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【📢】 One thing coming with the next VTube Studio update is the "layer group" editor ✨ After creating one, a layer group can be used to bulk-set layer screen/multiply color overlays (and more!) 🌈🎨🖌️ It'll be on the VTS beta branch soon if you wanna try it out early ⏰✨

VTube Studio

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Sam Altman says OpenAI wants to be your core AI subscription, the default interface to intelligence. Not just ChatGPT, but new surfaces that feel more like operating systems. The goal isn't to dominate the app layer -- it’s to own the layer everything else builds on. “If you can make a better one… go ahead. That’d be great.”

Sam Altman says OpenAI wants to be your core AI subscription, the default interface to intelligence. Not just ChatGPT, but new surfaces that feel more like operating systems. The goal isn't to dominate the app layer -- it’s to own the layer everything else builds on. “If you can make a better one… go ahead. That’d be great.”

vitrupo

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🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

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🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. _ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. __ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

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Android Studio is coming soon to #ProjectIDX. 😎 With just a few clicks in your browser, you can set up a workspace to code, build, and test native Android apps. Join the waitlist to be one of the first to try it! 🛠️ →

Android Studio is coming soon to #ProjectIDX. 😎 With just a few clicks in your browser, you can set up a workspace to code, build, and test native Android apps. Join the waitlist to be one of the first to try it! 🛠️ →

Google for Developers

25,233 Aufrufe • vor 2 Jahren

Backpropagation by hand ✍️ ~ 11 steps walkthrough below Backpropagation is the algorithm that actually trains a neural network, and it is where most people stop following along. It is not calculus you cannot do. It is matrix multiplication, working backward, one layer at a time. So I drew and calculated one entirely by hand. Goal: push the loss gradient back through a 3-layer network and land on a new value for every weight and bias. = 1. Given = A 3-layer perceptron, an input X, predictions Ypred = [0.5, 0.5, 0], and the truth Ytarget = [0, 1, 0]. = 2. Backprop gradient cells = Let us draw empty cells for every gradient we are about to compute. The shape of the answer comes first. = 3. Layer 3 softmax = We get dL/dz3 straight from Ypred minus Ytarget = [0.5, -0.5, 0]. No chain rule needed, and that shortcut is the whole reason softmax and cross-entropy are paired. = 4. Layer 3 weights and biases = Let us multiply dL/dz3 by [a2 | 1]. One multiplication gives the gradient for W3 and b3 together. = 5. Layer 2 activations = We multiply dL/dz3 by W3 to get dL/da2. The gradient moves back across a layer the same way the signal moved forward. = 6. Layer 2 ReLU = Let us pass it through the gate: keep the gradient where the activation was positive, zero it everywhere else. = 7. Layer 2 weights and biases = We multiply dL/dz2 by [a1 | 1]. The same figure as step 4, one layer up. = 8. Layer 1 activations = Let us multiply dL/dz2 by W2. = 9. Layer 1 ReLU = We apply the same gate again, now on a1. = 10. Layer 1 weights and biases = Let us multiply dL/dz1 by [x | 1], and every weight in the network now has a gradient. = 11. Update = We subtract, and the network has learned. In practice a learning rate scales this step. The gradients: dL/dz3 = [0.5, -0.5, 0] dL/da1 = [1, -2, 2, -1] dL/dz1 = [0, -2, 2, -1] The takeaway: matrix multiplication is all you need. Just like the forward pass, backpropagation is matrix multiplications end to end. You can do every one by hand, slowly and imperfectly, which is exactly why a GPU's ability to do them fast mattered so much to deep learning. 💾 Save this post!

Backpropagation by hand ✍️ ~ 11 steps walkthrough below Backpropagation is the algorithm that actually trains a neural network, and it is where most people stop following along. It is not calculus you cannot do. It is matrix multiplication, working backward, one layer at a time. So I drew and calculated one entirely by hand. Goal: push the loss gradient back through a 3-layer network and land on a new value for every weight and bias. = 1. Given = A 3-layer perceptron, an input X, predictions Ypred = [0.5, 0.5, 0], and the truth Ytarget = [0, 1, 0]. = 2. Backprop gradient cells = Let us draw empty cells for every gradient we are about to compute. The shape of the answer comes first. = 3. Layer 3 softmax = We get dL/dz3 straight from Ypred minus Ytarget = [0.5, -0.5, 0]. No chain rule needed, and that shortcut is the whole reason softmax and cross-entropy are paired. = 4. Layer 3 weights and biases = Let us multiply dL/dz3 by [a2 | 1]. One multiplication gives the gradient for W3 and b3 together. = 5. Layer 2 activations = We multiply dL/dz3 by W3 to get dL/da2. The gradient moves back across a layer the same way the signal moved forward. = 6. Layer 2 ReLU = Let us pass it through the gate: keep the gradient where the activation was positive, zero it everywhere else. = 7. Layer 2 weights and biases = We multiply dL/dz2 by [a1 | 1]. The same figure as step 4, one layer up. = 8. Layer 1 activations = Let us multiply dL/dz2 by W2. = 9. Layer 1 ReLU = We apply the same gate again, now on a1. = 10. Layer 1 weights and biases = Let us multiply dL/dz1 by [x | 1], and every weight in the network now has a gradient. = 11. Update = We subtract, and the network has learned. In practice a learning rate scales this step. The gradients: dL/dz3 = [0.5, -0.5, 0] dL/da1 = [1, -2, 2, -1] dL/dz1 = [0, -2, 2, -1] The takeaway: matrix multiplication is all you need. Just like the forward pass, backpropagation is matrix multiplications end to end. You can do every one by hand, slowly and imperfectly, which is exactly why a GPU's ability to do them fast mattered so much to deep learning. 💾 Save this post!

Tom Yeh

959,082 Aufrufe • vor 1 Monat

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

🎓Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

Cohen Brawley

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📔Anim Tip #5: Hand Shake Layer 🪇 If you flex your arm, you'll feel your muscles vibrate and it shakes your fist. During polish, add a shake anim layer on the IK hand ctrl when the muscles are tight or hit a hard surface. It'll be more powerful, in the same way as camera shake!

📔Anim Tip #5: Hand Shake Layer 🪇 If you flex your arm, you'll feel your muscles vibrate and it shakes your fist. During polish, add a shake anim layer on the IK hand ctrl when the muscles are tight or hit a hard surface. It'll be more powerful, in the same way as camera shake!

Avery Adams

180,681 Aufrufe • vor 2 Jahren

We're building heavily & being busy. A lot of new features rolling out soon. One of the most anticipated: Intelligence Agents you can deploy to the web — vulnerability scanning, monitoring, and surveillance of essentially anything that matters. This is one branch of the privacy layer AI at the core of Serus. Stay tuned.

We're building heavily & being busy. A lot of new features rolling out soon. One of the most anticipated: Intelligence Agents you can deploy to the web — vulnerability scanning, monitoring, and surveillance of essentially anything that matters. This is one branch of the privacy layer AI at the core of Serus. Stay tuned.

Serus

77,170 Aufrufe • vor 4 Monaten

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🚧 The #Restitched "Design Tool" 🖌️🎨 is a powerful, essential feature for artists (both in the level editor and wardrobe!) Use it to recolor almost any asset! In some cases, you can also set a 'secondary color' and switch between preset texture swatches.🤩✨

Restitched 🧵🧸

17,533 Aufrufe • vor 3 Monaten

The next AI database isn’t another database. it’s a layer over the one you already have. Today we're launching a virtual ai search layer you can deploy over ANY Postgres database. no migrations. no vector DB. no Neo4j. no sync. no bs. One database. Every way to search it. This is virtual search that feels like extended context. try it free → Dalton Lim Damien Polygres

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dale

16,786 Aufrufe • vor 4 Tagen

Vitalik Buterin on Ethereum as the economic layer for AI “The blockchain to me is the most natural way to allow applications and cooperation between many different people in the long term without needing to agree on who to trust. The other thing is also the economic layer. This is the layer where blockchains can support AIs.” Vitalik believes Ethereum will play a large role in the future of decentralized AI: “If you have more decentralized AI, that means you have different AIs (agents, programs) that are controlled by different people and need to interact with each other. And for that interaction to be possible, you need to have an economic layer. Either cooperation is based on economic incentives and economic rules. Or it’s based on central control. It’s usually one of the two, and if we can set up the economic system, that makes more decentralized interaction between AIs possible.” Source: OKX (Apr 2026) Read our full article on why AI agents will need Ethereum for low-risk DeFi below👇

Vitalik Buterin on Ethereum as the economic layer for AI “The blockchain to me is the most natural way to allow applications and cooperation between many different people in the long term without needing to agree on who to trust. The other thing is also the economic layer. This is the layer where blockchains can support AIs.” Vitalik believes Ethereum will play a large role in the future of decentralized AI: “If you have more decentralized AI, that means you have different AIs (agents, programs) that are controlled by different people and need to interact with each other. And for that interaction to be possible, you need to have an economic layer. Either cooperation is based on economic incentives and economic rules. Or it’s based on central control. It’s usually one of the two, and if we can set up the economic system, that makes more decentralized interaction between AIs possible.” Source: OKX (Apr 2026) Read our full article on why AI agents will need Ethereum for low-risk DeFi below👇

Etherealize

115,366 Aufrufe • vor 3 Monaten

🎓 Learn how to create a Cherry Wood Material in a matter of seconds in my latest video series (AAA) Pro Tips! ____________________________________________________ In this video, the steps are as follows: 1. Create a slightly red-colored fill layer with high gloss to act as the woods base material. 2. Add a second fill layer with a black mask, and inside that mask add a stripes greyscale set to planar projection. These stripes will act as the wood rings and should be projected onto your mesh in a natural way. The stripes should also be set to max softness, and followed by a Directional Noise 3 with a blend mode set to Difference. 3. Add a levels to tweak the mask and add an anchor point to the mask as well. 4. Create another fill layer with a dark brown diffuse, and store the information from the anchor point into its mask. Apply a levels to increase its intensity, and then add a fill layer up top with the anchorpoint information applied again, but set its blending mode to Subtract. 5. Create an additional fill layer with a very dark diffuse channel. Add a mask to the fill layer and inside its mask add a fill layer containing the anchorpoint information, from the Wood Rings. This fill layer can now be used to add some dark contrast to the center of the wood rings 6. A warp filter should also be used to apply some subtle imperfections to the wood rings and grain. Now we are left with a very nice result of Cherry wood! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips. Let me know below what you would like to learn in future videos! 👇 Happy Texturing! 💚 #gameart #texturing

🎓 Learn how to create a Cherry Wood Material in a matter of seconds in my latest video series (AAA) Pro Tips! In this video, the steps are as follows: 1. Create a slightly red-colored fill layer with high gloss to act as the woods base material. 2. Add a second fill layer with a black mask, and inside that mask add a stripes greyscale set to planar projection. These stripes will act as the wood rings and should be projected onto your mesh in a natural way. The stripes should also be set to max softness, and followed by a Directional Noise 3 with a blend mode set to Difference. 3. Add a levels to tweak the mask and add an anchor point to the mask as well. 4. Create another fill layer with a dark brown diffuse, and store the information from the anchor point into its mask. Apply a levels to increase its intensity, and then add a fill layer up top with the anchorpoint information applied again, but set its blending mode to Subtract. 5. Create an additional fill layer with a very dark diffuse channel. Add a mask to the fill layer and inside its mask add a fill layer containing the anchorpoint information, from the Wood Rings. This fill layer can now be used to add some dark contrast to the center of the wood rings 6. A warp filter should also be used to apply some subtle imperfections to the wood rings and grain. Now we are left with a very nice result of Cherry wood! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips. Let me know below what you would like to learn in future videos! 👇 Happy Texturing! 💚 #gameart #texturing

Cohen Brawley

25,219 Aufrufe • vor 2 Jahren