evocations are innumerable. What’s good about this, this sound, is that it leaves the viewer free. And that’s what we must strive toward: leaving the viewer as free as possible. And at the same time, you have to make him learn to love it. You have to make him love the way you render things. That is: show him the things in the order and in the way in which you want to see them and feel them; make him see them, by presenting them, the way you see them and feel them yourself; and do all of this while leaving him a very great liberty, while making him free. Now, this freedom is greater with sound than it is with imagery." — Robert Bresson interviewed by Jean-Luc Godard for Cahiers du Cinéma in 1966 ⬇️ Pickpocket (1959).

RadiantFilm

26,500 Aufrufe • vor 1 Jahr

In my AI filming career, there is a niche I really enjoy working with and where AI Video brings lots of value. That niche is Real Estate. AI is perfect to animate 3D renders and to create b-role for mood. Here I will try to answer two questions: 1 - How to make a real estate video? 2- How to sell a house? This was a work done based on 3D Renders (provided by The Creative Farm, more on them below). Sound design made by noon (feel free to DM her for great sound design) Below I will break down a bit of the process, the prompts, timespans, the tools I used as well as some secrets this time around (feeling pretty today) It will be a bit long, so bookmark it or save it for later if you have the interest but lack the time.
0:42

In my AI filming career, there is a niche I really enjoy working with and where AI Video brings lots of value. That niche is Real Estate. AI is perfect to animate 3D renders and to create b-role for mood. Here I will try to answer two questions: 1 - How to make a real estate video? 2- How to sell a house? This was a work done based on 3D Renders (provided by The Creative Farm, more on them below). Sound design made by noon (feel free to DM her for great sound design) Below I will break down a bit of the process, the prompts, timespans, the tools I used as well as some secrets this time around (feeling pretty today) It will be a bit long, so bookmark it or save it for later if you have the interest but lack the time.

FERA

218,120 Aufrufe • vor 1 Jahr

For Return of the Jedi, Ian McDiarmid drew on his years of stage experience to create Emperor Palpatine’s unforgettable voice. Inspired by a Japanese theatrical vocal technique that projects sound from the stomach rather than the throat, he developed the character’s eerie, guttural croak. George Lucas was so impressed by the performance that he kept the voice exactly as McDiarmid delivered it, helping to create one of the most distinctive and chilling villains in cinema history.
4:24

For Return of the Jedi, Ian McDiarmid drew on his years of stage experience to create Emperor Palpatine’s unforgettable voice. Inspired by a Japanese theatrical vocal technique that projects sound from the stomach rather than the throat, he developed the character’s eerie, guttural croak. George Lucas was so impressed by the performance that he kept the voice exactly as McDiarmid delivered it, helping to create one of the most distinctive and chilling villains in cinema history.

Best of Star Wars

91,806 Aufrufe • vor 1 Monat

Text to Sound Effects is here. Our newest AI Audio model generates sound effects, short instrumental tracks, soundscapes, and a wide variety of character voices, all from a text prompt. Available now for all users. Everyone from content creators, video game developers, to film and television studios, uses sound effects to create rich and immersive content. Now, in addition to AI voiceovers, you can generate all of the sounds you need with just a prompt. Everything you hear in this video was generated by ElevenLabs sound and voice models. In this thread, we shared some additional clips that help show off the range of this new model.
1:08

Text to Sound Effects is here. Our newest AI Audio model generates sound effects, short instrumental tracks, soundscapes, and a wide variety of character voices, all from a text prompt. Available now for all users. Everyone from content creators, video game developers, to film and television studios, uses sound effects to create rich and immersive content. Now, in addition to AI voiceovers, you can generate all of the sounds you need with just a prompt. Everything you hear in this video was generated by ElevenLabs sound and voice models. In this thread, we shared some additional clips that help show off the range of this new model.

ElevenLabs

451,143 Aufrufe • vor 2 Jahren

Describing a specific sound can be a daunting task. For creators producing video, podcasts and other multimedia projects, it’s also a necessary one. By using AI audio models, it’s now possible to describe a sound – like police sirens, paired with the sound of a burning building, for example – and almost instantly produce it. But the innovation won’t stop there, says Ammaar Reshi Reshi, the head of design at . We’re getting to the point where the interactions between LLMs, using voice interfaces, “is becoming incredibly natural and feels like talking to a person,” Ammaar says. Eventually, ElevenLabs believes that will result in a general AI audio model, unlocking even more possibilities.👇
0:37

Describing a specific sound can be a daunting task. For creators producing video, podcasts and other multimedia projects, it’s also a necessary one. By using AI audio models, it’s now possible to describe a sound – like police sirens, paired with the sound of a burning building, for example – and almost instantly produce it. But the innovation won’t stop there, says Ammaar Reshi Reshi, the head of design at . We’re getting to the point where the interactions between LLMs, using voice interfaces, “is becoming incredibly natural and feels like talking to a person,” Ammaar says. Eventually, ElevenLabs believes that will result in a general AI audio model, unlocking even more possibilities.👇

a16z

80,459 Aufrufe • vor 2 Jahren

Who watched HOME FROM THE SEA this 4th of July? This episode of Magnum is powerful, emotional and raw. The situation and action further develop the protagonist’s character by highlighting vulnerability and determination, and the episode incorporates flashbacks as backstory so the viewer gets a better sense as to what made Magnum who he is. Each of my novels has a Magnum reference woven in...have you found them? Most importantly, HOME FROM THE SEA reminds us that not everyone’s father makes it home from war. “I made it, dad. Why didn’t you?”
3:56

Who watched HOME FROM THE SEA this 4th of July? This episode of Magnum is powerful, emotional and raw. The situation and action further develop the protagonist’s character by highlighting vulnerability and determination, and the episode incorporates flashbacks as backstory so the viewer gets a better sense as to what made Magnum who he is. Each of my novels has a Magnum reference woven in...have you found them? Most importantly, HOME FROM THE SEA reminds us that not everyone’s father makes it home from war. “I made it, dad. Why didn’t you?”

Jack Carr

40,598 Aufrufe • vor 2 Monaten

Listen to Kunitsu-Gami: Path of the Goddess team's take on an iconic song from Okami with "Rising Sun (Kunitsu-Gami Matsuri Ver.)" Play Kunitsu-Gami: Path of the Goddess with special Okami collaboration content, available now! It was challenging to figure out how to blend the pop and catchy world and sound of Okami with the dark and psychedelic world and sound of Kunitsu-Gami. It was a challenge to strike the right balance—how much to lean toward one side or the other. We also had ermhoi participate in the chorus. - Composer Chikara Aoshima This is one of the most iconic tracks in the history of video game music, and I’d like to share a memorable episode involving Aoshima-san. When arranging this piece, Aoshima-san didn’t just listen to the music repeatedly—instead, he first experienced how the track was used in the original Okami game, and how it felt from a player’s perspective. He valued that emotional experience and used it as the foundation for his arrangement. It became one of the most memorable tracks, arranged with deep respect for Okami. Ermhoi, who also performed the main theme song, participated in the chorus for this track as well. - Music Director Ken Aseem Usami
1:40

Listen to Kunitsu-Gami: Path of the Goddess team's take on an iconic song from Okami with "Rising Sun (Kunitsu-Gami Matsuri Ver.)" Play Kunitsu-Gami: Path of the Goddess with special Okami collaboration content, available now! It was challenging to figure out how to blend the pop and catchy world and sound of Okami with the dark and psychedelic world and sound of Kunitsu-Gami. It was a challenge to strike the right balance—how much to lean toward one side or the other. We also had ermhoi participate in the chorus. - Composer Chikara Aoshima This is one of the most iconic tracks in the history of video game music, and I’d like to share a memorable episode involving Aoshima-san. When arranging this piece, Aoshima-san didn’t just listen to the music repeatedly—instead, he first experienced how the track was used in the original Okami game, and how it felt from a player’s perspective. He valued that emotional experience and used it as the foundation for his arrangement. It became one of the most memorable tracks, arranged with deep respect for Okami. Ermhoi, who also performed the main theme song, participated in the chorus for this track as well. - Music Director Ken Aseem Usami

Kunitsu-Gami: Path of the Goddess

13,835 Aufrufe • vor 1 Jahr

Our very own Alexander Chen created "Hello, world" a short film inspired by the technology of his childhood with Google Labs Flow. Here's a closer look at how he brought his vision to life: 1) All of the clips were generated in Flow using text-to-image prompts except he used image-to-video prompts for the close-up shots to ensure consistency and accuracy (and the images used were generated by Imagen). 2) To evoke the exact feelings of his childhood home, he used Google Street View for visual references then asked the Google Gemini to write descriptions and prompts, then uploaded those into Flow which is what produced such vivid and accurate renderings in the film. 3) Every sound used in the video is generated by Veo 3. However, to blend things together, he used a separate video editing software to extend the head and tail of each clip over the proceeding and following clip, occasionally crossfading the audio to help with transitions.
2:13

Our very own Alexander Chen created "Hello, world" a short film inspired by the technology of his childhood with Google Labs Flow. Here's a closer look at how he brought his vision to life: 1) All of the clips were generated in Flow using text-to-image prompts except he used image-to-video prompts for the close-up shots to ensure consistency and accuracy (and the images used were generated by Imagen). 2) To evoke the exact feelings of his childhood home, he used Google Street View for visual references then asked the Google Gemini to write descriptions and prompts, then uploaded those into Flow which is what produced such vivid and accurate renderings in the film. 3) Every sound used in the video is generated by Veo 3. However, to blend things together, he used a separate video editing software to extend the head and tail of each clip over the proceeding and following clip, occasionally crossfading the audio to help with transitions.

Google AI

94,790 Aufrufe • vor 1 Jahr

3D reconstruction & analysis of Charlie Kirk assassination that speaks volumes. 4 different shooter location perspectives with line of sight and shot trajectory line with very interesting conclusions. Also includes sound analysis of official narrative which is the most important and telling results, which breaks the official narrative once again. - The sound analysis and the video proved that we heard the shot and saw Charlie getting shot at the same time, when Charlie should of been shot first then we would of heard the sound of the shot if it was at 150 yards with the rifle they claim shot Charlie, considering the speed of the bullet and the speed of sound. - This conclusion means that the shot had to come from a closer proximity, from 50 yards or less, not 150 yards, considering that we do know exactly where the video and audio was taken from, and how far it was away from Charlie. Watch the full video for full context and to understand all 4 shooter locations and sound analysis conclusion. It's starting to narrow down some possibilities, which is great. Little by little we move closer to the truth. Thoughts, comments, and speculation down below, the more eyes and theories the better. cc: Trigger Smart
15:07

3D reconstruction & analysis of Charlie Kirk assassination that speaks volumes. 4 different shooter location perspectives with line of sight and shot trajectory line with very interesting conclusions. Also includes sound analysis of official narrative which is the most important and telling results, which breaks the official narrative once again. - The sound analysis and the video proved that we heard the shot and saw Charlie getting shot at the same time, when Charlie should of been shot first then we would of heard the sound of the shot if it was at 150 yards with the rifle they claim shot Charlie, considering the speed of the bullet and the speed of sound. - This conclusion means that the shot had to come from a closer proximity, from 50 yards or less, not 150 yards, considering that we do know exactly where the video and audio was taken from, and how far it was away from Charlie. Watch the full video for full context and to understand all 4 shooter locations and sound analysis conclusion. It's starting to narrow down some possibilities, which is great. Little by little we move closer to the truth. Thoughts, comments, and speculation down below, the more eyes and theories the better. cc: Trigger Smart

The SCIF

63,486 Aufrufe • vor 11 Monaten