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Particle explosions 🎇, volumetric illumination using pre-rendered lightmaps and multiple lights (point, directional). I strongly prefer Unity's default particle system over VFX Graph for these kinds of effects. The latter is overkill, cumbersome to work with, and really only necessary in instances where you're working with data directly from... show more

Mirza Beig

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18,913 Aufrufe • vor 1 Jahr •via X (Twitter)

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Under the hood of every gaussian splat lives a point cloud - what this mean is we can do some really cool things! With points and particles being so relative - you can actually treat them as if they were the same. Here we're using INSYDIUM X-Particles to drive a nexus particle simulation from the millions of splat points directly. This opens the doors to tons of creative opportunities for splats via XP with the full stack of modifiers and controls to take your splat assets to the next level! Rendered with OTOY Octane 2026

Under the hood of every gaussian splat lives a point cloud - what this mean is we can do some really cool things! With points and particles being so relative - you can actually treat them as if they were the same. Here we're using INSYDIUM X-Particles to drive a nexus particle simulation from the millions of splat points directly. This opens the doors to tons of creative opportunities for splats via XP with the full stack of modifiers and controls to take your splat assets to the next level! Rendered with OTOY Octane 2026

Spenser Dickerson

12,055 Aufrufe • vor 7 Monaten

A new update has just been added to the Particle FX Workshop: Blade Erosion FX In this project, we create a complete shot from scratch of a blade peeling away through dark, high-tech energy to reveal a corrupted version underneath. The update covers: - advanced particle workflows through VEX - vellum peeling and disintegration effects - custom procedural masks through instancing - advanced look development and compositing techniques This update is completely free for everyone already enrolled in the workshop. And if you’ve been thinking about joining, the Spring Sale is currently live with 20% off all courses until May 12.

A new update has just been added to the Particle FX Workshop: Blade Erosion FX In this project, we create a complete shot from scratch of a blade peeling away through dark, high-tech energy to reveal a corrupted version underneath. The update covers: - advanced particle workflows through VEX - vellum peeling and disintegration effects - custom procedural masks through instancing - advanced look development and compositing techniques This update is completely free for everyone already enrolled in the workshop. And if you’ve been thinking about joining, the Spring Sale is currently live with 20% off all courses until May 12.

Voxyde

239,011 Aufrufe • vor 2 Monaten

grok imagine is a god-tier model. dragon prompt: A massive dark dragon emerging from a digital void, rendered in a hyper-realistic cyberpunk glitch art style. The dragon's scales are obsidian black with a metallic sheen, its muscular form partially dissolving into cascading digital corruption artifacts, horizontal scan lines, pixelated data streams, and RGB channel-split glitches bleeding across the composition. The creature breathes an explosive torrent of electric cyan and cobalt blue plasma fire, the flames rendered with volumetric fluid simulation detail, turbulent, churning wisps of superheated energy with bright neon cores fading to deep royal blue at the edges. The fire drips downward like liquid neon, pooling into glitching blue data waterfalls that fragment into binary corruption at the bottom of the frame. The background is pure black void layered with faint grid lines, corrupted HUD interface elements, and barely-visible monospace text data suggesting a collapsing virtual environment. Dramatic high-contrast chiaroscuro lighting with the only illumination sourced entirely from the bioluminescent blue flames, casting cold electric reflections across the dragon's dark scales. Rendered in the style of concept art meets real-time VFX, 8K resolution, cinematic composition, shallow depth of field on the background corruption elements.

grok imagine is a god-tier model. dragon prompt: A massive dark dragon emerging from a digital void, rendered in a hyper-realistic cyberpunk glitch art style. The dragon's scales are obsidian black with a metallic sheen, its muscular form partially dissolving into cascading digital corruption artifacts, horizontal scan lines, pixelated data streams, and RGB channel-split glitches bleeding across the composition. The creature breathes an explosive torrent of electric cyan and cobalt blue plasma fire, the flames rendered with volumetric fluid simulation detail, turbulent, churning wisps of superheated energy with bright neon cores fading to deep royal blue at the edges. The fire drips downward like liquid neon, pooling into glitching blue data waterfalls that fragment into binary corruption at the bottom of the frame. The background is pure black void layered with faint grid lines, corrupted HUD interface elements, and barely-visible monospace text data suggesting a collapsing virtual environment. Dramatic high-contrast chiaroscuro lighting with the only illumination sourced entirely from the bioluminescent blue flames, casting cold electric reflections across the dragon's dark scales. Rendered in the style of concept art meets real-time VFX, 8K resolution, cinematic composition, shallow depth of field on the background corruption elements.

tetsuo

95,814 Aufrufe • vor 4 Monaten

This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.

This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.

Blaze

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Due to overwhelming high demand, a number of orders from our first batch have unfortunately been moved to the second batch, which is now 90% ordered! Our manufacturers are hard at work to keep up with strong demand and we estimate that the second batch will now be sent the latter part of June. As part of this second batch we will update you by email with Fedex tracking numbers so you can see in real time where the mining rig is in the system. We apologize to those affected by this production demand, but rest assured us and the manufacturers are working hard to clear the backlog. Thank you for your patience and support!

Due to overwhelming high demand, a number of orders from our first batch have unfortunately been moved to the second batch, which is now 90% ordered! Our manufacturers are hard at work to keep up with strong demand and we estimate that the second batch will now be sent the latter part of June. As part of this second batch we will update you by email with Fedex tracking numbers so you can see in real time where the mining rig is in the system. We apologize to those affected by this production demand, but rest assured us and the manufacturers are working hard to clear the backlog. Thank you for your patience and support!

SolarX

27,821 Aufrufe • vor 2 Jahren

Colmap 4.0 was very recently released, so it inspired me to do some work to better understand it and its new capabilities with Rerun. I want to really understand how Colmap, and in particular, pycolmap, works outside of just calling it via the CLI. So my goal is to use the low-level pycolmap API to log every part of the pipeline. The explicit goal is to have an alternative to the SQLite database that I can utilize. Instead of SQLite, I want to try logging everything directly to rerun and use RRD. This means I can have deep inspectability and still save the features/matches/2D view geometry, but be able to view it directly in rerun. I think this is one of the superpowers that rerun provides; data and visualizations are deeply integrated. As I'm often working with sequential data (videos), I'm going to specifically focus on four things: 1. Monocular Video Simple: Calls high-level APIs such as pycolmap.extract_features, pycolmap.match_sequential, pycolmap.incremental_mapping. These are basically identical to the CLI options and provide a good baseline. 2. Monocular Video Streamed: Take the above high-level APIs and break them down to their iterator version, logging each component in a streamed manner. This way, I can stream the intermediate features to rerun while the extraction/matching/mapping is happening. 3. Rig with unknown calibration: <- WHAT THE VIDEO SHOWS This is probably the most interesting version and the first one I've been working on. It allows one to set a rig between known sensors, such as in VR/AR devices, leading to much better reconstructions with multiple cameras. This is the case where we don't know the calibration a priori, so we have to run a reconstruction twice: once as a normal Colmap reconstruction with no rig constraints, use this to generate the constraints, and then do it again with the newly found rig. 4. Rig with known calibration: This is the RoboCap example, where we have a pre-calibrated set of sensors, so we don't need to run the two reconstructions and also gain better matching between cameras, both spatially and temporally. Again, this leads to a much better reconstruction! Along with all this, GLOMAP has become a first-class global mapper, making it super easy to use directly within pycolmap! I'm excited to do more with this and compare it to things like pycuvslam, vipe, and other alternatives.

Colmap 4.0 was very recently released, so it inspired me to do some work to better understand it and its new capabilities with Rerun. I want to really understand how Colmap, and in particular, pycolmap, works outside of just calling it via the CLI. So my goal is to use the low-level pycolmap API to log every part of the pipeline. The explicit goal is to have an alternative to the SQLite database that I can utilize. Instead of SQLite, I want to try logging everything directly to rerun and use RRD. This means I can have deep inspectability and still save the features/matches/2D view geometry, but be able to view it directly in rerun. I think this is one of the superpowers that rerun provides; data and visualizations are deeply integrated. As I'm often working with sequential data (videos), I'm going to specifically focus on four things: 1. Monocular Video Simple: Calls high-level APIs such as pycolmap.extract_features, pycolmap.match_sequential, pycolmap.incremental_mapping. These are basically identical to the CLI options and provide a good baseline. 2. Monocular Video Streamed: Take the above high-level APIs and break them down to their iterator version, logging each component in a streamed manner. This way, I can stream the intermediate features to rerun while the extraction/matching/mapping is happening. 3. Rig with unknown calibration: <- WHAT THE VIDEO SHOWS This is probably the most interesting version and the first one I've been working on. It allows one to set a rig between known sensors, such as in VR/AR devices, leading to much better reconstructions with multiple cameras. This is the case where we don't know the calibration a priori, so we have to run a reconstruction twice: once as a normal Colmap reconstruction with no rig constraints, use this to generate the constraints, and then do it again with the newly found rig. 4. Rig with known calibration: This is the RoboCap example, where we have a pre-calibrated set of sensors, so we don't need to run the two reconstructions and also gain better matching between cameras, both spatially and temporally. Again, this leads to a much better reconstruction! Along with all this, GLOMAP has become a first-class global mapper, making it super easy to use directly within pycolmap! I'm excited to do more with this and compare it to things like pycuvslam, vipe, and other alternatives.

Pablo Vela

30,070 Aufrufe • vor 4 Monaten

💬 We get asked Is it worth trading when the market is just moving sideways with no big trends? ❕ Answer from a GT App Trader: Actually, "boring" markets are where I make some of my most consistent gains. When the price is stuck in a range, I switch my focus to Grid or Scalping strategies. 🔸 Profiting from the "Ziz-Zag" While everyone is waiting for a massive pump, my strategies take advantage of small price fluctuations. They buy at the local bottom of the range and sell at the local top, over and over again. These small wins really add up. 🔸 High Frequency, Low Stress In a flat market, you don't need to catch a 10% move. Setting up a strategy to grab 0.5% – 1% multiple times a day works perfectly. It keeps my capital working instead of just sitting idle in the wallet. 🔸 Precision Settings I usually adjust my filters to be more sensitive during these periods. Using the Strategy Builder, I can set tight entry and exit points so the strategy stays active even in a narrow price corridor. Don't wait for the moon — trade the range!

💬 We get asked Is it worth trading when the market is just moving sideways with no big trends? ❕ Answer from a GT App Trader: Actually, "boring" markets are where I make some of my most consistent gains. When the price is stuck in a range, I switch my focus to Grid or Scalping strategies. 🔸 Profiting from the "Ziz-Zag" While everyone is waiting for a massive pump, my strategies take advantage of small price fluctuations. They buy at the local bottom of the range and sell at the local top, over and over again. These small wins really add up. 🔸 High Frequency, Low Stress In a flat market, you don't need to catch a 10% move. Setting up a strategy to grab 0.5% – 1% multiple times a day works perfectly. It keeps my capital working instead of just sitting idle in the wallet. 🔸 Precision Settings I usually adjust my filters to be more sensitive during these periods. Using the Strategy Builder, I can set tight entry and exit points so the strategy stays active even in a narrow price corridor. Don't wait for the moon — trade the range!

GT Protocol

36,613 Aufrufe • vor 2 Monaten

$Seedance V2 The Violet Sovereign: Anguish and Ascension style: "Hyper-realistic, dark cinematic fantasy. IMAX scale, 8k resolution, volumetric atmospheric effects. High-fidelity motion graphics, particle physics, and chromatic aberration." duration: "15 seconds" pacing: "Rapid build-up of extreme emotional tension leading to an instantaneous, cataclysmic explosion." scene_breakdown: shot_1: camera: "8k macro close-up, focused on her tear-streaked face. The camera uses a snap-zoom into her eyes, emphasizing realistic iris detail and wet skin reflections." action: "The beautiful woman screams the command 'SUSANOO!' Her face is contorted in fierce defiance, anguish, and desperate power. Her eyes ignite with complex, ruby geometric sigils that pulse like a dying star, embedded behind the lens of her pupil. Veins pulse slightly on her neck; individual eyelashes catch the light. The camera captures every subtle expression of her raw emotion and vocal strain." lighting: "Flickering neon lights and ambient purple glow. The glowing eye sigils cast a pulsating ruby light onto her cheeks." shot_2: camera: "Whip-pan, warp-speed push-back. It starts with an aggressive, disorientation-inducing barrel roll combined with an ascending whip-pan up the alley walls. The camera instantly shifts to an extreme wide, high-angle master shot of the city, dwarfing skyscrapers." action: "With her scream, the entire atmosphere violently detonates. An instantaneous, implosion-explosion mechanic shatters the air, creating a shockwave that cracks the reality of the alley. Water droplets are instantly vaporized, levitating debris. A massive, 50-foot, fully-armored, four-armed spectral samurai phantom (Sovereign of Ash and Thunder) manifests from the violet energy, towering over the buildings. It is a celestial construct of pure condensed light, cosmic dust, and prismatic energy, with internal light-refraction like an amethyst gemstone and glowing white eyes." vfx_impact: "A dimensional rift tears open. Arc-lightning dances between the phantom and the structures. High-density particle disintegration and intense gravitational distortion effects. Thick volumetric fog swirls, and motion blur is applied to the energy tendrils. Chromatic aberration intensifies at the frame edges." production_notes: audio_design: dialogue: "Distorted, raw scream, blending anguish and power with a deep, echoing reverb overlay." sfx: "A low-frequency 'sub-bass' thud at the detonation, followed by the metallic 'shink' of locking armor and the roar of cosmic energy. Sound cuts to dead silence momentarily during the peak of the explosion before the final wide shot." lighting_shift: "Primary light source switches to the overwhelming, blinding violet glow of the manifesting guardian, creating dramatic high-contrast shadows against the dark city.$

Seedance V2 The Violet Sovereign: Anguish and Ascension style: "Hyper-realistic, dark cinematic fantasy. IMAX scale, 8k resolution, volumetric atmospheric effects. High-fidelity motion graphics, particle physics, and chromatic aberration." duration: "15 seconds" pacing: "Rapid build-up of extreme emotional tension leading to an instantaneous, cataclysmic explosion." scene_breakdown: shot_1: camera: "8k macro close-up, focused on her tear-streaked face. The camera uses a snap-zoom into her eyes, emphasizing realistic iris detail and wet skin reflections." action: "The beautiful woman screams the command 'SUSANOO!' Her face is contorted in fierce defiance, anguish, and desperate power. Her eyes ignite with complex, ruby geometric sigils that pulse like a dying star, embedded behind the lens of her pupil. Veins pulse slightly on her neck; individual eyelashes catch the light. The camera captures every subtle expression of her raw emotion and vocal strain." lighting: "Flickering neon lights and ambient purple glow. The glowing eye sigils cast a pulsating ruby light onto her cheeks." shot_2: camera: "Whip-pan, warp-speed push-back. It starts with an aggressive, disorientation-inducing barrel roll combined with an ascending whip-pan up the alley walls. The camera instantly shifts to an extreme wide, high-angle master shot of the city, dwarfing skyscrapers." action: "With her scream, the entire atmosphere violently detonates. An instantaneous, implosion-explosion mechanic shatters the air, creating a shockwave that cracks the reality of the alley. Water droplets are instantly vaporized, levitating debris. A massive, 50-foot, fully-armored, four-armed spectral samurai phantom (Sovereign of Ash and Thunder) manifests from the violet energy, towering over the buildings. It is a celestial construct of pure condensed light, cosmic dust, and prismatic energy, with internal light-refraction like an amethyst gemstone and glowing white eyes." vfx_impact: "A dimensional rift tears open. Arc-lightning dances between the phantom and the structures. High-density particle disintegration and intense gravitational distortion effects. Thick volumetric fog swirls, and motion blur is applied to the energy tendrils. Chromatic aberration intensifies at the frame edges." production_notes: audio_design: dialogue: "Distorted, raw scream, blending anguish and power with a deep, echoing reverb overlay." sfx: "A low-frequency 'sub-bass' thud at the detonation, followed by the metallic 'shink' of locking armor and the roar of cosmic energy. Sound cuts to dead silence momentarily during the peak of the explosion before the final wide shot." lighting_shift: "Primary light source switches to the overwhelming, blinding violet glow of the manifesting guardian, creating dramatic high-contrast shadows against the dark city.

Emily

12,241 Aufrufe • vor 3 Monaten

🫯 A conflicting physical ontology ! One of the strangest properties in particle physics is the spin. The term spin is a historical misnomer. Electrons (𝑒⁻) do not physically rotate like a spinning top or a globe. Spin is a fundamental quantum property known as intrinsic angular momentum which exists as an inherent characteristic of the particle, much like its mass or electric charge. In quantum mechanics, electrons are treated as fundamental point-like particles with zero size, making the concept of physical 3D rotation nonsensical. A rotating electrical charge creates a magnetic field. An electron naturally possesses its own detectable magnetic field. Even though the electron isn't physically spinning, it acts exactly as if it were because of that. Moreover the spin of an 𝑒⁻ has orientation. As 𝑒⁻ carry a negative electric charge, their inherent spin turns them into tiny bar magnets. Two possible orientations exist in the natural state of the 𝑒⁻, spin up and spin down. When measured along a specific direction (called the z-axis) the 𝑒⁻ can only display one of the two orientation state, up or down. But the strangeness goes a bit further; when an 𝑒⁻ is misplaced or removed from its own orbit, it takes two full circles (720°) to return to its original quantum state. The spin isn’t motion, it’s an undeniable static, resilient force of this elementary particle, listed as one the fundamental constant of nature. 🔗

🫯 A conflicting physical ontology ! One of the strangest properties in particle physics is the spin. The term spin is a historical misnomer. Electrons (𝑒⁻) do not physically rotate like a spinning top or a globe. Spin is a fundamental quantum property known as intrinsic angular momentum which exists as an inherent characteristic of the particle, much like its mass or electric charge. In quantum mechanics, electrons are treated as fundamental point-like particles with zero size, making the concept of physical 3D rotation nonsensical. A rotating electrical charge creates a magnetic field. An electron naturally possesses its own detectable magnetic field. Even though the electron isn't physically spinning, it acts exactly as if it were because of that. Moreover the spin of an 𝑒⁻ has orientation. As 𝑒⁻ carry a negative electric charge, their inherent spin turns them into tiny bar magnets. Two possible orientations exist in the natural state of the 𝑒⁻, spin up and spin down. When measured along a specific direction (called the z-axis) the 𝑒⁻ can only display one of the two orientation state, up or down. But the strangeness goes a bit further; when an 𝑒⁻ is misplaced or removed from its own orbit, it takes two full circles (720°) to return to its original quantum state. The spin isn’t motion, it’s an undeniable static, resilient force of this elementary particle, listed as one the fundamental constant of nature. 🔗

𝓜𝒂𝒖𝒓𝒊𝔃𝒊𝒐 𝗜𝒃𝛼

17,612 Aufrufe • vor 5 Tagen

Video diffusion models have strong implicit representations of 3D shape, material, and lighting, but controlling them with language is cumbersome, and control is critical for artists and animators. GenLit connects these implicit representations with a continuous 5D control signal describing the direction and intensity of a point light source. This enables single-image near-field relighting of an image using a video diffusion model. We use a ControlNet-like approach and show that, with a small amount of synthetic data, GenLit generalizes to complex real-world images. Given a single image and the 5D lighting signal, GenLit creates a video of a moving light source that is inside the scene. It moves around and behind scene objects, producing effects such as shading, cast shadows, secularities, and interreflections with a realism that is hard to obtain with traditional inverse rendering methods. GenLit shows that it is possible to get continuous control over implicit physical processes within a video model. I think this is just the beginning and promises to make such models much more practical for creators. Shrisha Bharadwaj will present today at SIGGRAPH Asia Room: S423/S424, Level 4 @ 13:50 on 15 of Dec.

Video diffusion models have strong implicit representations of 3D shape, material, and lighting, but controlling them with language is cumbersome, and control is critical for artists and animators. GenLit connects these implicit representations with a continuous 5D control signal describing the direction and intensity of a point light source. This enables single-image near-field relighting of an image using a video diffusion model. We use a ControlNet-like approach and show that, with a small amount of synthetic data, GenLit generalizes to complex real-world images. Given a single image and the 5D lighting signal, GenLit creates a video of a moving light source that is inside the scene. It moves around and behind scene objects, producing effects such as shading, cast shadows, secularities, and interreflections with a realism that is hard to obtain with traditional inverse rendering methods. GenLit shows that it is possible to get continuous control over implicit physical processes within a video model. I think this is just the beginning and promises to make such models much more practical for creators. Shrisha Bharadwaj will present today at SIGGRAPH Asia Room: S423/S424, Level 4 @ 13:50 on 15 of Dec.

Michael Black

22,182 Aufrufe • vor 7 Monaten

🧵THREAD: RICHARD HEART IS WORKING WITH ALL MAJOR PLAYERS IN ETH TO PULL OFF THE BIGGEST STUNT IN CRYPTO SINCE BITCOIN. YOU ARE NOT BULLISH ENOUGH. 1/ Eric Wall is one of the most well connected engineers in blockchain. He’s been dropping subtle clues, and even directly stating, that he’s been working with Richard Heart. In January 2025, he posted this PulseDoge picture of him and Richard imitating a scene from Scarface where Frank asks Tony to work for him. Since then, he has posted more directly about working with Richard, as evidenced below. “What would you do if I told you all the people saying bad things about HEX are actually my friends, and in on it, promoting through drama?” — Richard Heart, 2019

🧵THREAD: RICHARD HEART IS WORKING WITH ALL MAJOR PLAYERS IN ETH TO PULL OFF THE BIGGEST STUNT IN CRYPTO SINCE BITCOIN. YOU ARE NOT BULLISH ENOUGH. 1/ Eric Wall is one of the most well connected engineers in blockchain. He’s been dropping subtle clues, and even directly stating, that he’s been working with Richard Heart. In January 2025, he posted this PulseDoge picture of him and Richard imitating a scene from Scarface where Frank asks Tony to work for him. Since then, he has posted more directly about working with Richard, as evidenced below. “What would you do if I told you all the people saying bad things about HEX are actually my friends, and in on it, promoting through drama?” — Richard Heart, 2019

win

48,254 Aufrufe • vor 1 Jahr

Corvettes Up to 1,000T Following that analysis and the idea of decentralized naval power, I must admit I was very surprised by the Finnish corvette Hamina and the Skjold, but especially the defense system of Hamina, which features 8 VLS for a vessel weighing only 250 tons. The Nordic countries understand the concept of decentralization very well. These small, well-armed, fast, and stealthy vessels symbolize much of what we've been discussing over the past few weeks. 🇸🇪🇳🇴🇫🇮 Today, I want to showcase a few corvettes up to 1,000 tons, and in this category, no one beats the Russian Karakurt and Buyan-M in terms of cost and firepower. Particularly the Karakurt, which is equipped with the Pantsir missile defense system covering a 20 km radius and carries 8 Kalibr missiles with a range of 2,500 km for land strikes, or 8 Oniks with a range of 600 km. The Karakurt is unquestionably the best option for corvettes up to 1,000 tons, but I would also like to highlight the Swedish Visby, which also has a defense system with a 20 km radius using Umkhonto-IR and features advanced stealth technology. Although the Visby is more modern, the cost of the Karakurt is highly relevant, along with its combat range. In a war, the cost of equipment replenishment should always be considered a top priority.

Corvettes Up to 1,000T Following that analysis and the idea of decentralized naval power, I must admit I was very surprised by the Finnish corvette Hamina and the Skjold, but especially the defense system of Hamina, which features 8 VLS for a vessel weighing only 250 tons. The Nordic countries understand the concept of decentralization very well. These small, well-armed, fast, and stealthy vessels symbolize much of what we've been discussing over the past few weeks. 🇸🇪🇳🇴🇫🇮 Today, I want to showcase a few corvettes up to 1,000 tons, and in this category, no one beats the Russian Karakurt and Buyan-M in terms of cost and firepower. Particularly the Karakurt, which is equipped with the Pantsir missile defense system covering a 20 km radius and carries 8 Kalibr missiles with a range of 2,500 km for land strikes, or 8 Oniks with a range of 600 km. The Karakurt is unquestionably the best option for corvettes up to 1,000 tons, but I would also like to highlight the Swedish Visby, which also has a defense system with a 20 km radius using Umkhonto-IR and features advanced stealth technology. Although the Visby is more modern, the cost of the Karakurt is highly relevant, along with its combat range. In a war, the cost of equipment replenishment should always be considered a top priority.

Patricia Marins

12,537 Aufrufe • vor 9 Monaten

Building a personal knowledge base for my agents is increasingly where I spend my time these days. Like Andrej Karpathy, I also use Obsidian for my MD vaults. What's different in my approach is that I curate research papers on a daily basis and have actually tuned a Skill for months to find high-signal, relevant papers. I was reviewing and curating papers manually for some time, but now it's all automated as it has gotten so good at capturing what I consider the best of the best. There are so many papers these days, so this is a big deal. You all get to benefit from that with the papers I feature in my timeline and on DAIR.AI. The papers are indexed using tobi lutke qmd cli tool (all of it in markdown files along with useful metadata). So good for semantic search and surfacing insights, unlike anything out there. I am a visual person, so I then started to experiment with how to leverage this personal knowledge base of research papers inside my new interactive artifact generator (mcp tools inside my agent orchestrator system). The result is what you see in the clip. 100s of papers with all sorts of insights visualized. I keep track of research papers daily, so believe me when I tell you that this system is absolutely insane at surfacing insights. This is the result of months of tinkering on how to index research and leverage agent automations for wikification and robust documentation. But this is just the beginning. The visual artifact (which is interactive too) can be changed dynamically as I please. I can prompt my agent to throw any data at it. I can add different views to the data. Different interactions. I feel like this is the most personalized research system I have ever built and used, and it's not even close. The knowledge that the agents are able to surface from this basic setup is already extremely useful as I experiment with new agentic engineering concepts. I feel like this knowledge layer and the higher-level ones I am working on will allow me to maximize other automation tools like autoresearch. The research is only as good as the research questions. And the research questions are only as good as the insights the agents have access to. Where I am spending time now is on how to make this more actionable. I am obsessed about the search problem here. The automations, autoresearch, ralph research loop (I built one months ago) are easier to build but are only as good as what you feed them. Work in progress. More updates soon. Back to building.

Building a personal knowledge base for my agents is increasingly where I spend my time these days. Like Andrej Karpathy, I also use Obsidian for my MD vaults. What's different in my approach is that I curate research papers on a daily basis and have actually tuned a Skill for months to find high-signal, relevant papers. I was reviewing and curating papers manually for some time, but now it's all automated as it has gotten so good at capturing what I consider the best of the best. There are so many papers these days, so this is a big deal. You all get to benefit from that with the papers I feature in my timeline and on DAIR.AI. The papers are indexed using tobi lutke qmd cli tool (all of it in markdown files along with useful metadata). So good for semantic search and surfacing insights, unlike anything out there. I am a visual person, so I then started to experiment with how to leverage this personal knowledge base of research papers inside my new interactive artifact generator (mcp tools inside my agent orchestrator system). The result is what you see in the clip. 100s of papers with all sorts of insights visualized. I keep track of research papers daily, so believe me when I tell you that this system is absolutely insane at surfacing insights. This is the result of months of tinkering on how to index research and leverage agent automations for wikification and robust documentation. But this is just the beginning. The visual artifact (which is interactive too) can be changed dynamically as I please. I can prompt my agent to throw any data at it. I can add different views to the data. Different interactions. I feel like this is the most personalized research system I have ever built and used, and it's not even close. The knowledge that the agents are able to surface from this basic setup is already extremely useful as I experiment with new agentic engineering concepts. I feel like this knowledge layer and the higher-level ones I am working on will allow me to maximize other automation tools like autoresearch. The research is only as good as the research questions. And the research questions are only as good as the insights the agents have access to. Where I am spending time now is on how to make this more actionable. I am obsessed about the search problem here. The automations, autoresearch, ralph research loop (I built one months ago) are easier to build but are only as good as what you feed them. Work in progress. More updates soon. Back to building.

elvis

464,706 Aufrufe • vor 3 Monaten

Really excited about our launch of Superagent today! Powered by the latest AI models, agents have reached a breakthrough moment where they can do incredible work, with high ease of use--without requiring complicated tuning, prompting, or configuration. Superagent represents the freeform agent that can research anything (and soon your own company's context) and output an incredible, interactive webpage. It's like having your own personal NYTimes-quality data viz/web team building bespoke pages for you. This is the perfect complement to the structured system of operations for the AI era that Airtable has become, and we will be launching more integrations between the two products in the near future. Think: launch Superagent tasks from within Airtable records or Airtable Omni, or have Superagent output/edit/read data into Airtable bases! Excited for this new frontier of breakthrough agents, and applying our product and design philosophy of making powerful capabilities intuitive and accessible-what we did for app building with Airtable, we're now doing for agents with Superagents.

Really excited about our launch of Superagent today! Powered by the latest AI models, agents have reached a breakthrough moment where they can do incredible work, with high ease of use--without requiring complicated tuning, prompting, or configuration. Superagent represents the freeform agent that can research anything (and soon your own company's context) and output an incredible, interactive webpage. It's like having your own personal NYTimes-quality data viz/web team building bespoke pages for you. This is the perfect complement to the structured system of operations for the AI era that Airtable has become, and we will be launching more integrations between the two products in the near future. Think: launch Superagent tasks from within Airtable records or Airtable Omni, or have Superagent output/edit/read data into Airtable bases! Excited for this new frontier of breakthrough agents, and applying our product and design philosophy of making powerful capabilities intuitive and accessible-what we did for app building with Airtable, we're now doing for agents with Superagents.

Howie Liu

10,125 Aufrufe • vor 6 Monaten

The (Processing) Level Required to Be Super We’ve had clients ask us whether our 3D/4DGS capture and processing pipeline holds up in high-end VFX cinematic shots. Last year we were fortunate to work on the Superman production with Framestore (capturing Superman’s parents for a hologram), with our work shown on IMAX screens ~30 m high—so we’re confident the quality delivers. For this R&D preview, we ran test captures using an affordable off-the-shelf temporal plugin to reduce flicker and improve stability over time. We recorded @ 48fps from our 196x machine vision cameras and trained the 4DGS using Postshot at Ultra quality ~20 million splat resolution. What you’re seeing are stop-motion 3DGS frames. Each frame is an individual Gaussian Splat—processed to ~20 million splats for the full scene, then cropped and cleaned to ~6 million splats per frame. Our system—and the 3DGS process—picks up fine details like stray fine hairs, skin pores and woven cloth threads. Thanks for watching & stay super! Learn more @ #3DGS #4DGS #VFX #GaussianSplatting #IMAX #VolumetricCapture #Superman 4K Version here -

The (Processing) Level Required to Be Super We’ve had clients ask us whether our 3D/4DGS capture and processing pipeline holds up in high-end VFX cinematic shots. Last year we were fortunate to work on the Superman production with Framestore (capturing Superman’s parents for a hologram), with our work shown on IMAX screens ~30 m high—so we’re confident the quality delivers. For this R&D preview, we ran test captures using an affordable off-the-shelf temporal plugin to reduce flicker and improve stability over time. We recorded @ 48fps from our 196x machine vision cameras and trained the 4DGS using Postshot at Ultra quality ~20 million splat resolution. What you’re seeing are stop-motion 3DGS frames. Each frame is an individual Gaussian Splat—processed to ~20 million splats for the full scene, then cropped and cleaned to ~6 million splats per frame. Our system—and the 3DGS process—picks up fine details like stray fine hairs, skin pores and woven cloth threads. Thanks for watching & stay super! Learn more @ #3DGS #4DGS #VFX #GaussianSplatting #IMAX #VolumetricCapture #Superman 4K Version here -

Infinite-Realities

44,109 Aufrufe • vor 9 Monaten

Grok Imagine Cinematic Prompt A cinematic, wide-angle shot of a massive, heavily armored mecha sniper emerging from a thick layer of ice and snow in a desolate arctic tundra. The mecha is pristine white and industrial, featuring a colossal railgun-style sniper rifle with glowing blue energy components. It shifts into a stable firing stance, shedding chunks of ice as it moves. The Shot Sequence: The Activation: Close-up on the barrel as blue electrical arcs and a swirling energy vortex charge up at the muzzle. A high-tech digital HUD overlay flickers across the screen with targeting data. The Firing: The railgun fires a powerful kinetic blast, creating a massive sonic boom and shockwave that clears the snow. The Impact: The camera follows a high-speed projectile or a jet-propelled craft streaking across the frozen plains at ground level, leaving a dual trail of displaced snow behind it, culminating in a massive explosion against a distant ice wall. Environment & Atmosphere: Setting: A vast, wind-swept arctic landscape with towering icebergs and a heavy, overcast grey sky. Lighting: Cold, diffused natural light with high-contrast glowing blue accents from the mecha’s sensors and weaponry. VFX: Realistic particle effects for falling snow, shattering ice, and swirling mist. Heavy motion blur on the high-speed chase sequence. Style: * Ultra-realistic 3D animation, 8k resolution, cinematic sci-fi aesthetic, reminiscent of Armored Core or Metal Gear Solid. Quick Tips for AI Generation: Keywords: "Mecha," "Railgun," "Arctic Tundra," "Energy Vortex," and "Cinematic HUD" are your best friends here. Lighting: Specifying "Cold lighting" or "Overcast" helps maintain that desolate, frosty mood.

Grok Imagine Cinematic Prompt A cinematic, wide-angle shot of a massive, heavily armored mecha sniper emerging from a thick layer of ice and snow in a desolate arctic tundra. The mecha is pristine white and industrial, featuring a colossal railgun-style sniper rifle with glowing blue energy components. It shifts into a stable firing stance, shedding chunks of ice as it moves. The Shot Sequence: The Activation: Close-up on the barrel as blue electrical arcs and a swirling energy vortex charge up at the muzzle. A high-tech digital HUD overlay flickers across the screen with targeting data. The Firing: The railgun fires a powerful kinetic blast, creating a massive sonic boom and shockwave that clears the snow. The Impact: The camera follows a high-speed projectile or a jet-propelled craft streaking across the frozen plains at ground level, leaving a dual trail of displaced snow behind it, culminating in a massive explosion against a distant ice wall. Environment & Atmosphere: Setting: A vast, wind-swept arctic landscape with towering icebergs and a heavy, overcast grey sky. Lighting: Cold, diffused natural light with high-contrast glowing blue accents from the mecha’s sensors and weaponry. VFX: Realistic particle effects for falling snow, shattering ice, and swirling mist. Heavy motion blur on the high-speed chase sequence. Style: * Ultra-realistic 3D animation, 8k resolution, cinematic sci-fi aesthetic, reminiscent of Armored Core or Metal Gear Solid. Quick Tips for AI Generation: Keywords: "Mecha," "Railgun," "Arctic Tundra," "Energy Vortex," and "Cinematic HUD" are your best friends here. Lighting: Specifying "Cold lighting" or "Overcast" helps maintain that desolate, frosty mood.

Thoughts Creator

23,678 Aufrufe • vor 3 Monaten

The Dawn of a New Era on $SUI (9) Still in the festive spirit, let’s look at Tusky , Tusky is a storage service that's not controlled by one company. It uses something called WalrusProtocol to keep your data safe. Your data is encrypted from start to finish, so only you can see it. Instead of one place, your data goes to many different spots. This setup makes your data less likely to be lost or stolen. It helps keep your information safe and always available. Tusky gives you control over your files. You can easily manage them with the tools provided. You decide who gets to see your data. This makes it great for personal storage or working with others. It works with SuiNetwork for even more privacy. You can log in without sharing personal info, keeping everything more secure. This means only you can get to your data, with no third party involved. It is growing fast, with 100,000 uploads already. This indicates its increasing acceptance in the tech community focused on data sovereignty. It's good at managing lots of data safely. In tech, where you want to own your data, TuskyTools is popular. It gives users control over their information. This platform helps keep your data secure and gives you freedom.

The Dawn of a New Era on $SUI (9) Still in the festive spirit, let’s look at Tusky , Tusky is a storage service that's not controlled by one company. It uses something called WalrusProtocol to keep your data safe. Your data is encrypted from start to finish, so only you can see it. Instead of one place, your data goes to many different spots. This setup makes your data less likely to be lost or stolen. It helps keep your information safe and always available. Tusky gives you control over your files. You can easily manage them with the tools provided. You decide who gets to see your data. This makes it great for personal storage or working with others. It works with SuiNetwork for even more privacy. You can log in without sharing personal info, keeping everything more secure. This means only you can get to your data, with no third party involved. It is growing fast, with 100,000 uploads already. This indicates its increasing acceptance in the tech community focused on data sovereignty. It's good at managing lots of data safely. In tech, where you want to own your data, TuskyTools is popular. It gives users control over their information. This platform helps keep your data secure and gives you freedom.

Kaboom.sui🪖

19,698 Aufrufe • vor 1 Jahr

Seeing all of the little details really come together is one of those very special and magical moments of video game creation. I love how this cinematic shot from No Rest for the Wicked's opening really came to life with beautiful stylized hand crafted hair and facial animation, striking visual effects with fluid simulation, beautiful set, ship sails flapping against the wind animated by our custom made cloth solver, painterly golden rim lighting and all of this running in our custom Moonity engine in real-time. And of course there's so much more with our story, sound and music for you all to experience! Couldn’t be more proud to work alongside such a world class team at Moon Studios and stoked to see where our April 18th Early Access launch will go from here!

Seeing all of the little details really come together is one of those very special and magical moments of video game creation. I love how this cinematic shot from No Rest for the Wicked's opening really came to life with beautiful stylized hand crafted hair and facial animation, striking visual effects with fluid simulation, beautiful set, ship sails flapping against the wind animated by our custom made cloth solver, painterly golden rim lighting and all of this running in our custom Moonity engine in real-time. And of course there's so much more with our story, sound and music for you all to experience! Couldn’t be more proud to work alongside such a world class team at Moon Studios and stoked to see where our April 18th Early Access launch will go from here!

Gennadiy Korol

179,204 Aufrufe • vor 2 Jahren

🚀 Introducing EgoExo Forge - built on top of Rerun, Gradio, and Hugging Face hub (I’ll be in San Francisco July 21–29 — if you’re into robotics, egocentric AI, large-scale data collection, or just want to chat, DM me!) In my opinion, large-scale, diverse, and high-quality data is still the largest bottleneck for generalized robotics deployment. I believe that some version of imitation learning from human examples will be the most scalable + clean way to train humanoid robots 🤖 (similar to what Tesla did for Full Self Driving). Teleop is too expensive to collect a large enough dataset in a reasonable manner, so passive collection via egocentric (and in certain cases, exocentric) views feels like the right bet. Over the past few months, I've been trying to build out the scaffolding for this and using Rerun as my underlying infrastructure. Data being collected needs to be easily inspectable + time series and rerun provides the right tooling for this. My goal is to first build out a ground truth representative dataset from already existing open source data, generate some reasonable baselines, and then go out and collect my own data that adheres to the defined schema. 🔍 Starting with open-source datasets 1. EgoDex from Apple 2. HOCap from Nvidia and the University of Texas at Dallas 3. Assembly101 from Meta All these different datasets have different sensor configurations + annotations, so my goal with egoexo-forge is to have one consistent labeling scheme + data layout. I built a data pipeline that aligns all of the different datasets in one general schema assuming the COCO133 keypoint layout that allows for exo+ego, ego only, or exo only Since the scaffolding is already there, it becomes MUCH easier to add other datasets. So the next ones that I'll be including are HD-EPIC kitchens dataset, HOT3D, and finally my own personal iPhone + insta360 go collection method. Once I have a diverse variety of datasets, I'll double down on what I believe to be the key algorithms required to make useful data for imitation learning 📊 1. Camera Pose estimation via SLAM/SFM for ego perspective (and automatic calibration for exo) 2. Human pose estimation for both egocentric + exocentric views 3. Metric 3D reconstruction + object tracking I'll be setting up reasonable open-source baselines for each of these to validate that these datasets work, and then finally try to use the generated datasets for some imitation learning via the pi0-lerobot repo I've been working on. I plan on making a blog post + providing more info on all of this in the near future so stay tuned

🚀 Introducing EgoExo Forge - built on top of Rerun, Gradio, and Hugging Face hub (I’ll be in San Francisco July 21–29 — if you’re into robotics, egocentric AI, large-scale data collection, or just want to chat, DM me!) In my opinion, large-scale, diverse, and high-quality data is still the largest bottleneck for generalized robotics deployment. I believe that some version of imitation learning from human examples will be the most scalable + clean way to train humanoid robots 🤖 (similar to what Tesla did for Full Self Driving). Teleop is too expensive to collect a large enough dataset in a reasonable manner, so passive collection via egocentric (and in certain cases, exocentric) views feels like the right bet. Over the past few months, I've been trying to build out the scaffolding for this and using Rerun as my underlying infrastructure. Data being collected needs to be easily inspectable + time series and rerun provides the right tooling for this. My goal is to first build out a ground truth representative dataset from already existing open source data, generate some reasonable baselines, and then go out and collect my own data that adheres to the defined schema. 🔍 Starting with open-source datasets 1. EgoDex from Apple 2. HOCap from Nvidia and the University of Texas at Dallas 3. Assembly101 from Meta All these different datasets have different sensor configurations + annotations, so my goal with egoexo-forge is to have one consistent labeling scheme + data layout. I built a data pipeline that aligns all of the different datasets in one general schema assuming the COCO133 keypoint layout that allows for exo+ego, ego only, or exo only Since the scaffolding is already there, it becomes MUCH easier to add other datasets. So the next ones that I'll be including are HD-EPIC kitchens dataset, HOT3D, and finally my own personal iPhone + insta360 go collection method. Once I have a diverse variety of datasets, I'll double down on what I believe to be the key algorithms required to make useful data for imitation learning 📊 1. Camera Pose estimation via SLAM/SFM for ego perspective (and automatic calibration for exo) 2. Human pose estimation for both egocentric + exocentric views 3. Metric 3D reconstruction + object tracking I'll be setting up reasonable open-source baselines for each of these to validate that these datasets work, and then finally try to use the generated datasets for some imitation learning via the pi0-lerobot repo I've been working on. I plan on making a blog post + providing more info on all of this in the near future so stay tuned

Pablo Vela

32,085 Aufrufe • vor 1 Jahr

I just went to the zoo today, saw Punch, and made a donation. Even though it was a weekday and raining, a lot of people were visiting, which really drove home the viral strength once again. As I’ve mentioned before, but to clearly record what I confirmed with the staff today: - They are aware of the donation request from Justin Sun and are proceeding very cautiously. - Today I donated 400,000 yen. It’s a small amount, but I plan to continue donating consistently and build it up over time. - Since the zoo is operated by Ichikawa City, they have to be extremely strict about risk management and hedging. Therefore, this community isn't officially recognized or publicly endorsed by them. It is understood strictly as a voluntary, private community of supporters making donations on our own initiative. - People both in Japan and overseas are increasingly trying to make donations, and from now on the legitimacy / cleanliness of those funds will be checked much more rigorously. - We currently maintain a good relationship with the staff and have communicated multiple times with the section manager. However, if any Punch-related controversy or trouble in the future and is traced back to someone in this community, there is a real risk that future donation activities could become difficult or even impossible. Therefore, I kindly ask everyone to please refrain from careless, extreme, or inflammatory statements. - And Punch was eating well today and getting along nicely with the other monkeys! Regarding the token side: - For CEX listings: we’ve made connections through several KOLs; it will take time, but steady progress is being made toward listings. - Liquidity provision: we are adding and rebalancing as necessary (TVL fluctuates a lot due to high volatility). That’s the report. Extremely bullish.

I just went to the zoo today, saw Punch, and made a donation. Even though it was a weekday and raining, a lot of people were visiting, which really drove home the viral strength once again. As I’ve mentioned before, but to clearly record what I confirmed with the staff today: - They are aware of the donation request from Justin Sun and are proceeding very cautiously. - Today I donated 400,000 yen. It’s a small amount, but I plan to continue donating consistently and build it up over time. - Since the zoo is operated by Ichikawa City, they have to be extremely strict about risk management and hedging. Therefore, this community isn't officially recognized or publicly endorsed by them. It is understood strictly as a voluntary, private community of supporters making donations on our own initiative. - People both in Japan and overseas are increasingly trying to make donations, and from now on the legitimacy / cleanliness of those funds will be checked much more rigorously. - We currently maintain a good relationship with the staff and have communicated multiple times with the section manager. However, if any Punch-related controversy or trouble in the future and is traced back to someone in this community, there is a real risk that future donation activities could become difficult or even impossible. Therefore, I kindly ask everyone to please refrain from careless, extreme, or inflammatory statements. - And Punch was eating well today and getting along nicely with the other monkeys! Regarding the token side: - For CEX listings: we’ve made connections through several KOLs; it will take time, but steady progress is being made toward listings. - Liquidity provision: we are adding and rebalancing as necessary (TVL fluctuates a lot due to high volatility). That’s the report. Extremely bullish.

haru (punch/acc)

144,923 Aufrufe • vor 5 Monaten