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Pro tip for Switch open worlds: Do the 'automatic' stuff... MANUALLY. Portal culling, async streaming, shadow cascades — all bespoke. Engine: @salsasharkstudios: 1080p60 achieved. #VFX #GameOptimization

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VFX Therapy

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67,663 görüntüleme • 6 ay önce •via X (Twitter)

OyunEğitimBilim & Teknoloji#VFX#GameOptimization
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Finally solved all the big things needed to prove occlusion culling is viable in the Hyperfy engine. All culling happens directly at render time and instantly, we've taken over the Three.js render pipeline to use our spatial hierarchy and manually issue renders, postprocessing and shadow passes with both frustum and occlusion culling. Our pipeline now aligns much more closely to unity/unreal because we collect visible objects and issue custom instanced draws on the fly for only those objects every single frame. This is one of the biggest issues engines on the web like three, babylon and playcanvas have and imo the reason people coming from unity/unreal don't take them seriously. There's a lot to unpack here, maybe i'll make a thread soon.
0:50

Finally solved all the big things needed to prove occlusion culling is viable in the Hyperfy engine. All culling happens directly at render time and instantly, we've taken over the Three.js render pipeline to use our spatial hierarchy and manually issue renders, postprocessing and shadow passes with both frustum and occlusion culling. Our pipeline now aligns much more closely to unity/unreal because we collect visible objects and issue custom instanced draws on the fly for only those objects every single frame. This is one of the biggest issues engines on the web like three, babylon and playcanvas have and imo the reason people coming from unity/unreal don't take them seriously. There's a lot to unpack here, maybe i'll make a thread soon.

Ash

15,118 görüntüleme • 1 yıl önce

It’s 2;30 a.m. The music is winding down, chairs are going up on tables, and the bartender pulls up the screen showing five open tabs. The customers had left without closing out, so she shrugs, turns the tablet toward the camera, and says, “If you walk out, I’m adding 20%,” before entering the tips herself. Now, the video is circulating online, and people are split. Some say she earned it for dealing with a packed bar all night. Others say adding her own tip without consent is crossing the line. I get the frustration, serving all night and then chasing down unpaid tabs is exhausting. But transparency matters. Clear signage or an automatic gratuity policy posted in advance would protect both the staff and the customers. What do you think? If customers leave without closing their tabs, is it fair game for the bartender to add a standard 20% tip, or should there be a different policy in place?
1:01

It’s 2;30 a.m. The music is winding down, chairs are going up on tables, and the bartender pulls up the screen showing five open tabs. The customers had left without closing out, so she shrugs, turns the tablet toward the camera, and says, “If you walk out, I’m adding 20%,” before entering the tips herself. Now, the video is circulating online, and people are split. Some say she earned it for dealing with a packed bar all night. Others say adding her own tip without consent is crossing the line. I get the frustration, serving all night and then chasing down unpaid tabs is exhausting. But transparency matters. Clear signage or an automatic gratuity policy posted in advance would protect both the staff and the customers. What do you think? If customers leave without closing their tabs, is it fair game for the bartender to add a standard 20% tip, or should there be a different policy in place?

Dr. CZ

3,576,330 görüntüleme • 6 ay önce

i found a website that gives you the best AI models for free, every single day 😳 claude, gpt, gemini, deepseek and 10+ more, all in one place. no subscription, no credit card. it's called poe. you get free credits every day, and they reset every 24 hours so you never really run out. what you can use for free: - claude, for writing and thinking through hard stuff - gpt, for everyday questions and chat - gemini, for long documents and images - deepseek, for tricky problems - and 10+ more, all in one login how to start (2 minutes): > 1. go to (or get the app on your phone or mac) > 2. sign up with google or email, no card needed > 3. you land straight in the chat, free credits already there > 4. pick a model on the left and start typing > 5. switch models anytime, the credits refill every day one simple tip to make your credits last: use the small fast models for easy stuff, and save the big ones for when you really need them. don't waste a powerful model on a yes or no question. what this saves you: - chatgpt plus: $20/mo - claude pro: $20/mo - gemini advanced: $20/mo that's $60 a month for three apps that mostly do the same thing. poe gives you all of them in one place, for free. one login. every top model. zero dollars. bookmark this so you stop paying for AI you can get for free
0:42

i found a website that gives you the best AI models for free, every single day 😳 claude, gpt, gemini, deepseek and 10+ more, all in one place. no subscription, no credit card. it's called poe. you get free credits every day, and they reset every 24 hours so you never really run out. what you can use for free: - claude, for writing and thinking through hard stuff - gpt, for everyday questions and chat - gemini, for long documents and images - deepseek, for tricky problems - and 10+ more, all in one login how to start (2 minutes): > 1. go to (or get the app on your phone or mac) > 2. sign up with google or email, no card needed > 3. you land straight in the chat, free credits already there > 4. pick a model on the left and start typing > 5. switch models anytime, the credits refill every day one simple tip to make your credits last: use the small fast models for easy stuff, and save the big ones for when you really need them. don't waste a powerful model on a yes or no question. what this saves you: - chatgpt plus: $20/mo - claude pro: $20/mo - gemini advanced: $20/mo that's $60 a month for three apps that mostly do the same thing. poe gives you all of them in one place, for free. one login. every top model. zero dollars. bookmark this so you stop paying for AI you can get for free

Isra

58,018 görüntüleme • 2 ay önce

Why did so many languages copy async/await from C#? Anders Hejlsberg(Anders Hejlsberg) - creator of TypeScript, C# & Turbo Pascal - on what they got right with the design: #1 - async/await was designed to solve a common problem in the event-loop model: "A lot of languages are built around cooperative multitasking in the sense that they have an event loop that sits and dispatches events. Then you handle the event and then you yield back to the event handler loop. And it all runs in a single thread cooperatively. The problem with that is if you then want to do some long running work: how do I stop in the middle of this piece of long running work and yield back to the event loop cooperatively? And then when my result is ready, I can come back and continue executing here." #2 - state machines are the solution, but hard to build: "Well, in order to do that in an inverted architecture like that, you have to build a state machine. State machines are notoriously hard for people to implement because you've got to move all of your state off of the stack into objects. And then you have this big case statement that envelopes your entire logic. It's a nightmare to figure out. But, the transformation from serially executing code into a state machine, its continuation-passing-style translation is actually one that you can do in a machine-based fashion." #3 - compilers are good at writing state machines: "You can have the compiler write the state machine if you introduce syntax that allows you to indicate where you want to yield. And that's what await is. Await is basically saying, I want to yield here, and I want to yield this promise, and then when the promise completes, I want you to come back here and continue executing. Then the compiler writes a state machine around it and it actually turns it into this big switch statement and moves all of the state that survives across the await into something that's heap allocated. So it can be brought back. And doing all of that work is something that compilers are great at. And so that was sort of the idea that we have this new style of programming where we're using promises or the equivalent of promises and the ability to yield and then we have callbacks. But trying to write your program in that style, that's also what JavaScript suffered from a lot. It's like all this callback style stuff. With Async and Await, you get the illusion that you're just writing normal sequential code and then the compiler does the painful transformation for you. That turns out to be really useful."
3:13

Why did so many languages copy async/await from C#? Anders Hejlsberg(Anders Hejlsberg) - creator of TypeScript, C# & Turbo Pascal - on what they got right with the design: #1 - async/await was designed to solve a common problem in the event-loop model: "A lot of languages are built around cooperative multitasking in the sense that they have an event loop that sits and dispatches events. Then you handle the event and then you yield back to the event handler loop. And it all runs in a single thread cooperatively. The problem with that is if you then want to do some long running work: how do I stop in the middle of this piece of long running work and yield back to the event loop cooperatively? And then when my result is ready, I can come back and continue executing here." #2 - state machines are the solution, but hard to build: "Well, in order to do that in an inverted architecture like that, you have to build a state machine. State machines are notoriously hard for people to implement because you've got to move all of your state off of the stack into objects. And then you have this big case statement that envelopes your entire logic. It's a nightmare to figure out. But, the transformation from serially executing code into a state machine, its continuation-passing-style translation is actually one that you can do in a machine-based fashion." #3 - compilers are good at writing state machines: "You can have the compiler write the state machine if you introduce syntax that allows you to indicate where you want to yield. And that's what await is. Await is basically saying, I want to yield here, and I want to yield this promise, and then when the promise completes, I want you to come back here and continue executing. Then the compiler writes a state machine around it and it actually turns it into this big switch statement and moves all of the state that survives across the await into something that's heap allocated. So it can be brought back. And doing all of that work is something that compilers are great at. And so that was sort of the idea that we have this new style of programming where we're using promises or the equivalent of promises and the ability to yield and then we have callbacks. But trying to write your program in that style, that's also what JavaScript suffered from a lot. It's like all this callback style stuff. With Async and Await, you get the illusion that you're just writing normal sequential code and then the compiler does the painful transformation for you. That turns out to be really useful."

The Pragmatic Engineer

13,258 görüntüleme • 2 ay önce

✨ Today I rebuilt 🏔️ AltaVista Search, the main search engine before Google existed The problem: if you press the 🔍Search button in MSIE4 it'll open a sidebar with AltaVista in it that opens: http:// home . microsoft . com/search/search.asp But that URL doesn't resolve anymore of course, so how do I make this work? I asked Claude Code and built a Dnsmasq DNS server that routes all regular DNS queries to Cloudflare but for home . microsoft . com it hijacks it and sends it to my own server Then I let Nginx respond to that doamin and show the Altavista Search sidebar, I had to rebuild the design from a video on YouTube because I couldn't find any actual archeological remains of it anymore Also Altavista Search of course doesn't exist anymore so it can't respond to queries either so I use a SERP API to query search results from Google and display them instead This is stuff I wouldn't even be close to doing before AI, I'd have no idea how to configure Dnsmasq to spoof queries like this The search engine results are proxied via my HTTP proxy so MSIE4 can open most sites (because old browsers don't support HTTPS and most JS!)
1:38

✨ Today I rebuilt 🏔️ AltaVista Search, the main search engine before Google existed The problem: if you press the 🔍Search button in MSIE4 it'll open a sidebar with AltaVista in it that opens: http:// home . microsoft . com/search/search.asp But that URL doesn't resolve anymore of course, so how do I make this work? I asked Claude Code and built a Dnsmasq DNS server that routes all regular DNS queries to Cloudflare but for home . microsoft . com it hijacks it and sends it to my own server Then I let Nginx respond to that doamin and show the Altavista Search sidebar, I had to rebuild the design from a video on YouTube because I couldn't find any actual archeological remains of it anymore Also Altavista Search of course doesn't exist anymore so it can't respond to queries either so I use a SERP API to query search results from Google and display them instead This is stuff I wouldn't even be close to doing before AI, I'd have no idea how to configure Dnsmasq to spoof queries like this The search engine results are proxied via my HTTP proxy so MSIE4 can open most sites (because old browsers don't support HTTPS and most JS!)

@levelsio

84,462 görüntüleme • 7 ay önce

This is next-level smart: An open-source platform that evaluates your prompts and automatically refines them based on the results. ​ Of course, it feels obvious after you see it: ​ • You write a prompt • The system evaluates it across different scenarios • Based on the results, it refines it to improve results ​ I recorded a quick video to show you how it works. It's pretty cool stuff! ​ Here are some of the problems and best practices for teams building AI applications: ​ 1. Testing your prompts manually doesn't scale 2. Prompts should not be spread throughout the codebase 3. Non-technical people need easy access to your prompts 4. Prompts can always use a version history to track changes 5. Monitoring the performance of prompts overtime is critical ​ Evaluating the prompts is what keeps me up at night from this list. Of all the conversations I've had with companies and people building AI applications, this is the area that's causing the most pain. ​ Testing a prompt is difficult. Think about how you'd test the response of a model subjectively. What do you account for, "tone," "objectivity," "completeness," "creativity," "readability," etc.? ​ Last week, I met the developers behind Latitude, an open-source prompt engineering platform trying to solve all of these issues. You can try the platform in two ways: ​ • You can self-host the platform. Free and open-source. • If you want to try their online product, their free tier is huge. ​ Here is the link: ​ Thanks to the Latitude team for collaborating with me on this post, and congratulations on going live with their product!
2:46

This is next-level smart: An open-source platform that evaluates your prompts and automatically refines them based on the results. ​ Of course, it feels obvious after you see it: ​ • You write a prompt • The system evaluates it across different scenarios • Based on the results, it refines it to improve results ​ I recorded a quick video to show you how it works. It's pretty cool stuff! ​ Here are some of the problems and best practices for teams building AI applications: ​ 1. Testing your prompts manually doesn't scale 2. Prompts should not be spread throughout the codebase 3. Non-technical people need easy access to your prompts 4. Prompts can always use a version history to track changes 5. Monitoring the performance of prompts overtime is critical ​ Evaluating the prompts is what keeps me up at night from this list. Of all the conversations I've had with companies and people building AI applications, this is the area that's causing the most pain. ​ Testing a prompt is difficult. Think about how you'd test the response of a model subjectively. What do you account for, "tone," "objectivity," "completeness," "creativity," "readability," etc.? ​ Last week, I met the developers behind Latitude, an open-source prompt engineering platform trying to solve all of these issues. You can try the platform in two ways: ​ • You can self-host the platform. Free and open-source. • If you want to try their online product, their free tier is huge. ​ Here is the link: ​ Thanks to the Latitude team for collaborating with me on this post, and congratulations on going live with their product!

Santiago

64,157 görüntüleme • 1 yıl önce

Something very weird happened last night. SNEAKO, a pro-Hitler, pro-IRGC, pro-Osama Bin Laden and openly anti-Jewish and anti-American streamer called X Head of Product Nikita Bier Nikita Bier live during his stream to talk about X streaming. Nikita answered Sneako’s call immediately and replied by typing, “it’s only the beginning….welcome to X” when Sneako told his chat he was streaming on X. "We just launched our new streaming tools.. we're gonna keep investing in it”, Nikita said. Nikita was very casual in his call with Sneako, which means this isn’t the first time they have spoken. Given Sneako’s open support of Islamic terrorists, I’d say Sneako is not a good brand ambassador for X. I really enjoy using X and I am grateful Elon Musk purchased the platform where so many people bypass the mainstream media and create content that inspires the masses. I worry that someone like Sneako will drive people away from the platform that so many of us enjoy using. I hope we can get some answers about this because Sneako actively roots for Amercia’s adversaries on his stream and frequently supports Islamic jihad. When the Ayatollah was killed in an airstrike, Sneako held a memorial stream for him and said he was rooting for Iran. Sneako once tweeted that Osama Bin Laden, the mastermind of 9/11 “did nothing wrong”. You’ll recall, Sneako was also just caught on camera in a club in Miami a couple months ago throwing up a Nazi salute while singing the song “Heil Hitler”. I really enjoy X and have been multi-streaming on Rumble 🏴‍☠️ and X for over a year to create original content. I hope Nikita will reach out to a plethora of other content creators and not allow the X brand to be overrun by Sneako’s third world pro-terror streams where he works to radicalize his young male audience into converting to Islam, hating America, and hating the Jews. Nikita Bier Elon Musk thanks for all you do. I love using X products, but please know many people who use X and enjoy X streams are very disturbed by this. Sneako is not someone you want your brand attached to, and I say this respectfully as someone who uses the platform to create journalistic content daily. Please take my comments into consideration. I have an entire archive of video evidence of Sneako’s pro-terror and pro-Hitler behavior if you’d like me to send it to you. He is a liability in the way he’s trying to radicalize his following. I’m saying this in the most respectful way possible. Thank you.
1:01

Something very weird happened last night. SNEAKO, a pro-Hitler, pro-IRGC, pro-Osama Bin Laden and openly anti-Jewish and anti-American streamer called X Head of Product Nikita Bier Nikita Bier live during his stream to talk about X streaming. Nikita answered Sneako’s call immediately and replied by typing, “it’s only the beginning….welcome to X” when Sneako told his chat he was streaming on X. "We just launched our new streaming tools.. we're gonna keep investing in it”, Nikita said. Nikita was very casual in his call with Sneako, which means this isn’t the first time they have spoken. Given Sneako’s open support of Islamic terrorists, I’d say Sneako is not a good brand ambassador for X. I really enjoy using X and I am grateful Elon Musk purchased the platform where so many people bypass the mainstream media and create content that inspires the masses. I worry that someone like Sneako will drive people away from the platform that so many of us enjoy using. I hope we can get some answers about this because Sneako actively roots for Amercia’s adversaries on his stream and frequently supports Islamic jihad. When the Ayatollah was killed in an airstrike, Sneako held a memorial stream for him and said he was rooting for Iran. Sneako once tweeted that Osama Bin Laden, the mastermind of 9/11 “did nothing wrong”. You’ll recall, Sneako was also just caught on camera in a club in Miami a couple months ago throwing up a Nazi salute while singing the song “Heil Hitler”. I really enjoy X and have been multi-streaming on Rumble 🏴‍☠️ and X for over a year to create original content. I hope Nikita will reach out to a plethora of other content creators and not allow the X brand to be overrun by Sneako’s third world pro-terror streams where he works to radicalize his young male audience into converting to Islam, hating America, and hating the Jews. Nikita Bier Elon Musk thanks for all you do. I love using X products, but please know many people who use X and enjoy X streams are very disturbed by this. Sneako is not someone you want your brand attached to, and I say this respectfully as someone who uses the platform to create journalistic content daily. Please take my comments into consideration. I have an entire archive of video evidence of Sneako’s pro-terror and pro-Hitler behavior if you’d like me to send it to you. He is a liability in the way he’s trying to radicalize his following. I’m saying this in the most respectful way possible. Thank you.

Laura Loomer

813,900 görüntüleme • 4 ay önce

Great updates today. It has been sad the level of attacks and attempts to be-little what ProffittHarsad Community and dev Team had built and had to endure in order to contribute a solution and a product for everyone. We do use Jupiter quote APIs and Jupiter on-chain Routers. Right now they are the ONLY Transmission/Engines available on chain for us to build the Experience for our users while we build in the coming (weeks) our Engine and own Transmission. Lamborghini is not bad cause it used other manufacturers parts while learning how to build the best for their needs. Red Bull Is not a CAR manufacturer, so you can still add value on top of Engine/Transmissions. Its called "PURPOSE & GOALS" We love Jupiter - We do integrate a lot of their amazing open-source APIs in order to make our aggregation experience smooth. We do not iFRAME Jupiter Front End or Websites. There is no shame on this and its intended for the construction of new products and solutions. We also love @heliuslabs as they serve our RPC calls and demands. We also love Amazon Web Services for providing us the Cloud service we need. We also love Solana for the amazing blockchain we all can use. We also love Tensor ⚡️ cause they were one of my inspirations on making the choice to give it a try and Lead this attempt. We love Uniswap 1inch PancakeSwap For showing the WORLD we all could swap in freedom and peace. We are currently building our Front End/Backend Experience, using our servers, our RPCs, our own code to make this happen. We charge a Fee as intended in our ethos for the experience and service we provide. We will continue to improve the experience tailored for our Community and users. We are not interested in Feuds or Comparative battles based on ill intentions. The next stage for is integrate our own Router and wrapper, not cause Jupiter has bad code or solutions, just because we would love to be independent and build our own journey. I have been an avid user of Jupiter for almost 3 years, traded over 8 M USD across all my accounts. Nothing but respects for what they've achieved. Spiderswap is here to build an aggregation solution for everyone. So as someone said "Something like Jupiter but more Community owned". We believe there is a place in which Jupiter and ProffittHarsad can coexist and add value to each other. I personally thank many others for behind scenes support, candor and wisdom. Thanks for helping! With love and Amity! - There is no big vs little. Its just one that already has built and another who started 70 days ago. Itsy Bitsy... 🕷️🤍🕸️
0:24

Great updates today. It has been sad the level of attacks and attempts to be-little what ProffittHarsad Community and dev Team had built and had to endure in order to contribute a solution and a product for everyone. We do use Jupiter quote APIs and Jupiter on-chain Routers. Right now they are the ONLY Transmission/Engines available on chain for us to build the Experience for our users while we build in the coming (weeks) our Engine and own Transmission. Lamborghini is not bad cause it used other manufacturers parts while learning how to build the best for their needs. Red Bull Is not a CAR manufacturer, so you can still add value on top of Engine/Transmissions. Its called "PURPOSE & GOALS" We love Jupiter - We do integrate a lot of their amazing open-source APIs in order to make our aggregation experience smooth. We do not iFRAME Jupiter Front End or Websites. There is no shame on this and its intended for the construction of new products and solutions. We also love @heliuslabs as they serve our RPC calls and demands. We also love Amazon Web Services for providing us the Cloud service we need. We also love Solana for the amazing blockchain we all can use. We also love Tensor ⚡️ cause they were one of my inspirations on making the choice to give it a try and Lead this attempt. We love Uniswap 1inch PancakeSwap For showing the WORLD we all could swap in freedom and peace. We are currently building our Front End/Backend Experience, using our servers, our RPCs, our own code to make this happen. We charge a Fee as intended in our ethos for the experience and service we provide. We will continue to improve the experience tailored for our Community and users. We are not interested in Feuds or Comparative battles based on ill intentions. The next stage for is integrate our own Router and wrapper, not cause Jupiter has bad code or solutions, just because we would love to be independent and build our own journey. I have been an avid user of Jupiter for almost 3 years, traded over 8 M USD across all my accounts. Nothing but respects for what they've achieved. Spiderswap is here to build an aggregation solution for everyone. So as someone said "Something like Jupiter but more Community owned". We believe there is a place in which Jupiter and ProffittHarsad can coexist and add value to each other. I personally thank many others for behind scenes support, candor and wisdom. Thanks for helping! With love and Amity! - There is no big vs little. Its just one that already has built and another who started 70 days ago. Itsy Bitsy... 🕷️🤍🕸️

modsiw

25,540 görüntüleme • 2 yıl önce

Hey guys, can we talk about this for a second… Bitcoin Today X-Spaces and a lot of the big Bitcoin accounts have been quietly silencing smaller high-alpha voices for a while now: Muting, excluding, shadow-banning… you know, the usual stuff we’ve all just kind of accepted as “the way it is.” But honestly? It’s getting worse. I stand with JDOG J.Dog ᛤ 🎯 for the courage to say what everyone is thinking Its Voices with courage like this that I’ve been talking about on Spaces that will be one of the Voices to emerge and lead us through future market cycles We really need to start supporting the genuine smaller accounts, the independent Spaces, and the real builders who actually care about Bitcoin’s future… not just chasing clout and bigger numbers. The crazy part is… the bigger some of these accounts get, the more they start acting like the exact gatekeepers we came here to escape as believers in Bitcoin and other Freedom Principles If you’re tired of this kind of centralized censorship happening inside Bitcoin Twitter… Drop your favorite underrated Bitcoin account or Space in the replies 👇 And RT if you believe we should keep the conversation open and support the smaller voices Let’s actually do something about it #Bitcoin #BTCToday #CensorshipResistance #FreeSpeech #BitcoinSpaces #Nostr #SmallAccountsMatter
1:32

Hey guys, can we talk about this for a second… Bitcoin Today X-Spaces and a lot of the big Bitcoin accounts have been quietly silencing smaller high-alpha voices for a while now: Muting, excluding, shadow-banning… you know, the usual stuff we’ve all just kind of accepted as “the way it is.” But honestly? It’s getting worse. I stand with JDOG J.Dog ᛤ 🎯 for the courage to say what everyone is thinking Its Voices with courage like this that I’ve been talking about on Spaces that will be one of the Voices to emerge and lead us through future market cycles We really need to start supporting the genuine smaller accounts, the independent Spaces, and the real builders who actually care about Bitcoin’s future… not just chasing clout and bigger numbers. The crazy part is… the bigger some of these accounts get, the more they start acting like the exact gatekeepers we came here to escape as believers in Bitcoin and other Freedom Principles If you’re tired of this kind of centralized censorship happening inside Bitcoin Twitter… Drop your favorite underrated Bitcoin account or Space in the replies 👇 And RT if you believe we should keep the conversation open and support the smaller voices Let’s actually do something about it #Bitcoin #BTCToday #CensorshipResistance #FreeSpeech #BitcoinSpaces #Nostr #SmallAccountsMatter

jamie Miner

11,551 görüntüleme • 2 ay önce

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"
0:30

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"

Aaliya

11,134 görüntüleme • 5 gün önce

Russell Crowe says he raises his cattle with extra care because “the steak tastes better” “I run 220 Angus on my place in the bush, and over time I sort of learned that all of those factory farming processes are just the absolute wrong thing to do. When I first had land and cattle, I used to love getting up at dawn, in the darkness, hat on, stock whip, and getting out and herding them and all that sort of stuff. Over time, I started to realize that that's not good for them” “So we developed this system at my place where we have a single laneway, and all of the other paddocks where the cattle are go onto that laneway. You can muster, one man, a soft voice, and a handful of grain. Just open the gate, call out a couple of times, and they come towards you. You can get every cow in that laneway. Then you get up behind them, walk behind them, and you walk them straight to the yards” “We've taken all the fun out of it, but it's a lot safer, easier, and more sensible. We don't use hose pipes, we don't use stock whips anymore, we don't muster on ATVs. It's either on foot or horseback. We still use working dogs, but the cows don't get upset by the working dogs. They don't get freaked out by them the same way as they get freaked out by an engine roaring up behind them” “The reason for that kind of pastoral care is because, at the end of the day, 100% true, the steak tastes better if you don't adrenalize the cattle, if you don't abuse them. It's just better. It's more tasteful. Really adrenalized meat gets a very gamey quality”
2:04

Russell Crowe says he raises his cattle with extra care because “the steak tastes better” “I run 220 Angus on my place in the bush, and over time I sort of learned that all of those factory farming processes are just the absolute wrong thing to do. When I first had land and cattle, I used to love getting up at dawn, in the darkness, hat on, stock whip, and getting out and herding them and all that sort of stuff. Over time, I started to realize that that's not good for them” “So we developed this system at my place where we have a single laneway, and all of the other paddocks where the cattle are go onto that laneway. You can muster, one man, a soft voice, and a handful of grain. Just open the gate, call out a couple of times, and they come towards you. You can get every cow in that laneway. Then you get up behind them, walk behind them, and you walk them straight to the yards” “We've taken all the fun out of it, but it's a lot safer, easier, and more sensible. We don't use hose pipes, we don't use stock whips anymore, we don't muster on ATVs. It's either on foot or horseback. We still use working dogs, but the cows don't get upset by the working dogs. They don't get freaked out by them the same way as they get freaked out by an engine roaring up behind them” “The reason for that kind of pastoral care is because, at the end of the day, 100% true, the steak tastes better if you don't adrenalize the cattle, if you don't abuse them. It's just better. It's more tasteful. Really adrenalized meat gets a very gamey quality”

dank

98,604 görüntüleme • 1 ay önce

Mind blown 2.0: Onchain quants just printed $400,000+ trading Polymarket bets on SPX, Dow, Russell 2000, AAPL, GOOG - all powered by open-source financial market simulations! The god-tier stack just dropped: Financial Datasets MCP Server (1.7k stars) + MiroThinker-H1 (88.2 benchmark, 7.1k stars) + MiroFish - multi-agent simulation engine built by a Chinese undergrad student in just 10 days (now 18k+ stars and scored millions in funding overnight). How each repo works and how to apply it: 1. Financial Datasets MCP Server -> Unlimited real historical prices, balance sheets, income statements and news for ANY ticker (SPX, AAPL, GOOG, Russell 2000 etc.). This is your free 40+ year data parser - just connect and pull raw facts. Repo: 2. MiroThinker-H1 -> Deep research agent (pulls data straight from the MCP Server). Analyzes latest 10-K, Fed minutes, earnings, geopolitics and builds 500+ clean, verified datasets. Without it your simulation is garbage - it turns raw data into the perfect “brain” for the engine. Repo: 3. MiroFish -> The actual multi-agent simulation engine. Load the dataset from MiroThinker and run thousands of AI agents with different personalities (macro strategist, sentiment analyst, panic buyer etc.). Get probability cones and the full "matrix" - exactly how price will react to any event. Repo: Key Applications: .Trading: throw in any event -> simulate crowd reaction -> catch the edge and ape on Polymarket .Macro forecasting: test global events before they hit the news .Easy setup: Docker + any LLM API, live in 10-15 minutes Pro tip: Feed MiroThinker latest 10-K or breaking news -> it builds 500+ verified scenario datasets -> load into MiroFish -> get probability cones for next-week price moves. Then ape the highest-conviction side on Polymarket risk-free. Traders are already winning big: [superstonksbro] -> PnL = $182k, multiple $20k+ wins. [CamelUp] -> PnL = $193k, 2.4k+ predictions. Both crushing it with this exact stack. For effortless gains, try Kreo copy-trading: auto-mirror these new simulation beasts and ride their edges. Try here: Add their wallets: 0x17559efac103ac7f361be37ec0b93888d4c55aac // 0x969fae0a3a93778adc42178f72c612ed8c4e4d55 to [ and start track/copy them right now. Save this links and info so you don't lose it.
0:33

Mind blown 2.0: Onchain quants just printed $400,000+ trading Polymarket bets on SPX, Dow, Russell 2000, AAPL, GOOG - all powered by open-source financial market simulations! The god-tier stack just dropped: Financial Datasets MCP Server (1.7k stars) + MiroThinker-H1 (88.2 benchmark, 7.1k stars) + MiroFish - multi-agent simulation engine built by a Chinese undergrad student in just 10 days (now 18k+ stars and scored millions in funding overnight). How each repo works and how to apply it: 1. Financial Datasets MCP Server -> Unlimited real historical prices, balance sheets, income statements and news for ANY ticker (SPX, AAPL, GOOG, Russell 2000 etc.). This is your free 40+ year data parser - just connect and pull raw facts. Repo: 2. MiroThinker-H1 -> Deep research agent (pulls data straight from the MCP Server). Analyzes latest 10-K, Fed minutes, earnings, geopolitics and builds 500+ clean, verified datasets. Without it your simulation is garbage - it turns raw data into the perfect “brain” for the engine. Repo: 3. MiroFish -> The actual multi-agent simulation engine. Load the dataset from MiroThinker and run thousands of AI agents with different personalities (macro strategist, sentiment analyst, panic buyer etc.). Get probability cones and the full "matrix" - exactly how price will react to any event. Repo: Key Applications: .Trading: throw in any event -> simulate crowd reaction -> catch the edge and ape on Polymarket .Macro forecasting: test global events before they hit the news .Easy setup: Docker + any LLM API, live in 10-15 minutes Pro tip: Feed MiroThinker latest 10-K or breaking news -> it builds 500+ verified scenario datasets -> load into MiroFish -> get probability cones for next-week price moves. Then ape the highest-conviction side on Polymarket risk-free. Traders are already winning big: [superstonksbro] -> PnL = $182k, multiple $20k+ wins. [CamelUp] -> PnL = $193k, 2.4k+ predictions. Both crushing it with this exact stack. For effortless gains, try Kreo copy-trading: auto-mirror these new simulation beasts and ride their edges. Try here: Add their wallets: 0x17559efac103ac7f361be37ec0b93888d4c55aac // 0x969fae0a3a93778adc42178f72c612ed8c4e4d55 to [ and start track/copy them right now. Save this links and info so you don't lose it.

slash1s

35,001 görüntüleme • 5 ay önce

GeoLibre v2.3.0 is here! GeoLibre is a free and open-source, lightweight, cloud-native GIS platform for visualizing, exploring, and analyzing geospatial data. It runs everywhere you do, in the web browser, on the desktop, on mobile, and inside Jupyter notebooks, all while keeping your data local and private. This release brings a legend that writes itself from your symbology, a new GeoLens catalog browser, and 200+ GeoLibre Rust geoprocessing tools running entirely in the browser. What's new in v2.3.0 - Automatic on-map Legend: the legend builds itself from your visible layers, with class rows for graduated, categorized, rule-based, and expression styling, gradient bars for heatmaps and raster colormaps, and land-cover labels from a Raster Attribute Table. Rename, hide, reorder, or add your own entries, and it saves with the project. - Symbology swatches in the Layers panel: every row shows a dot, line, square, or image glyph in the layer's own color, so a tall layer stack reads at a glance. - GeoLens catalog browser: connect to a self-hosted GeoLens server, search its catalog, and add datasets as vector tiles, GeoJSON, or rendered raster tiles. - Emerging Hot Spot Analysis: build a space-time cube from timestamped points and classify every cell as a new, intensifying, persistent, diminishing, sporadic, oscillating, or historical hot or cold spot, all client side. - Mosaic time series: the Time Slider now steps through MosaicJSON and STAC collections of many COGs per date, on either a GPU or a WASM rendering engine. - Copy and paste layer styles: give a whole set of layers one consistent look without restyling each in turn. - Shareable tool links: deep-link any Whitebox tool with a ?tool= URL that opens the dialog preselected and pre-fills the form, with a Copy link button to build it for you. - Smarter data loading: pick which layers to load from a multi-layer GeoPackage, import CSVs whose coordinates are in any projected CRS, and read a raster's real CRS, pixel size, and extent from the metadata dialog. - Multiple AI profiles: define several provider, model, and credential setups, pick a default, and switch between them from the assistant panel. Try it out - Launch GeoLibre Web: - GitHub: - Documentation: - Release notes: #GIS #Geospatial #OpenSource #RemoteSensing #MapLibre #GeoLibre
0:48

GeoLibre v2.3.0 is here! GeoLibre is a free and open-source, lightweight, cloud-native GIS platform for visualizing, exploring, and analyzing geospatial data. It runs everywhere you do, in the web browser, on the desktop, on mobile, and inside Jupyter notebooks, all while keeping your data local and private. This release brings a legend that writes itself from your symbology, a new GeoLens catalog browser, and 200+ GeoLibre Rust geoprocessing tools running entirely in the browser. What's new in v2.3.0 - Automatic on-map Legend: the legend builds itself from your visible layers, with class rows for graduated, categorized, rule-based, and expression styling, gradient bars for heatmaps and raster colormaps, and land-cover labels from a Raster Attribute Table. Rename, hide, reorder, or add your own entries, and it saves with the project. - Symbology swatches in the Layers panel: every row shows a dot, line, square, or image glyph in the layer's own color, so a tall layer stack reads at a glance. - GeoLens catalog browser: connect to a self-hosted GeoLens server, search its catalog, and add datasets as vector tiles, GeoJSON, or rendered raster tiles. - Emerging Hot Spot Analysis: build a space-time cube from timestamped points and classify every cell as a new, intensifying, persistent, diminishing, sporadic, oscillating, or historical hot or cold spot, all client side. - Mosaic time series: the Time Slider now steps through MosaicJSON and STAC collections of many COGs per date, on either a GPU or a WASM rendering engine. - Copy and paste layer styles: give a whole set of layers one consistent look without restyling each in turn. - Shareable tool links: deep-link any Whitebox tool with a ?tool= URL that opens the dialog preselected and pre-fills the form, with a Copy link button to build it for you. - Smarter data loading: pick which layers to load from a multi-layer GeoPackage, import CSVs whose coordinates are in any projected CRS, and read a raster's real CRS, pixel size, and extent from the metadata dialog. - Multiple AI profiles: define several provider, model, and credential setups, pick a default, and switch between them from the assistant panel. Try it out - Launch GeoLibre Web: - GitHub: - Documentation: - Release notes: #GIS #Geospatial #OpenSource #RemoteSensing #MapLibre #GeoLibre

Qiusheng Wu

293,227 görüntüleme • 1 ay önce

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa
16:00

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Naru

55,609 görüntüleme • 6 ay önce

Huge news: Last week we exposed Toyota USA + Lexus for going woke and now just one week later they’re announcing BIG changes! Some highlights: • No more involvement in pride parades, pride events or LGBTQ children’s summer camps. • They will not participate in the Human Rights Campaign Rapid Response’s woke Corporate Equality Index social credit system. • All BRG activities must be focused on the core business of Toyota and be open to all. Toyota employees and dealers were all notified of the changes via email today. It’s worth noting that this is a company with a nearly $300 billion dollar market cap and 381,000 employees. Those employees will no longer be subjected to this divisive stuff. This is a massive win for sanity. I have to give the executives credit for taking this unifying action. It’s not easy to do but they’re preparing their business for future success by adopting corporate neutrality. The companies who adopt neutrality will win the future because they don’t violate the core beliefs of the consumers they rely on. Our campaigns are so effective that we’re getting some of the biggest corporations on earth to change their policies. The landscape of corporate America is quickly shifting to sanity and neutrality. We are the trend now, not the anomaly. We’re winning and one by one we WILL bring sanity back to corporate America. If you love what we’re doing, subscribe to my X page for $5 a month to help fund our growing team! You can also fund our growing research team by sending any one time amount at this link (this is not tax deductible and we are NOT a 501c3): So far you’ve helped us change corporate policy at Tractor Supply, John Deere, Harley Davidson, Polaris, Indian Motorcycle, Lowe’s, Ford, Coor, Caterpillar, Stanley Black & Decker and now Toyota + Lexus. We are a force to be reckoned with and we won’t stop until wokeness is extinct. If you want to expose your woke workplace, send tips + evidence to EliminateDEI@protonmail.com or send a tip at
4:17

Huge news: Last week we exposed Toyota USA + Lexus for going woke and now just one week later they’re announcing BIG changes! Some highlights: • No more involvement in pride parades, pride events or LGBTQ children’s summer camps. • They will not participate in the Human Rights Campaign Rapid Response’s woke Corporate Equality Index social credit system. • All BRG activities must be focused on the core business of Toyota and be open to all. Toyota employees and dealers were all notified of the changes via email today. It’s worth noting that this is a company with a nearly $300 billion dollar market cap and 381,000 employees. Those employees will no longer be subjected to this divisive stuff. This is a massive win for sanity. I have to give the executives credit for taking this unifying action. It’s not easy to do but they’re preparing their business for future success by adopting corporate neutrality. The companies who adopt neutrality will win the future because they don’t violate the core beliefs of the consumers they rely on. Our campaigns are so effective that we’re getting some of the biggest corporations on earth to change their policies. The landscape of corporate America is quickly shifting to sanity and neutrality. We are the trend now, not the anomaly. We’re winning and one by one we WILL bring sanity back to corporate America. If you love what we’re doing, subscribe to my X page for $5 a month to help fund our growing team! You can also fund our growing research team by sending any one time amount at this link (this is not tax deductible and we are NOT a 501c3): So far you’ve helped us change corporate policy at Tractor Supply, John Deere, Harley Davidson, Polaris, Indian Motorcycle, Lowe’s, Ford, Coor, Caterpillar, Stanley Black & Decker and now Toyota + Lexus. We are a force to be reckoned with and we won’t stop until wokeness is extinct. If you want to expose your woke workplace, send tips + evidence to [email protected] or send a tip at

Robby Starbuck

1,122,530 görüntüleme • 1 yıl önce

Just finishing up everything you guys voted on for 3.0. Here’s the feature list. Submitting tonight. Revamped Transfer Portal: Portal rebuilt from the ground up. Player cards now show fit at last school, why they're leaving, role they played, and minutes pattern so you know who you're getting. Stars are harder to land at low prestige unless you're spending real points and NIL. Also added JUCO players alongside the D1 transfers. Flips and Decommits: Recruits can now flip schools or decommit between windows. Rare but real. Full screen flip alert pops when you reach the dashboard so you don't miss it. Pure decommits put the kid back in the pool. Don't want any of it? Toggle flips off in settings. Freak Recruits: Generator now occasionally rolls something special. 6'9" point guards, stretch bigs that pass, athletic freaks at center. Tagged with a Freak badge. Rare enough to feel like a real find. Power Metrics: New analytics section. Pace, efficiency, four factors, strength adjusted ratings. If you want to actually know who's playing the best basketball this is where you go. Series History: Pregame card now shows your full all time series vs the opponent. Win counts both sides, last meeting, current streak. Switch jobs and the series stays with the school. National Game of the Day: Featured matchup from across the league each game day. Tap in for the full preview just like your own games.A new way to follow the rest of the country. Dream Jobs: Pick a dream job when you create your coach. Offers roll in as you build prestige. This school will keep a close eye on you. Old Stars Become NIL Donors: Players who graduate or go pro show up years later as NIL donors. Build a legacy and the donor pool builds with you. God Mode + Custom Realignment: Force Commit works reliably now and every other reported God Mode bug has been fixed. Force Wins added for CT and NT. New: every offseason in God Mode you can manually realign conferences. Move teams around and build the league you want. UI Changes: Polish across the interface. Cleaner cards, better spacing, mobile first layouts. New Series History card design. Diagnostics page in Settings if you ever get stuck. Other: 2.9.5 was supposed to be bug focused but had a submission error so I merged everything into 3.0. 3.1 will also be bug focused. Tried to fix every bug reported. Thanks for the support!
0:45

Just finishing up everything you guys voted on for 3.0. Here’s the feature list. Submitting tonight. Revamped Transfer Portal: Portal rebuilt from the ground up. Player cards now show fit at last school, why they're leaving, role they played, and minutes pattern so you know who you're getting. Stars are harder to land at low prestige unless you're spending real points and NIL. Also added JUCO players alongside the D1 transfers. Flips and Decommits: Recruits can now flip schools or decommit between windows. Rare but real. Full screen flip alert pops when you reach the dashboard so you don't miss it. Pure decommits put the kid back in the pool. Don't want any of it? Toggle flips off in settings. Freak Recruits: Generator now occasionally rolls something special. 6'9" point guards, stretch bigs that pass, athletic freaks at center. Tagged with a Freak badge. Rare enough to feel like a real find. Power Metrics: New analytics section. Pace, efficiency, four factors, strength adjusted ratings. If you want to actually know who's playing the best basketball this is where you go. Series History: Pregame card now shows your full all time series vs the opponent. Win counts both sides, last meeting, current streak. Switch jobs and the series stays with the school. National Game of the Day: Featured matchup from across the league each game day. Tap in for the full preview just like your own games.A new way to follow the rest of the country. Dream Jobs: Pick a dream job when you create your coach. Offers roll in as you build prestige. This school will keep a close eye on you. Old Stars Become NIL Donors: Players who graduate or go pro show up years later as NIL donors. Build a legacy and the donor pool builds with you. God Mode + Custom Realignment: Force Commit works reliably now and every other reported God Mode bug has been fixed. Force Wins added for CT and NT. New: every offseason in God Mode you can manually realign conferences. Move teams around and build the league you want. UI Changes: Polish across the interface. Cleaner cards, better spacing, mobile first layouts. New Series History card design. Diagnostics page in Settings if you ever get stuck. Other: 2.9.5 was supposed to be bug focused but had a submission error so I merged everything into 3.0. 3.1 will also be bug focused. Tried to fix every bug reported. Thanks for the support!

Hardwood Empire

35,431 görüntüleme • 4 ay önce

Abode is live. A while ago I started exploring social with the mindset of creating something fun. I ended up creating something deeply meaningful for myself. When I started Abode it was out of frustration. How have we moved to a state of social that cares more about how you’re perceived than connection. Growing up from when social was all about connection I often became frustrated that group chats are all that remain for that space. Don’t get me wrong it’s not all bad. A lot of great things have come out of this era of social. I just always wished for more than a chat for my close friends and family. I wanted to create a space that felt as unique as each of my friendship groups. One that wasn’t restricted to a chat thread or functionality, I always felt that chat was this weird state of social where you’re waiting on a response, it didn’t allow for some of the best moments which are often spontaneous. Chats felt like more of a chore to keep up with, than something I wanted to be part of. The result of this was Abode. a hyper personal, create your own social, blank canvas. it allows you to add unique functionality through the form of widgets (which we call magnets). This allows you to have a unique experience depending on how you build your space. More games? More organisation? More social? The beauty of this is it’s up to you. This resulted in what I’ve ended up calling social through presence vs social through action. I’d be playing a real life game with a friend and update our score note in the Abode and other friends jump in and congratulate on the win. No message was needed, no context was given. Social just happened. I’ve seen friends who wouldn’t normally go out of their way to message each other play gruelling games of connect4 with each other because they saw someone was online and playing. It’s this idea of someone else’s presence triggering a natural hangout that’s low pressure. Not someone messaging, asking if you’re around and waiting for a response. It’s a blend between async and real time that just works. Right now it’s very fresh, we have a very limited number of widgets as we experiment with the concept and figure out what works. The idea is to open up our widget engine to allow other people’s creativity to shine and build as part of the abode ecosystem. - group space - live widgets - themes - real time audio chat - messaging - AI powered summaries for easy catch up - Automatic memory building Not all of these features may stay but I wanted to build a space that supported all you’d need and work backwards by using the popularity of features to decide a direction that best suited the majority. Abode is yours, and it should feel that way. Appreciate any sharing 🫶
0:40

Abode is live. A while ago I started exploring social with the mindset of creating something fun. I ended up creating something deeply meaningful for myself. When I started Abode it was out of frustration. How have we moved to a state of social that cares more about how you’re perceived than connection. Growing up from when social was all about connection I often became frustrated that group chats are all that remain for that space. Don’t get me wrong it’s not all bad. A lot of great things have come out of this era of social. I just always wished for more than a chat for my close friends and family. I wanted to create a space that felt as unique as each of my friendship groups. One that wasn’t restricted to a chat thread or functionality, I always felt that chat was this weird state of social where you’re waiting on a response, it didn’t allow for some of the best moments which are often spontaneous. Chats felt like more of a chore to keep up with, than something I wanted to be part of. The result of this was Abode. a hyper personal, create your own social, blank canvas. it allows you to add unique functionality through the form of widgets (which we call magnets). This allows you to have a unique experience depending on how you build your space. More games? More organisation? More social? The beauty of this is it’s up to you. This resulted in what I’ve ended up calling social through presence vs social through action. I’d be playing a real life game with a friend and update our score note in the Abode and other friends jump in and congratulate on the win. No message was needed, no context was given. Social just happened. I’ve seen friends who wouldn’t normally go out of their way to message each other play gruelling games of connect4 with each other because they saw someone was online and playing. It’s this idea of someone else’s presence triggering a natural hangout that’s low pressure. Not someone messaging, asking if you’re around and waiting for a response. It’s a blend between async and real time that just works. Right now it’s very fresh, we have a very limited number of widgets as we experiment with the concept and figure out what works. The idea is to open up our widget engine to allow other people’s creativity to shine and build as part of the abode ecosystem. - group space - live widgets - themes - real time audio chat - messaging - AI powered summaries for easy catch up - Automatic memory building Not all of these features may stay but I wanted to build a space that supported all you’d need and work backwards by using the popularity of features to decide a direction that best suited the majority. Abode is yours, and it should feel that way. Appreciate any sharing 🫶

Joseph Smith

33,292 görüntüleme • 1 yıl önce

🎓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
1:32

🎓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

Cohen Brawley

46,070 görüntüleme • 2 yıl önce