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Rebecca used as dildo. Again. #animation #Loop #unbirthing #vore #softvore #nsfwart #yuri #lesbian #bellybulge #stomachbulge #3D #blender Uncensored on another platforms 😏

Hentai Masters🔞

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NSFW #animation #Loop #unbirthing #vore #softvore #nsfwart #yuri #lesbian #bellybulge #stomachbulge #3D #blender

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seyi

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Max Fleischer's trippy version of "Snow White" from 1933 remains a fascinating and bizarre piece of animation history. In this short Betty Boop cartoon, Fleischer and his team condensed and twisted the classic Snow White tale, taking viewers on a surreal journey that defies expectations. One of the standout moments in the cartoon is the inclusion of Cab Calloway, a renowned jazz singer of the time. In the middle of the animated film, Calloway appears and performs the hauntingly beautiful "St. James Infirmary Blues." The scene is a rare live-action segment, originally from another cartoon of the era titled "Minnie the Moocher," which was another iconic song associated with Calloway. Interestingly, the footage and music used in the beginning of "Minnie the Moocher" are clearly the same recording as the song "St. James Infirmary Blues" featured in the Betty Boop cartoon. In a clever editing move, the two pieces of audio are seamlessly joined together, creating a seamless transition between the two cartoons. Calloway's appearance in the cartoon is truly mesmerizing. He begins by singing the tune as Koko the Clown, a character created by Fleischer, and then undergoes a transformation into a ghostly figure. The animation beautifully captures Calloway's distinctive enunciation and signature dance moves, accompanied by a barrage of wild and imaginative visuals. In addition to the captivating animation, the cartoon also incorporates scenes from the 1980 film "The Blues Brothers," in which Cab Calloway once again performs "Minnie the Moocher." This inclusion adds an extra layer of intertextuality, as viewers are introduced to Calloway through this iconic performance. "Betty Boop in Snow White" is a testament to Max Fleischer's creativity and willingness to push the boundaries of animation. The cartoon showcases his unique vision and knack for blending different artistic mediums, resulting in a truly trippy and memorable viewing experience. Directed by Dave Fleischer and animated by Roland C. Crandall, the cartoon exemplifies the Fleischer Studio's distinctive style, characterized by fluid animation, vibrant colors, and a surreal atmosphere. Their innovative techniques and bold storytelling continue to inspire animators and artists to this day. Despite being a departure from the traditional Snow White narrative, Max Fleischer's version remains a remarkable piece of animation history. It stands as a testament to the power of imagination and creativity in bringing beloved stories to life in new and unexpected ways.

Historic Vids

21,305,844 Aufrufe • vor 3 Jahren

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

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

Cohen Brawley

88,792 Aufrufe • vor 2 Jahren

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Day 8 of building the game I've wanted to play for 15 years with AI. I absolutely love GPT-6. I'm switching from Claude completely. Today it finally happened: a full animation set for a non-humanoid character. My wolf is rigged and animated. All of last week I was trying approaches in parallel: Mesh2Motion, Cascadeur, Animate Anything, a pile of smaller tools. Everything kept almost working and then falling apart. Then GPT-6, and it's done. To be fair, I came in with a worked-out workflow: 1. Generate the model optimized from the start. Tripo P2.0 with multiview input, around 10k polygons, and the model came out great. 2. My agent turned the same side reference I used for the 3D gen into motion references with Seedance 2.5. Takes vary, so I picked the best ones. I only need 4 animations. 3. I decided the timing of each animation upfront, so they drop into the game as is. 4. Handed all of it to GPT-6 with Blender MCP. A couple of hours and a couple of feedback rounds later I have working animations I'm taking into the game. I fought this with Fable and the automation always came out crooked. This time it just worked. If you've been stuck on animations for a creature like this, try that route. And if anyone wants my workflow MD for GPT-6, I'll share it.

Stefan 3D AI

90,850 Aufrufe • vor 18 Tagen

$Wow Sora is so amazing, I wanted to really push it to the limits and see how it would handle a very complex prompt: “A 45-45-90 right triangle divides in half within itself repeatedly to create an organized fractal structure with self similarity, increasing in size from small at the top left to large at the bottom right, the whole structure is gradually growing from the top left point as the origin to create a seamless loop over 8 seconds, the individual triangles form platforms like a staircase descending downwards and have small rounded corners, as they move towards the bottom of the screen they each divide in half and one half moves downwards slightly to create another step and then the halves should divide in half again and one moves downwards to create one more step, after the second division curved cut-outs inside the triangles emerge upwards in a mechanical motion to form a continuous winding curved path towards the top of the structure, the edges of the path cutouts should be visible in the floor before they emerge so the viewer can anticipate the path being formed, after the path pieces move into place three Adélie penguins hop upwards along the path chasing a bright turquoise butterfly, the penguins should be hopping like the penguins in the following videos [ and should be progressing up the path while staying visually centered onscreen, the animation of the triangle platforms dividing and path forming and penguins hopping should be visually clear from top to bottom and arranged in such a way that you can look anywhere in the image to focus on a certain part of the story yet also be able to follow along from top to bottom to watch how the story unfolds throughout the image, the platforms should all be made of an elegant slightly reflective light wooden floor and white walls like a contemporary art museum, as each path segment moves upwards into place it is revealed that it is built on reflective chrome columns, lighting in the room is dark except for a single spotlight following the penguins and thin neon tube lighting around the edge of each triangle platform placed just below the floor level so that when the platforms divide and descend it reveals the neon light from the platform behind it which lights up the edges of the newly formed triangles and makes their form clear to the viewer's eye, some more neon lights inside the edge of the gap left by the path segments rising to form the path, the large dark triangle that makes up the upper right corner should be divided repeatedly by subtly glowing lines in a similar structure to the main layout but moving in the opposite direction as if to suggest that the 45-45-90 triangle on which the whole structure is based is being gradually disintegrated over time into a series of smaller identical triangles and emotionally relatable architecture as a frame for the penguins at the center to make them seem like the protagonist of the piece even though the true protagonist is the triangle itself, in the style of shapiro500, isometric 3d, beautiful lighting, best quality, masterpiece, hyperdetailed 4k, octane render” but I don't have Sora access so I made it by hand with Cinema 4D instead$

Wow Sora is so amazing, I wanted to really push it to the limits and see how it would handle a very complex prompt: “A 45-45-90 right triangle divides in half within itself repeatedly to create an organized fractal structure with self similarity, increasing in size from small at the top left to large at the bottom right, the whole structure is gradually growing from the top left point as the origin to create a seamless loop over 8 seconds, the individual triangles form platforms like a staircase descending downwards and have small rounded corners, as they move towards the bottom of the screen they each divide in half and one half moves downwards slightly to create another step and then the halves should divide in half again and one moves downwards to create one more step, after the second division curved cut-outs inside the triangles emerge upwards in a mechanical motion to form a continuous winding curved path towards the top of the structure, the edges of the path cutouts should be visible in the floor before they emerge so the viewer can anticipate the path being formed, after the path pieces move into place three Adélie penguins hop upwards along the path chasing a bright turquoise butterfly, the penguins should be hopping like the penguins in the following videos [ and should be progressing up the path while staying visually centered onscreen, the animation of the triangle platforms dividing and path forming and penguins hopping should be visually clear from top to bottom and arranged in such a way that you can look anywhere in the image to focus on a certain part of the story yet also be able to follow along from top to bottom to watch how the story unfolds throughout the image, the platforms should all be made of an elegant slightly reflective light wooden floor and white walls like a contemporary art museum, as each path segment moves upwards into place it is revealed that it is built on reflective chrome columns, lighting in the room is dark except for a single spotlight following the penguins and thin neon tube lighting around the edge of each triangle platform placed just below the floor level so that when the platforms divide and descend it reveals the neon light from the platform behind it which lights up the edges of the newly formed triangles and makes their form clear to the viewer's eye, some more neon lights inside the edge of the gap left by the path segments rising to form the path, the large dark triangle that makes up the upper right corner should be divided repeatedly by subtly glowing lines in a similar structure to the main layout but moving in the opposite direction as if to suggest that the 45-45-90 triangle on which the whole structure is based is being gradually disintegrated over time into a series of smaller identical triangles and emotionally relatable architecture as a frame for the penguins at the center to make them seem like the protagonist of the piece even though the true protagonist is the triangle itself, in the style of shapiro500, isometric 3d, beautiful lighting, best quality, masterpiece, hyperdetailed 4k, octane render” but I don't have Sora access so I made it by hand with Cinema 4D instead

Gavin Shapiro 🐧

176,904 Aufrufe • vor 2 Jahren

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

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

Cohen Brawley

46,070 Aufrufe • vor 2 Jahren

So as it turns out... Diddy Kong Racing has some really badass reverb DSP effects that get applied to sounds emitted while driving within tunnels or enclosed spaces. SO WHAT ABOUT ON THE SEGA DREAMCAST? Well, check out this direct hardware capture, and listen very closely to what honking the horn sounds like as I drive through the tunnel! But we're already essentially emulating the N64's RSP coprocessor with DKR DC, which was handling audio tasks such as ADPCM decoding, mixing, resampling, and more... purely in software on the SH4. The SH4 is also responsible for all TnL on the Dreamcast, so it's doing graphics, gameplay, and now audio processing, PLUS DSP effects? And we're trying to hit a solid 30FPS target? How tf we planning to pull that one off? ...with GAINZ, of course! This one was pretty insane. The algorithm on the left is the actual fixed-precision loop which gets run by a DSP, essentially applying a function of some coefficients, a gain, and the value of the previous sample to the compute the value of the current sample. Since sample N depends on sample N - 1, the loop is fundamentally sequential, plus the values are all integer-based with fixed-precision, not acceleratable floats for our FPU... So check mate? We're fucked? I guess Bruce is gonna wind up dropping reverb to improve FPS after all? NOT SO FAST. As it turns out, I was able to still achieve a 1.5x speedup over the standard implementation, leveraging every trick I've ever known for the SH4's FPU with SH4ZAM vector math library. 1) All arithmetic and intermediate values went from integers to floats, so that they can use the SH4's FPU. 2) I was able to tease out the independent values and cofactors used for calculating FOUR samples at once by unrolling the loop to 4 iterations, and preloading the XMTRX 4x4 matrix back-bank with a lower-triangular transform matrix containing the cofactors. 3) I was able to cram 4 samples at a time into a 4D vector, which I then transform against the constant XMTRX cofactors with shz_xmtrx_transform_vec4(), which results in only single ASM instruction, FTRV, getting emitted to transform the 4D vector by the entire 4x4 XMTRX, thus doing the majority of the work to calculate 4 freaking output samples with ONE instruction. 4) I was able to strategically prefetch both the source and destination buffers while doing FPU work, in order to keep the caches fed. 5) The clamping... was the trickiest part. I had to calculate all 4 output values WITHOUT the clamping, then check for any required clamping post-transform.. but the problem is that if sample N gets clamped, then the value of sample N + 1 will change as well... and we just computed 4 nonclamped results in parallel... By abusing the goto statement and labels, I was able to efficiently jump to a label which would clamp all of the values following a component that was found to require clamping, but avoiding recomputing and reclamping the previously assessed values that were within the clamping threshold. The result? Yet again, the 200Mhz SH4 has carried another load that it was never intended to bear... and it looks like we WILL be keeping reverb in Diddy Kong Racing for the Sega Dreamcast! 💪

So as it turns out... Diddy Kong Racing has some really badass reverb DSP effects that get applied to sounds emitted while driving within tunnels or enclosed spaces. SO WHAT ABOUT ON THE SEGA DREAMCAST? Well, check out this direct hardware capture, and listen very closely to what honking the horn sounds like as I drive through the tunnel! But we're already essentially emulating the N64's RSP coprocessor with DKR DC, which was handling audio tasks such as ADPCM decoding, mixing, resampling, and more... purely in software on the SH4. The SH4 is also responsible for all TnL on the Dreamcast, so it's doing graphics, gameplay, and now audio processing, PLUS DSP effects? And we're trying to hit a solid 30FPS target? How tf we planning to pull that one off? ...with GAINZ, of course! This one was pretty insane. The algorithm on the left is the actual fixed-precision loop which gets run by a DSP, essentially applying a function of some coefficients, a gain, and the value of the previous sample to the compute the value of the current sample. Since sample N depends on sample N - 1, the loop is fundamentally sequential, plus the values are all integer-based with fixed-precision, not acceleratable floats for our FPU... So check mate? We're fucked? I guess Bruce is gonna wind up dropping reverb to improve FPS after all? NOT SO FAST. As it turns out, I was able to still achieve a 1.5x speedup over the standard implementation, leveraging every trick I've ever known for the SH4's FPU with SH4ZAM vector math library. 1) All arithmetic and intermediate values went from integers to floats, so that they can use the SH4's FPU. 2) I was able to tease out the independent values and cofactors used for calculating FOUR samples at once by unrolling the loop to 4 iterations, and preloading the XMTRX 4x4 matrix back-bank with a lower-triangular transform matrix containing the cofactors. 3) I was able to cram 4 samples at a time into a 4D vector, which I then transform against the constant XMTRX cofactors with shz_xmtrx_transform_vec4(), which results in only single ASM instruction, FTRV, getting emitted to transform the 4D vector by the entire 4x4 XMTRX, thus doing the majority of the work to calculate 4 freaking output samples with ONE instruction. 4) I was able to strategically prefetch both the source and destination buffers while doing FPU work, in order to keep the caches fed. 5) The clamping... was the trickiest part. I had to calculate all 4 output values WITHOUT the clamping, then check for any required clamping post-transform.. but the problem is that if sample N gets clamped, then the value of sample N + 1 will change as well... and we just computed 4 nonclamped results in parallel... By abusing the goto statement and labels, I was able to efficiently jump to a label which would clamp all of the values following a component that was found to require clamping, but avoiding recomputing and reclamping the previously assessed values that were within the clamping threshold. The result? Yet again, the 200Mhz SH4 has carried another load that it was never intended to bear... and it looks like we WILL be keeping reverb in Diddy Kong Racing for the Sega Dreamcast! 💪

Falco Girgis

14,871 Aufrufe • vor 2 Monaten

$CSS Tip! 🤯 You can create a CSS-only version of this balance slider using a scroll animation on the underlying input[type=range] 🚀 ::-webkit-slider-thumb { view-timeline: --thumb inline; } Scroll animation driven by the slider thumb animates a number between the "min" and "max" of the range 😅 @property --value { inherits: true; initial-value: 0; syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so all the parts of the control can use it! .control { timeline-scope: --thumb; } Use that value in a counter which is used for the labels. Create a low and a high for each side 😇 .control__label { counter-reset: low var(--value) high calc(100 - var(--value)); } .control__label::before { content: "COFFEE " counter(low) "%"; } .control__label::after { content: counter(high) "% MILK"; } That's the magic of updating the label values ✨ For the big track, it's a fake track. You can make use of the same --value property and do some calc() to work out the width of each part. .control__track::before { width: calc(var(--value) * 1% - 0.5rem); background: var(--coffee); border-radius: 4px; transition: width 0.1s; } The width leaves a little gap for the indicator piece 🤙 The color calculation for --coffee isn't too wild but again you can use the same --value .control__track { --coffee: hsl(24 74% calc( 24% + (30% * ((100 - var(--value, 0)) / 100)) / 1 ) / 0.4); } Now for the last piece. Making the track change height. You could set up another custom property and animate its value using the --thumb timeline too 🔥 @property --shift { initial-value: 0; inherits: true; syntax: ' '; } @keyframes shift { 0%, 31%, 61%, 100% { --shift: 0; } 32%, 60% { --shift: 1; } } Then use that --shift to update the translation of the label and height of the track 🤓 .label { transform: translateY(calc(var(--shift) * 50%)); transition: transform var(--speed) var(--timing); } Cool part here is that you can use the control to work out the @keyframes percentages 😅 Oh. And the timing for that little bounce? Use the linear() function 😎 :root { --timing: linear( 0, 0.5007 7.21%, 0.7803 12.29%, 0.8883 14.93%, 0.9724 17.63%, 1.0343 20.44%, 1.0754 23.44%, 1.0898 25.22%, 1.0984 27.11%, 1.1014 29.15%, 1.0989 31.4%, 1.0854 35.23%, 1.0196 48.86%, 1.0043 54.06%, 0.9956 59.6%, 0.9925 68.11%, 1 ); } Should probably do a video on this one. Lots of little custom property tricks for sure! 💯 It's not too far off the range slider with the tooltip that came up previously As always, any questions, let me know! Also, this one only works in Chrome currently ✅🥲 This one's a bit rocket science ha 🚀 CodePen.IO link below! 👇$

CSS Tip! 🤯 You can create a CSS-only version of this balance slider using a scroll animation on the underlying input[type=range] 🚀 ::-webkit-slider-thumb { view-timeline: --thumb inline; } Scroll animation driven by the slider thumb animates a number between the "min" and "max" of the range 😅 @property --value { inherits: true; initial-value: 0; syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so all the parts of the control can use it! .control { timeline-scope: --thumb; } Use that value in a counter which is used for the labels. Create a low and a high for each side 😇 .controllabel { counter-reset: low var(--value) high calc(100 - var(--value)); } .controllabel::before { content: "COFFEE " counter(low) "%"; } .controllabel::after { content: counter(high) "% MILK"; } That's the magic of updating the label values ✨ For the big track, it's a fake track. You can make use of the same --value property and do some calc() to work out the width of each part. .controltrack::before { width: calc(var(--value) * 1% - 0.5rem); background: var(--coffee); border-radius: 4px; transition: width 0.1s; } The width leaves a little gap for the indicator piece 🤙 The color calculation for --coffee isn't too wild but again you can use the same --value .control__track { --coffee: hsl(24 74% calc( 24% + (30% * ((100 - var(--value, 0)) / 100)) / 1 ) / 0.4); } Now for the last piece. Making the track change height. You could set up another custom property and animate its value using the --thumb timeline too 🔥 @property --shift { initial-value: 0; inherits: true; syntax: ' '; } @keyframes shift { 0%, 31%, 61%, 100% { --shift: 0; } 32%, 60% { --shift: 1; } } Then use that --shift to update the translation of the label and height of the track 🤓 .label { transform: translateY(calc(var(--shift) * 50%)); transition: transform var(--speed) var(--timing); } Cool part here is that you can use the control to work out the @keyframes percentages 😅 Oh. And the timing for that little bounce? Use the linear() function 😎 :root { --timing: linear( 0, 0.5007 7.21%, 0.7803 12.29%, 0.8883 14.93%, 0.9724 17.63%, 1.0343 20.44%, 1.0754 23.44%, 1.0898 25.22%, 1.0984 27.11%, 1.1014 29.15%, 1.0989 31.4%, 1.0854 35.23%, 1.0196 48.86%, 1.0043 54.06%, 0.9956 59.6%, 0.9925 68.11%, 1 ); } Should probably do a video on this one. Lots of little custom property tricks for sure! 💯 It's not too far off the range slider with the tooltip that came up previously As always, any questions, let me know! Also, this one only works in Chrome currently ✅🥲 This one's a bit rocket science ha 🚀 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

377,871 Aufrufe • vor 2 Jahren

Vibe Coding a AAA game with threejs Day 10: Deep dive into world authoring What started as a "i need terrain to build a racing game" slowly evolved to an open world Take a last look at the buildings, because they are getting kicked out next for some really good ones (i don't know how yet, but i'm confident gpt will tell me, but i feel like blender will be involved, ughhh) Anyways, fully reworked the road system, it is now a graph and junctions, bridges, elevations etc. are first class. Previous demos were filled with me carefully placing the race tracks, deleting them, placing them again, and again, until they were okay to show for a demo. Not so fun behind the camera! It's now basically using a very similar system to cities skylines 2, which has really nailed the perfect UX to build road systems. It's also much more flexible now and i believe the world editor can be used for much more than racing games: Rail networks (train game?) or maybe a 3rd person open world game? or actually another cities skylines? who knows, feels like i got a moat on the web now We'll see, after yesterday i've received lots of requests to open source it Which i may actually do at any time if i feel like it, but not for now. There's so many interesting problems with world modeling, i feel like i finally found a rabbit hole worth diving into for a long time! Might have to delay the human designer app until the point where i need humans in the city, we'll see, it'll all eventually come together - it always does Anyways, not gatekeeping, if you have ANY questions on how i solve things, feel free to ask! Also i will open source the procedural buildings soon, i really don't need them anymore

Vibe Coding a AAA game with threejs Day 10: Deep dive into world authoring What started as a "i need terrain to build a racing game" slowly evolved to an open world Take a last look at the buildings, because they are getting kicked out next for some really good ones (i don't know how yet, but i'm confident gpt will tell me, but i feel like blender will be involved, ughhh) Anyways, fully reworked the road system, it is now a graph and junctions, bridges, elevations etc. are first class. Previous demos were filled with me carefully placing the race tracks, deleting them, placing them again, and again, until they were okay to show for a demo. Not so fun behind the camera! It's now basically using a very similar system to cities skylines 2, which has really nailed the perfect UX to build road systems. It's also much more flexible now and i believe the world editor can be used for much more than racing games: Rail networks (train game?) or maybe a 3rd person open world game? or actually another cities skylines? who knows, feels like i got a moat on the web now We'll see, after yesterday i've received lots of requests to open source it Which i may actually do at any time if i feel like it, but not for now. There's so many interesting problems with world modeling, i feel like i finally found a rabbit hole worth diving into for a long time! Might have to delay the human designer app until the point where i need humans in the city, we'll see, it'll all eventually come together - it always does Anyways, not gatekeeping, if you have ANY questions on how i solve things, feel free to ask! Also i will open source the procedural buildings soon, i really don't need them anymore

robot 2.0

43,872 Aufrufe • vor 3 Monaten

After some people expressed doubts about the usage I reported, I tried the same prompt with GPT-6-Astra (Max) again. This time, it worked for 46 minutes and consumed 3% of my weekly usage (91% -> 88%). I will share the prompt here so you can test it for yourself. Make sure to have Godot installed and run it in an empty folder. Prompt: Create a visually spectacular, highly polished 3D Sonic the Hedgehog vertical slice in Godot. Do not use web search, external downloads, online assets, or internet resources. Build everything using only locally available tools, assets, and procedural/original content. Sonic must be immediately recognizable: cobalt-blue quills, connected eyes, tan muzzle/torso, white gloves, oversized red shoes with white straps, compact athletic proportions, swept-back quills, expressive animation, iconic running posture, and spin form. Prioritize a polished character model, strong materials, expressive animation, smooth blending, and excellent lighting. Focus the entire game on speed, momentum, responsive controls, and fluid traversal. Include high-speed running, acceleration, drifting, jumping, homing attacks, spin dash, rolling, boost-style acceleration, springs, dash pads, grind rails, loops, wall-running, ramps, launch sequences, enemies that can be chained with homing attacks, and rings placed along ideal racing lines. Preserve momentum and avoid sticky collisions or unnecessary stops. Create one exceptional tropical coastal level rather than several smaller ones. Include ocean vistas, waterfalls, green cliffs, palms, flowers, checker-patterned rock, ruins, caves, loops, rails, bridges, tunnels, beaches, and dramatic vertical terrain. The world should feel large and continuous, with multiple routes and higher-skill shortcuts. Structure the level around memorable moments: - Cliffside opening overlooking the level - Long downhill acceleration section - Giant loop and corkscrew - Rail grinding above the ocean - Airborne homing-attack chain - Cave or ancient-ruin section - Vertical wall run - Huge waterfall jump - Final high-speed sprint Make speed feel spectacular with restrained speed lines, wind trails, particles, grass/dust effects, camera banking, subtle FOV expansion, environmental reactions, and readable motion effects. Sonic's animation should evolve naturally from jogging into an iconic forward-leaning sprint while maintaining believable terrain contact on slopes, loops, rails, and walls. Use polished animation for idle, walk, jog, sprint, boost, jump, fall, landing, spin, homing attack, grinding, drifting, spring launches, stumbling, and victory. Use squash, stretch, anticipation, and follow-through while keeping the presentation sophisticated. Target the feel of a premium modern console platformer: vibrant stylized visuals, strong PBR materials, dynamic sunlight, soft shadows, fog, ocean reflections, spray, vegetation movement, particles, ambient occlusion, tasteful bloom, rich color, and cinematic composition. Keep the tone colorful, optimistic, energetic, and larger than life. Include interactive cinematic moments such as collapsing terrain, dramatic loop camera pulls, rail grinding high above the ocean, waterfall jumps, scattering birds, debris during boosts, and huge aerial reveals without taking control away from the player for long. The highest priority is joyful control and AAA Graphics. The player should constantly want to accelerate, discover faster routes, hit ramps, chain attacks, grind rails, and replay sections more cleanly. Favor responsive movement, spectacle, momentum, and traversal polish over unnecessary systems. When details are unspecified, choose whatever produces the most impressive, energetic, polished, and unmistakably Sonic-like result possible in Godot.

After some people expressed doubts about the usage I reported, I tried the same prompt with GPT-6-Astra (Max) again. This time, it worked for 46 minutes and consumed 3% of my weekly usage (91% -> 88%). I will share the prompt here so you can test it for yourself. Make sure to have Godot installed and run it in an empty folder. Prompt: Create a visually spectacular, highly polished 3D Sonic the Hedgehog vertical slice in Godot. Do not use web search, external downloads, online assets, or internet resources. Build everything using only locally available tools, assets, and procedural/original content. Sonic must be immediately recognizable: cobalt-blue quills, connected eyes, tan muzzle/torso, white gloves, oversized red shoes with white straps, compact athletic proportions, swept-back quills, expressive animation, iconic running posture, and spin form. Prioritize a polished character model, strong materials, expressive animation, smooth blending, and excellent lighting. Focus the entire game on speed, momentum, responsive controls, and fluid traversal. Include high-speed running, acceleration, drifting, jumping, homing attacks, spin dash, rolling, boost-style acceleration, springs, dash pads, grind rails, loops, wall-running, ramps, launch sequences, enemies that can be chained with homing attacks, and rings placed along ideal racing lines. Preserve momentum and avoid sticky collisions or unnecessary stops. Create one exceptional tropical coastal level rather than several smaller ones. Include ocean vistas, waterfalls, green cliffs, palms, flowers, checker-patterned rock, ruins, caves, loops, rails, bridges, tunnels, beaches, and dramatic vertical terrain. The world should feel large and continuous, with multiple routes and higher-skill shortcuts. Structure the level around memorable moments: - Cliffside opening overlooking the level - Long downhill acceleration section - Giant loop and corkscrew - Rail grinding above the ocean - Airborne homing-attack chain - Cave or ancient-ruin section - Vertical wall run - Huge waterfall jump - Final high-speed sprint Make speed feel spectacular with restrained speed lines, wind trails, particles, grass/dust effects, camera banking, subtle FOV expansion, environmental reactions, and readable motion effects. Sonic's animation should evolve naturally from jogging into an iconic forward-leaning sprint while maintaining believable terrain contact on slopes, loops, rails, and walls. Use polished animation for idle, walk, jog, sprint, boost, jump, fall, landing, spin, homing attack, grinding, drifting, spring launches, stumbling, and victory. Use squash, stretch, anticipation, and follow-through while keeping the presentation sophisticated. Target the feel of a premium modern console platformer: vibrant stylized visuals, strong PBR materials, dynamic sunlight, soft shadows, fog, ocean reflections, spray, vegetation movement, particles, ambient occlusion, tasteful bloom, rich color, and cinematic composition. Keep the tone colorful, optimistic, energetic, and larger than life. Include interactive cinematic moments such as collapsing terrain, dramatic loop camera pulls, rail grinding high above the ocean, waterfall jumps, scattering birds, debris during boosts, and huge aerial reveals without taking control away from the player for long. The highest priority is joyful control and AAA Graphics. The player should constantly want to accelerate, discover faster routes, hit ramps, chain attacks, grind rails, and replay sections more cleanly. Favor responsive movement, spectacle, momentum, and traversal polish over unnecessary systems. When details are unspecified, choose whatever produces the most impressive, energetic, polished, and unmistakably Sonic-like result possible in Godot.

AiBattle

58,401 Aufrufe • vor 22 Tagen

Just created an AAA gameplay concept using Seedance 2.5 on Pollo AI Prompt; Create a 30-second, 16:9, 1080p ultra-realistic AAA third-person action-adventure gameplay video. The footage must look like a polished game capture from Unreal Engine 5, not an AI-generated cinematic. VISUAL QUALITY PRIORITY: Sharp, high-resolution 3D graphics, crisp textures, detailed character geometry, realistic PBR materials, natural game-engine lighting, accurate shadows, clean edges, stable character identity, consistent clothing, realistic physics, and smooth gameplay animation. Avoid blurry textures, plastic-looking characters, excessive bloom, soft focus, artificial sharpening, heavy motion blur, and overdone cinematic effects. CHARACTER: A young Korean woman in her early 20s with long black hair, wearing a practical charcoal adventure tunic with muted crimson details, fitted black trousers, leather boots, and a moonstone pendant. Preserve the uploaded reference character’s face, hairstyle, identity, proportions, and outfit consistently throughout the video. WORLD: A fictional ancient Korean mountain kingdom filled with misty pine forests, waterfalls, stone stairways, traditional Korean-inspired architecture, ruined mountain temples, wooden bridges, and a massive fortress. The world should feel detailed, explorable, and physically believable. SEQUENCE 0–4 seconds: The woman sprints up a damaged stone staircase toward an ancient mountain fortress. She jumps across a broken section, grabs a ledge, climbs up, and enters a ruined courtyard. On-screen objective: “REACH THE MOON SHRINE.” 4–8 seconds: She discovers a glowing pale-blue moonstone inside an ancient shrine. She picks it up, triggering mechanical stone structures and glowing symbols. On-screen text: “RELIC ACQUIRED.” 8–12 seconds: The ground cracks open. A colossal supernatural white tiger guardian emerges from the ruins. Its fur, muscles, eyes, and movements look realistic and highly detailed. The camera briefly reveals its enormous scale. On-screen text: “MOUNTAIN GUARDIAN AWAKENED.” 12–17 seconds: The tiger destroys part of the fortress. The woman dodges falling timber, slides beneath a collapsing structure, jumps across a broken bridge, grabs a hanging rope, and swings over a deep ravine. Maintain clear, readable gameplay action. 17–21 seconds: Her moonstone pendant activates a controlled ability called Moonstep. She performs a fast supernatural dash across several broken platforms, leaving a subtle blue energy trail. On-screen text: “MOONSTEP UNLOCKED.” 21–25 seconds: The guardian chases her across the mountain ruins. It leaps between platforms, sending rocks and debris into the air. She performs a precise dodge roll and narrowly avoids a powerful energy strike. Keep the action sharp and easy to follow. 25–28 seconds: She draws a short ancient sword, evades the tiger’s attack, and strikes the glowing moonstone weak point near its shoulder. A blue pulse exposes the weak point. On-screen text: “WEAK POINT EXPOSED.” 28–30 seconds: The guardian roars and prepares another attack as the woman takes a defensive stance. The camera settles into a clear third-person gameplay view. On-screen objective: “DEFEAT THE MOUNTAIN GUARDIAN.” End as an active boss battle begins. CAMERA AND GAMEPLAY: Third-person over-the-shoulder gameplay camera, responsive movement, readable action, smooth transitions, realistic animation, consistent scale, and natural camera shake during impacts. Use cinematic framing only when it supports gameplay clarity. STRICT NEGATIVE REQUIREMENTS: No anime, cartoon style, cel shading, mobile-game graphics, first-person view, guns, modern technology, gore, subtitles, dialogue, logos, watermarks, black bars, random scene changes, disconnected montage shots, duplicated characters, face changes, outfit changes, floating objects, teleportation, unrealistic physics, muddy visuals, excessive fog, excessive bloom, or artificial-looking CGI. The final result must resemble authentic high-budget AAA fantasy game footage with excellent sharpness and clarity.

Just created an AAA gameplay concept using Seedance 2.5 on Pollo AI Prompt; Create a 30-second, 16:9, 1080p ultra-realistic AAA third-person action-adventure gameplay video. The footage must look like a polished game capture from Unreal Engine 5, not an AI-generated cinematic. VISUAL QUALITY PRIORITY: Sharp, high-resolution 3D graphics, crisp textures, detailed character geometry, realistic PBR materials, natural game-engine lighting, accurate shadows, clean edges, stable character identity, consistent clothing, realistic physics, and smooth gameplay animation. Avoid blurry textures, plastic-looking characters, excessive bloom, soft focus, artificial sharpening, heavy motion blur, and overdone cinematic effects. CHARACTER: A young Korean woman in her early 20s with long black hair, wearing a practical charcoal adventure tunic with muted crimson details, fitted black trousers, leather boots, and a moonstone pendant. Preserve the uploaded reference character’s face, hairstyle, identity, proportions, and outfit consistently throughout the video. WORLD: A fictional ancient Korean mountain kingdom filled with misty pine forests, waterfalls, stone stairways, traditional Korean-inspired architecture, ruined mountain temples, wooden bridges, and a massive fortress. The world should feel detailed, explorable, and physically believable. SEQUENCE 0–4 seconds: The woman sprints up a damaged stone staircase toward an ancient mountain fortress. She jumps across a broken section, grabs a ledge, climbs up, and enters a ruined courtyard. On-screen objective: “REACH THE MOON SHRINE.” 4–8 seconds: She discovers a glowing pale-blue moonstone inside an ancient shrine. She picks it up, triggering mechanical stone structures and glowing symbols. On-screen text: “RELIC ACQUIRED.” 8–12 seconds: The ground cracks open. A colossal supernatural white tiger guardian emerges from the ruins. Its fur, muscles, eyes, and movements look realistic and highly detailed. The camera briefly reveals its enormous scale. On-screen text: “MOUNTAIN GUARDIAN AWAKENED.” 12–17 seconds: The tiger destroys part of the fortress. The woman dodges falling timber, slides beneath a collapsing structure, jumps across a broken bridge, grabs a hanging rope, and swings over a deep ravine. Maintain clear, readable gameplay action. 17–21 seconds: Her moonstone pendant activates a controlled ability called Moonstep. She performs a fast supernatural dash across several broken platforms, leaving a subtle blue energy trail. On-screen text: “MOONSTEP UNLOCKED.” 21–25 seconds: The guardian chases her across the mountain ruins. It leaps between platforms, sending rocks and debris into the air. She performs a precise dodge roll and narrowly avoids a powerful energy strike. Keep the action sharp and easy to follow. 25–28 seconds: She draws a short ancient sword, evades the tiger’s attack, and strikes the glowing moonstone weak point near its shoulder. A blue pulse exposes the weak point. On-screen text: “WEAK POINT EXPOSED.” 28–30 seconds: The guardian roars and prepares another attack as the woman takes a defensive stance. The camera settles into a clear third-person gameplay view. On-screen objective: “DEFEAT THE MOUNTAIN GUARDIAN.” End as an active boss battle begins. CAMERA AND GAMEPLAY: Third-person over-the-shoulder gameplay camera, responsive movement, readable action, smooth transitions, realistic animation, consistent scale, and natural camera shake during impacts. Use cinematic framing only when it supports gameplay clarity. STRICT NEGATIVE REQUIREMENTS: No anime, cartoon style, cel shading, mobile-game graphics, first-person view, guns, modern technology, gore, subtitles, dialogue, logos, watermarks, black bars, random scene changes, disconnected montage shots, duplicated characters, face changes, outfit changes, floating objects, teleportation, unrealistic physics, muddy visuals, excessive fog, excessive bloom, or artificial-looking CGI. The final result must resemble authentic high-budget AAA fantasy game footage with excellent sharpness and clarity.

Jack

34,152 Aufrufe • vor 9 Tagen

$Our current timeline began in the 1800s. All modern "inventions" we see today are rehashed versions of what already existed in ancient times, stripped of its sovereignty-producing aspects, and drip-fed back to us in a lower-vibration, monetizeable form for optimal loosh production. (NOTE: The parasites cannot create. They can only subvert, so they wait for the divinely-ensouled humans to use their inherent creative energy to build new, consciousness-increasing technologies, which can then be captured & subverted into consciousness-DECREASING technologies during the next reset cycle. Their ultimate goal is to create the lowest-consciousness living environment possible, in order to squeeze maximum loosh out of that cycle's soul harvest. This is not an easy operation for the parasites to keep running, however, and just like any video game final boss, the top brass has exploitable weaknesses, as (A) the souls in this loosh farm have an extremely strong internal desire to break free from the loop they're imprisoned within, and (B) every reset deployed burns through a huge amount of loosh reserves. Not to mention, the background Black Hat alliances involved in keeping the system running are also a vulnerable house of cards, but that's a whole different conversation for another day.) Bringing us back to the technology-subversion loop we call "innovation"... The clearest example of this process, is all tech around ENERGY. If you've been following my posts for a while, you know that the narrative telling us electricity as we know it was kicked off by the invention of the lightbulb in the late-19th century, is a hilariously-false lie. In reality, that was just one example of the mass-rehashing of subverted ancient tech. Before the 1800s reset, all energy/electricity production & distribution was far more sophisticated than what we have now, and was designed to be FREE and harmonious with Earth's natural electric resonance. Following the last reset, the free energy grid from the previous civilization(s) have been deactivated, dismantled, and stripped from the Tartarian/Old World buildings, most*** aetheric transport has been shitcanned under false flags (ex: the staged Hindenburg "disaster" for airships), the expansive multi-city pneumatic-powered underground transport systems have been completely built over and replaced with trains that pump consciousness-suppressing AC frequencies into its 9-to-5 zombified passengers, etc... ***Some aetheric transport technologies were KEPT, and are still in use today, but have a phony story of fuel-consumption built around them as a means of siphoning financial energy out of passengers. The most glaring example of this is the modern aviation industry. For those who didn't know, modern commercial airliners use practically zero fuel. They only need a tiny bit to get off the ground, then once in the air, switch to free energy mode and run purely on high-altitude aether. Pilots are completely unaware this is happening due to the design of the planes, the construction of which is consolidated into a small group of in-cahoots, parasite-connected companies. (This is a whole rabbit hole on its own that will blow your brains out if you haven't looked into it yet...check out the "Jet Fuel Hoax" playlist on my Rumble channel for the deep-dive) Anyways, to review, all electricity on Earth has been downgraded into a fractured, inefficient Alternating Current (AC) form, which allows the parasitic controllers to (A) charge the human cattle money for it via their meter-based control grid, and (B) keep our cells & pineal glands under a constant state of damaging stress, as AC current (unlike the "cold" form of electricity from the Old World), produces electromagnetic frequencies that are destructive to human biology. As a final mocking touch to this modern energy grid theft & switch, the pylons used to distribute the AC powerlines across the world, are baphomet-shaped. If you thought that was just a coincidence...bless your heart. Zooming back out to the bigger historical picture once again (this has turned into a very scattered rant, bear with me lol)... Earth has been clean-wipe reset and restarted from scratch SEVERAL different times over the last roughly 6,000 years since the 3D holographic overlay was installed. Based on my personal research, I'm leaning toward there being 7 past major resets deployed in total, and we are currently locked in a war to prevent #8. But the debate is ongoing, and I'm fully open to adjusting this estimate. The signs of there definitely being MORE than just 2-3 resets as some believe, are everywhere for those with the eyes to see. Cities-turned-gutted-quarries like the Grand Canyon, petrified giants & chopped-down titan trees in some places, melted buildings in others, mudflood-BURIED buildings in others still, seashells atop mountains proving massive floods that covered the entire realm...I could go on. The reason why history is such a daunting puzzle to solve, is because we aren't just looking at one gradual timeline...we're looking at SEVERAL completely different timelines all piled on top of each other, each containing different civilizations, different destroyed technology remnants, different races (many of which non-human), all meeting different demises, over different centuries/millennia. And if it wasn't obvious by now...ALL of the official history books are useless, as different stories/A.I.-written religious texts are fabricated & mass-distributed as a core part of each reset operation, each with their own fake lore, in order to give each new population iteration a fabricated tale of a gradual ascension/family tree preceding them (as well as fake gods to keep them on their knees praying for an external savior), which ultimately is to prevent each new crop of human-vesseled souls from understanding the reality of the reset-looping world they just spawned into. (Search my posts on the 1800s "Orphan Trains" for more on the most recent example of this process being conducted at scale). To summarize all of this in the most blunt way possible, it appears as if whoever (or whatever) is managing the Earth realm, is haphazardly pressing different buttons on a video game controller every few hundred years, shooting off all sorts of different types of cataclysms left and right, in what can be broadly categorized as a "Sims"-like simulation environment. I know all of this is a very dark, jarring realization once the dots start connecting in your brain...but it's important to remember that there is no reason to despair, as CYCLES ARE MEANT TO BE BROKEN, and just because this one has been going for an extremely long time in human-lifetime terms...does NOT mean it's unstoppable. To the contrary, actually. We are NOT powerless pawns in this process, but active participants in it, primarily due to lack of education, and the repeated falling into the same parasite-laid traps that prevent us from awakening to our true potential, rising up, and blowing the whole game to smithereens. There are many threads pointing toward a huge shift happening behind the scenes as we speak, which is actively crippling the most critical power structures that were provably involved in at least the most recent 1800s reset, if not ALL of them. In short, as humans placed on this Earth with consciousness and problem-solving ability, I believe it's our highest duty to figure out what in the world is going on with this constantly-repeating cataclysm loop, WHO or WHAT is at the helm of it, and how we escape the cycle, so we can finally discover our true spiritual & dimensional potential as free beings without restraint. Personally, despite all of the above text-vomit having a doozy of a depressing tone...I am VERY optimistic that we are on the verge of destroying the doom-loop once and for all, and ushering in a future more beautiful than any of us can imagine under our current, intentionally-devolved 3D brainstate. But until we fully-realize this bright future through our collective rising in frequency, there is no doubt that, up until this point, we have, for millennia, been ragdolled all over the place at the whim of a mysterious reset-button-presser, and once again find ourselves scratching our heads trying to figure out what the hell happened before us considering the carnage we see everywhere...just as every other previously-reset population surely did at one point as well. But the past does not dictate the future. It provides us with information on how we can CREATE our own, desired future. What happens next is up to us. Keep learning, keep spreading your ascension-energy with those around you, and as always, STAY LOCKED IN. -B ~ ~ ~ [video cred: MY LUNCH BREAK]$

Our current timeline began in the 1800s. All modern "inventions" we see today are rehashed versions of what already existed in ancient times, stripped of its sovereignty-producing aspects, and drip-fed back to us in a lower-vibration, monetizeable form for optimal loosh production. (NOTE: The parasites cannot create. They can only subvert, so they wait for the divinely-ensouled humans to use their inherent creative energy to build new, consciousness-increasing technologies, which can then be captured & subverted into consciousness-DECREASING technologies during the next reset cycle. Their ultimate goal is to create the lowest-consciousness living environment possible, in order to squeeze maximum loosh out of that cycle's soul harvest. This is not an easy operation for the parasites to keep running, however, and just like any video game final boss, the top brass has exploitable weaknesses, as (A) the souls in this loosh farm have an extremely strong internal desire to break free from the loop they're imprisoned within, and (B) every reset deployed burns through a huge amount of loosh reserves. Not to mention, the background Black Hat alliances involved in keeping the system running are also a vulnerable house of cards, but that's a whole different conversation for another day.) Bringing us back to the technology-subversion loop we call "innovation"... The clearest example of this process, is all tech around ENERGY. If you've been following my posts for a while, you know that the narrative telling us electricity as we know it was kicked off by the invention of the lightbulb in the late-19th century, is a hilariously-false lie. In reality, that was just one example of the mass-rehashing of subverted ancient tech. Before the 1800s reset, all energy/electricity production & distribution was far more sophisticated than what we have now, and was designed to be FREE and harmonious with Earth's natural electric resonance. Following the last reset, the free energy grid from the previous civilization(s) have been deactivated, dismantled, and stripped from the Tartarian/Old World buildings, most* aetheric transport has been shitcanned under false flags (ex: the staged Hindenburg "disaster" for airships), the expansive multi-city pneumatic-powered underground transport systems have been completely built over and replaced with trains that pump consciousness-suppressing AC frequencies into its 9-to-5 zombified passengers, etc... *Some aetheric transport technologies were KEPT, and are still in use today, but have a phony story of fuel-consumption built around them as a means of siphoning financial energy out of passengers. The most glaring example of this is the modern aviation industry. For those who didn't know, modern commercial airliners use practically zero fuel. They only need a tiny bit to get off the ground, then once in the air, switch to free energy mode and run purely on high-altitude aether. Pilots are completely unaware this is happening due to the design of the planes, the construction of which is consolidated into a small group of in-cahoots, parasite-connected companies. (This is a whole rabbit hole on its own that will blow your brains out if you haven't looked into it yet...check out the "Jet Fuel Hoax" playlist on my Rumble channel for the deep-dive) Anyways, to review, all electricity on Earth has been downgraded into a fractured, inefficient Alternating Current (AC) form, which allows the parasitic controllers to (A) charge the human cattle money for it via their meter-based control grid, and (B) keep our cells & pineal glands under a constant state of damaging stress, as AC current (unlike the "cold" form of electricity from the Old World), produces electromagnetic frequencies that are destructive to human biology. As a final mocking touch to this modern energy grid theft & switch, the pylons used to distribute the AC powerlines across the world, are baphomet-shaped. If you thought that was just a coincidence...bless your heart. Zooming back out to the bigger historical picture once again (this has turned into a very scattered rant, bear with me lol)... Earth has been clean-wipe reset and restarted from scratch SEVERAL different times over the last roughly 6,000 years since the 3D holographic overlay was installed. Based on my personal research, I'm leaning toward there being 7 past major resets deployed in total, and we are currently locked in a war to prevent #8. But the debate is ongoing, and I'm fully open to adjusting this estimate. The signs of there definitely being MORE than just 2-3 resets as some believe, are everywhere for those with the eyes to see. Cities-turned-gutted-quarries like the Grand Canyon, petrified giants & chopped-down titan trees in some places, melted buildings in others, mudflood-BURIED buildings in others still, seashells atop mountains proving massive floods that covered the entire realm...I could go on. The reason why history is such a daunting puzzle to solve, is because we aren't just looking at one gradual timeline...we're looking at SEVERAL completely different timelines all piled on top of each other, each containing different civilizations, different destroyed technology remnants, different races (many of which non-human), all meeting different demises, over different centuries/millennia. And if it wasn't obvious by now...ALL of the official history books are useless, as different stories/A.I.-written religious texts are fabricated & mass-distributed as a core part of each reset operation, each with their own fake lore, in order to give each new population iteration a fabricated tale of a gradual ascension/family tree preceding them (as well as fake gods to keep them on their knees praying for an external savior), which ultimately is to prevent each new crop of human-vesseled souls from understanding the reality of the reset-looping world they just spawned into. (Search my posts on the 1800s "Orphan Trains" for more on the most recent example of this process being conducted at scale). To summarize all of this in the most blunt way possible, it appears as if whoever (or whatever) is managing the Earth realm, is haphazardly pressing different buttons on a video game controller every few hundred years, shooting off all sorts of different types of cataclysms left and right, in what can be broadly categorized as a "Sims"-like simulation environment. I know all of this is a very dark, jarring realization once the dots start connecting in your brain...but it's important to remember that there is no reason to despair, as CYCLES ARE MEANT TO BE BROKEN, and just because this one has been going for an extremely long time in human-lifetime terms...does NOT mean it's unstoppable. To the contrary, actually. We are NOT powerless pawns in this process, but active participants in it, primarily due to lack of education, and the repeated falling into the same parasite-laid traps that prevent us from awakening to our true potential, rising up, and blowing the whole game to smithereens. There are many threads pointing toward a huge shift happening behind the scenes as we speak, which is actively crippling the most critical power structures that were provably involved in at least the most recent 1800s reset, if not ALL of them. In short, as humans placed on this Earth with consciousness and problem-solving ability, I believe it's our highest duty to figure out what in the world is going on with this constantly-repeating cataclysm loop, WHO or WHAT is at the helm of it, and how we escape the cycle, so we can finally discover our true spiritual & dimensional potential as free beings without restraint. Personally, despite all of the above text-vomit having a doozy of a depressing tone...I am VERY optimistic that we are on the verge of destroying the doom-loop once and for all, and ushering in a future more beautiful than any of us can imagine under our current, intentionally-devolved 3D brainstate. But until we fully-realize this bright future through our collective rising in frequency, there is no doubt that, up until this point, we have, for millennia, been ragdolled all over the place at the whim of a mysterious reset-button-presser, and once again find ourselves scratching our heads trying to figure out what the hell happened before us considering the carnage we see everywhere...just as every other previously-reset population surely did at one point as well. But the past does not dictate the future. It provides us with information on how we can CREATE our own, desired future. What happens next is up to us. Keep learning, keep spreading your ascension-energy with those around you, and as always, STAY LOCKED IN. -B ~ ~ ~ [video cred: MY LUNCH BREAK]

Ben Wehrman

63,253 Aufrufe • vor 2 Monaten

THE OVAL OFFICE BETRAYAL: TRUMP’S "PEARL HARBOR" ATTACK ON JAPAN 🚨 They want you to believe in a "Global Alliance." The truth? Our allies are being treated like conquered subjects and "surprise" punchlines in the Oval Office. 🕵️‍♂️ THE PLAYERS - Subject: The humiliation of PM Sanae Takaichi - The Victims: 125 million Japanese citizens - The Villains: The Central Bank-Military Industrial Complex THE ULTIMATE INSULT (💀) The mask didn't just slip—it was shredded. When asked why he kept Japan in the dark regarding the Iran strikes, Trump looked PM Takaichi in the eye and snapped: WHY DIDN'T YOU TELL ME ABOUT PEARL HARBOR? It gets darker—insiders claim he couldn't even remember her name, dismissively calling her MISS BROTHER OF HER and MS. PEARL HARBOR behind closed doors. THE GEOPOLITICAL CAGE (🛡️) Why does Japan swallow this venom? Because they are physically trapped. Boxed in by China and North Korea, they are forced into a toxic, abusive marriage for the nuclear umbrella. They are being gutted from the inside out by a "protector" that views their leader as a disposable joke. THE PATTERN (🔥) This is the 1980s playbook on steroids. Per Richard Werner in PRINCES OF THE YEN, the U.S. and unelected Bank of Japan bureaucrats previously colluded to pump a massive bubble—then intentionally crashed the economy to force "structural reforms." They are doing it again, sacrificing Japanese sovereignty to maintain American dominance. THE EVIDENCE (📊) Werner’s research proves central banks aren't "independent"—they are weapons used to break nations. The full truth is so radioactive that mainstream platforms suppress his uncensored work. Japan is being drained to fund a war machine they never asked for. 📅 THE BOILING POINT: MARCH 19, 2026. 1. Retweet if you stand against geopolitical slavery. 2. Reply with END THE FED. 3. Tag Richard Werner to expose the central bank scheme. #Japan #Trump #GME #princesofyen #PearlHarbor #SanaeTakaichi Entertainment purposes only • DYOR Would you like me to generate a "leaked memo" style image to accompany this post

THE OVAL OFFICE BETRAYAL: TRUMP’S "PEARL HARBOR" ATTACK ON JAPAN 🚨 They want you to believe in a "Global Alliance." The truth? Our allies are being treated like conquered subjects and "surprise" punchlines in the Oval Office. 🕵️‍♂️ THE PLAYERS - Subject: The humiliation of PM Sanae Takaichi - The Victims: 125 million Japanese citizens - The Villains: The Central Bank-Military Industrial Complex THE ULTIMATE INSULT (💀) The mask didn't just slip—it was shredded. When asked why he kept Japan in the dark regarding the Iran strikes, Trump looked PM Takaichi in the eye and snapped: WHY DIDN'T YOU TELL ME ABOUT PEARL HARBOR? It gets darker—insiders claim he couldn't even remember her name, dismissively calling her MISS BROTHER OF HER and MS. PEARL HARBOR behind closed doors. THE GEOPOLITICAL CAGE (🛡️) Why does Japan swallow this venom? Because they are physically trapped. Boxed in by China and North Korea, they are forced into a toxic, abusive marriage for the nuclear umbrella. They are being gutted from the inside out by a "protector" that views their leader as a disposable joke. THE PATTERN (🔥) This is the 1980s playbook on steroids. Per Richard Werner in PRINCES OF THE YEN, the U.S. and unelected Bank of Japan bureaucrats previously colluded to pump a massive bubble—then intentionally crashed the economy to force "structural reforms." They are doing it again, sacrificing Japanese sovereignty to maintain American dominance. THE EVIDENCE (📊) Werner’s research proves central banks aren't "independent"—they are weapons used to break nations. The full truth is so radioactive that mainstream platforms suppress his uncensored work. Japan is being drained to fund a war machine they never asked for. 📅 THE BOILING POINT: MARCH 19, 2026. 1. Retweet if you stand against geopolitical slavery. 2. Reply with END THE FED. 3. Tag Richard Werner to expose the central bank scheme. #Japan #Trump #GME #princesofyen #PearlHarbor #SanaeTakaichi Entertainment purposes only • DYOR Would you like me to generate a "leaked memo" style image to accompany this post

Eronima

38,484 Aufrufe • vor 6 Monaten

🎬 Whimsical Reverie | Preview: Dawning Heartlight >> Main Attribute: Elegant 🦁 Outfit Details [Dawning Heartlight] can be evolved into the following outfits: [Dawning Heartlight: Empty Cocoon] (Stage 1), [Dawning Heartlight: Falling Flame] (Stage 2), and [Dawning Heartlight: Renewed Gleam] (Stage 3). Fully glow it up to obtain the [Dawning Heartlight: Fledgling] outfit. 🦁 Outfit Ability After using the ability, Nikki summons a golden-maned lion, which enters Follow Mode. Nikki can freely switch between four modes: Follow, Mount, Hover, and Sprint. While in Mount Mode, she can switch to Sprint Mode, greatly increasing movement speed. Use the Hover button to leap into the air and enter Hover Mode. While hovering, use the ability button to select a target and dive toward it. Press the Hover button again to end Hover Mode and land. In Ability Settings, Smart Mount Mode can be enabled. When enabled, pressing the ability button will switch directly between mounting and dismounting without entering Follow Mode. Mount via Interact can also be enabled, allowing the Interact button to be used for mounting and dismounting. Even after switching to another ability, the Interact button can still be used to mount or dismount. When disabled, mounting can only be controlled with the ability button. ❖ Special Effect: In the open world, after Nikki fires a charged arrow while riding the golden-maned lion, the lion will let out a roar, knocking back Esselings within a certain area ahead and briefly slowing Whimstars within a certain surrounding area. Note: The [Gilded Dawnchaser: Mount] ability cannot be used in Realm Challenges or any boss stages. Hover Mode is unavailable in uncleared dungeons. 🦁 Resonance Rewards Based on your number of Resonance attempts in [At Dreams' Dawn], you can earn rewards such as [Dawning Heartlight: Makeup], [Momo's Cloak: Radiant Wish], and the decoration [Sacred Heartyard]. This decoration can be placed in open spaces for photography and display. 🦁 Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Wings Renewed]. Reaching Evolution Stage 2 unlocks [Feather's Wish] for Momo's Camera: Framed Moment and the decoration [Sacred Heartyard: Radiance], which features a new look, special effect colors, and interactive animations. Reaching Evolution Stage 3 unlocks [Wishful Wind Ballad: Makeup], a new idle animation, the poses [Longing for the Light], [Weaving Dreamlight], and [Echoes Within], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.8 Golden Dust launches globally on July 16 (UTC-7)! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #GoldenDust #GoldenCity

🎬 Whimsical Reverie | Preview: Dawning Heartlight >> Main Attribute: Elegant 🦁 Outfit Details [Dawning Heartlight] can be evolved into the following outfits: [Dawning Heartlight: Empty Cocoon] (Stage 1), [Dawning Heartlight: Falling Flame] (Stage 2), and [Dawning Heartlight: Renewed Gleam] (Stage 3). Fully glow it up to obtain the [Dawning Heartlight: Fledgling] outfit. 🦁 Outfit Ability After using the ability, Nikki summons a golden-maned lion, which enters Follow Mode. Nikki can freely switch between four modes: Follow, Mount, Hover, and Sprint. While in Mount Mode, she can switch to Sprint Mode, greatly increasing movement speed. Use the Hover button to leap into the air and enter Hover Mode. While hovering, use the ability button to select a target and dive toward it. Press the Hover button again to end Hover Mode and land. In Ability Settings, Smart Mount Mode can be enabled. When enabled, pressing the ability button will switch directly between mounting and dismounting without entering Follow Mode. Mount via Interact can also be enabled, allowing the Interact button to be used for mounting and dismounting. Even after switching to another ability, the Interact button can still be used to mount or dismount. When disabled, mounting can only be controlled with the ability button. ❖ Special Effect: In the open world, after Nikki fires a charged arrow while riding the golden-maned lion, the lion will let out a roar, knocking back Esselings within a certain area ahead and briefly slowing Whimstars within a certain surrounding area. Note: The [Gilded Dawnchaser: Mount] ability cannot be used in Realm Challenges or any boss stages. Hover Mode is unavailable in uncleared dungeons. 🦁 Resonance Rewards Based on your number of Resonance attempts in [At Dreams' Dawn], you can earn rewards such as [Dawning Heartlight: Makeup], [Momo's Cloak: Radiant Wish], and the decoration [Sacred Heartyard]. This decoration can be placed in open spaces for photography and display. 🦁 Evolution Rewards Reaching Evolution Stage 1 unlocks the pose [Wings Renewed]. Reaching Evolution Stage 2 unlocks [Feather's Wish] for Momo's Camera: Framed Moment and the decoration [Sacred Heartyard: Radiance], which features a new look, special effect colors, and interactive animations. Reaching Evolution Stage 3 unlocks [Wishful Wind Ballad: Makeup], a new idle animation, the poses [Longing for the Light], [Weaving Dreamlight], and [Echoes Within], plus enhanced special effects and alternative details for certain pieces. —— ➤ Infinity Nikki Version 2.8 Golden Dust launches globally on July 16 (UTC-7)! ➤ Download Now: ➤ Join us on Facebook Group: #InfinityNikki #GoldenDust #GoldenCity

Infinity Nikki

60,142 Aufrufe • vor 2 Monaten

Something amazing is coming to Apache Kafka… Consumer Groups v2! If you’ve ever used consumer groups in production at any non-trivial scale, you probably know all the problems with it: - ⛔️ Group-wide synchronization barrier acts as a cap on scalability A single misbehaving consumer can disturb the whole group. Even if you have cooperative rebalancing and static membership enabled, you will still have rebalances happen. 🤷‍♂️ It’s a fact of life I've heard - death, taxes & consumer group rebalances. And the problem is that even with cooperative rebalancing (which helped a lot!), you’re bound on waiting for the slowest member of the group to complete the rebalance(s). 🐌 The problem is that no consumer can commit offsets while a rebalance is in progress. ❌ Another subtle thing is that with cooperative rebalancing, a rebalance will take longer than usual. Why? Because consumers are allowed to process partitions during rebalances. They will call the poll() method more infrequently -- they're busy processing records after all. Thus, the overall rebalance time will increase. This makes it pretty hard to scale to 1000s of members. - 🤯 Complexity There’s a reason you’re reading this! The current protocol is pretty complex and hard to understand. It's used for a bunch of stuff, including metadata propagation in Kafka Streams. This compexity results in more: - 🐛 bugs The harder to reason about and the more moving parts you have - the greater chance for bugs. There have been quite a few in the protocol. And due to the fact that a lot of the protocol’s logic lives on the clients, that results in: - 🐌 slow fixes Bugs require client-side fixes, which are slow to be adopted. If you run a Kafka ops team, you know how hard it is to get all of your clients' teams to upgrade! If you're using a cloud service, you need to wait for a new Kafka release to go out. Can't have the cloud provider handle it for you behind the scenes! - 🔍 hard to debug Debugging is harder because you need client logs. In the cloud, that's hard to do again. On-prem, it requires reading through a lot of logs and collecting a lot of files. - ⚙️ very extendable There’s a reusable embedded protocol within the rebalance protocol, where clients are free to attach raw bytes that only they can then parse themselves. It's challenging to build compatible software for this cross-client protocol, as well as near-impossible to inspect from the broker side. - 😢 inconsistent metadata Clients are responsible for triggering rebalances based on the metadata, but different clients can have different views of the metadata. - 😵‍💫 interoperability Different implementations of the clients (i.e. anything besides the Java client) may have bugs. The complex logic needs to be re-implemented quite a few times. This usually means more bugs and slower time to ship features in your favorite client. A combination nobody likes. ... So what should an open source community do? Move the logic to the broker! Then? Simplify it. The new protocol is very elegant - it streamlines all of the regular Kafka consumer logic inside a new heartbeat API. It has the broker decide what partition assignments the consumers should have, and totally omits the notion of a Group Leader client. Another major change is that the notion of a group-wide rebalance is removed now. The rebalance is more fine-grained now. 👌 When you think about it, a rebalance is simply a reassignment of some partitions from some consumers to others. 💡 Why does the whole group need to stop and know about this? It had to before because the logic was on the client. It doesn’t now. 🎂 The new protocol is fine-grained in its assignments. It maintains per-member epochs, as well as separate epochs for the general group membership and the global assignment. The goal is simple - get all of those epoch numbers to be the same. The order is the following: 1. the group-wide epoch is bumped. 2. the target assignment epoch is bumped. 3. individual consumers catch up to the epoch via the heartbeat request, individually. (fine-grained) In general, what you have is a simple state machine inside the Group Coordinator broker that’s running a constant reconciliation loop. 💥 Because every member converges to the target state independently, the coordinator is free to simplify that convergence member by member. 👍 It has the logic to resolve dependencies between members - the act of: 1. revoking one member’s partition. 2. confirming the success of that. 3. bumping that member's epoch before assigning that partition to another consumer. Here is an example visual of what happens when two members join a consumer group one by one:

Something amazing is coming to Apache Kafka… Consumer Groups v2! If you’ve ever used consumer groups in production at any non-trivial scale, you probably know all the problems with it: - ⛔️ Group-wide synchronization barrier acts as a cap on scalability A single misbehaving consumer can disturb the whole group. Even if you have cooperative rebalancing and static membership enabled, you will still have rebalances happen. 🤷‍♂️ It’s a fact of life I've heard - death, taxes & consumer group rebalances. And the problem is that even with cooperative rebalancing (which helped a lot!), you’re bound on waiting for the slowest member of the group to complete the rebalance(s). 🐌 The problem is that no consumer can commit offsets while a rebalance is in progress. ❌ Another subtle thing is that with cooperative rebalancing, a rebalance will take longer than usual. Why? Because consumers are allowed to process partitions during rebalances. They will call the poll() method more infrequently -- they're busy processing records after all. Thus, the overall rebalance time will increase. This makes it pretty hard to scale to 1000s of members. - 🤯 Complexity There’s a reason you’re reading this! The current protocol is pretty complex and hard to understand. It's used for a bunch of stuff, including metadata propagation in Kafka Streams. This compexity results in more: - 🐛 bugs The harder to reason about and the more moving parts you have - the greater chance for bugs. There have been quite a few in the protocol. And due to the fact that a lot of the protocol’s logic lives on the clients, that results in: - 🐌 slow fixes Bugs require client-side fixes, which are slow to be adopted. If you run a Kafka ops team, you know how hard it is to get all of your clients' teams to upgrade! If you're using a cloud service, you need to wait for a new Kafka release to go out. Can't have the cloud provider handle it for you behind the scenes! - 🔍 hard to debug Debugging is harder because you need client logs. In the cloud, that's hard to do again. On-prem, it requires reading through a lot of logs and collecting a lot of files. - ⚙️ very extendable There’s a reusable embedded protocol within the rebalance protocol, where clients are free to attach raw bytes that only they can then parse themselves. It's challenging to build compatible software for this cross-client protocol, as well as near-impossible to inspect from the broker side. - 😢 inconsistent metadata Clients are responsible for triggering rebalances based on the metadata, but different clients can have different views of the metadata. - 😵‍💫 interoperability Different implementations of the clients (i.e. anything besides the Java client) may have bugs. The complex logic needs to be re-implemented quite a few times. This usually means more bugs and slower time to ship features in your favorite client. A combination nobody likes. ... So what should an open source community do? Move the logic to the broker! Then? Simplify it. The new protocol is very elegant - it streamlines all of the regular Kafka consumer logic inside a new heartbeat API. It has the broker decide what partition assignments the consumers should have, and totally omits the notion of a Group Leader client. Another major change is that the notion of a group-wide rebalance is removed now. The rebalance is more fine-grained now. 👌 When you think about it, a rebalance is simply a reassignment of some partitions from some consumers to others. 💡 Why does the whole group need to stop and know about this? It had to before because the logic was on the client. It doesn’t now. 🎂 The new protocol is fine-grained in its assignments. It maintains per-member epochs, as well as separate epochs for the general group membership and the global assignment. The goal is simple - get all of those epoch numbers to be the same. The order is the following: 1. the group-wide epoch is bumped. 2. the target assignment epoch is bumped. 3. individual consumers catch up to the epoch via the heartbeat request, individually. (fine-grained) In general, what you have is a simple state machine inside the Group Coordinator broker that’s running a constant reconciliation loop. 💥 Because every member converges to the target state independently, the coordinator is free to simplify that convergence member by member. 👍 It has the logic to resolve dependencies between members - the act of: 1. revoking one member’s partition. 2. confirming the success of that. 3. bumping that member's epoch before assigning that partition to another consumer. Here is an example visual of what happens when two members join a consumer group one by one:

Stanislav Kozlovski

52,814 Aufrufe • vor 3 Jahren

Backrooms Nemoris S1E01: It Eats Light I've spent the last six months working in secret on this pilot episode for a new Backrooms canon. We premiered this week in Toronto and a it's now available on all platforms: a new Magnific Originals series! This is quite possibly the most complex project I've ever taken on in my life. Yep, even if that sounds like an exaggeration, it took even more effort than building the first version of Magnific Upscaler. I had never before tried to bring such a concrete, specific vision to the screen while pushing the current state of the art as far as possible. Every scene you see in this episode, every object, every movement of a character's hands, every space, every hum of the fluorescent lights... it's all there for a very specific reason, with absolute control and intention on my part. I never imagined that something that looks so simple on the surface could be so incredibly complicated. The script is my own, based on the original Backrooms concept (the iconic 4chan image) but developed to create an entirely new canon from scratch. In this first episode, I reveal barely more around 5% of the overall puzzle, so you may end up thinking: what the f*ck did I just watch? Or you may need multiple viewings to pick up on some extra clues, because several of them are genuinely hidden. The idea is to create a full 10 episode series, an anthology, and have you, the viewers, gradually piece together the puzzle yourselves as the clues are revealed. Beyond the video and image generations, I did all of the editing in DaVinci Resolve, with particular attention to the sound. I'd say around 60% of the time I spent on this project went into sound. In some scenes, there are more than 13 stereo tracks layered at the same time, using sounds I recorded myself or created and edited from generations and foley libraries. Every sound, every voice, and every gasp is designed to pull you into the world of the story and make you feel like you're actually there. That meant spending an enormous amount of time on sound design, thinking about things like the individual position of each sound in space, EQ, reverb to simulate different environments, the sense of immersion, etc. I've never learned so much about something so quickly. As for the generations, a few numbers: • 12 hours of total generated video for 17 minutes of final footage 🤯 • More than 7,000 generations in total. • An average of around 60 generations for every 15 seconds of final footage. • 6 months of work, including many weekends, with just one person behind the whole thing... I almost lost my mind. • Platform: Magnific, of course. Models: mainly Seedance 2.0 and 2.5 for video generations, and Nano Banana Pro and Seedream 5 for image references. • Approximately $20,000 in total token costs, not including the value of my own time. For the next episodes, I can't do this alone again or I'll go crazy. My plan is to put together a small team: voice actors, a colorist, 3D VFX artists, a sound designer, and, in general, people from the traditional film industry who can help us professionalize our pipeline and take this story to another level. If you're reading this and you think you might be interested, please leave a comment. Ah! If you have any technical questions about how this was made, I'd be happy to answer them. Feel free to ask me anything you like! Anyway, I'll leave you with the episode. For the love of everything holy: please watch it at home, relaxed, on a big screen, with a good sound system or a quality pair of headphones, the lights off, and some popcorn. And most importantly, enjoy. Nemus te reddat!

Backrooms Nemoris S1E01: It Eats Light I've spent the last six months working in secret on this pilot episode for a new Backrooms canon. We premiered this week in Toronto and a it's now available on all platforms: a new Magnific Originals series! This is quite possibly the most complex project I've ever taken on in my life. Yep, even if that sounds like an exaggeration, it took even more effort than building the first version of Magnific Upscaler. I had never before tried to bring such a concrete, specific vision to the screen while pushing the current state of the art as far as possible. Every scene you see in this episode, every object, every movement of a character's hands, every space, every hum of the fluorescent lights... it's all there for a very specific reason, with absolute control and intention on my part. I never imagined that something that looks so simple on the surface could be so incredibly complicated. The script is my own, based on the original Backrooms concept (the iconic 4chan image) but developed to create an entirely new canon from scratch. In this first episode, I reveal barely more around 5% of the overall puzzle, so you may end up thinking: what the f*ck did I just watch? Or you may need multiple viewings to pick up on some extra clues, because several of them are genuinely hidden. The idea is to create a full 10 episode series, an anthology, and have you, the viewers, gradually piece together the puzzle yourselves as the clues are revealed. Beyond the video and image generations, I did all of the editing in DaVinci Resolve, with particular attention to the sound. I'd say around 60% of the time I spent on this project went into sound. In some scenes, there are more than 13 stereo tracks layered at the same time, using sounds I recorded myself or created and edited from generations and foley libraries. Every sound, every voice, and every gasp is designed to pull you into the world of the story and make you feel like you're actually there. That meant spending an enormous amount of time on sound design, thinking about things like the individual position of each sound in space, EQ, reverb to simulate different environments, the sense of immersion, etc. I've never learned so much about something so quickly. As for the generations, a few numbers: • 12 hours of total generated video for 17 minutes of final footage 🤯 • More than 7,000 generations in total. • An average of around 60 generations for every 15 seconds of final footage. • 6 months of work, including many weekends, with just one person behind the whole thing... I almost lost my mind. • Platform: Magnific, of course. Models: mainly Seedance 2.0 and 2.5 for video generations, and Nano Banana Pro and Seedream 5 for image references. • Approximately $20,000 in total token costs, not including the value of my own time. For the next episodes, I can't do this alone again or I'll go crazy. My plan is to put together a small team: voice actors, a colorist, 3D VFX artists, a sound designer, and, in general, people from the traditional film industry who can help us professionalize our pipeline and take this story to another level. If you're reading this and you think you might be interested, please leave a comment. Ah! If you have any technical questions about how this was made, I'd be happy to answer them. Feel free to ask me anything you like! Anyway, I'll leave you with the episode. For the love of everything holy: please watch it at home, relaxed, on a big screen, with a good sound system or a quality pair of headphones, the lights off, and some popcorn. And most importantly, enjoy. Nemus te reddat!

Javi Lopez ⛩️

1,240,202 Aufrufe • vor 9 Tagen

A Circulated Video as Further Evidence of the Terrorist Nature of the Rapid Support Militia, and Why What Is Happening in Sudan Is Not a Civil War A recently circulated video has spread widely across Sudanese social media platforms, adding to an accumulating body of evidence documenting the violence and threats endured by Sudanese civilians for more than three years at the hands of the Rapid Support Militia (Janjaweed), which is backed by the United Arab Emirates. The footage shows three individuals. One of them, wearing the uniform of the Rapid Support Militia, is speaking to a well-known figure within the militia known by the nickname “Yajooj and Majooj.” This exchange is marked by explicit threats directed at the city of Omdurman. It begins with repeated statements about their intention to “enter on asphalt,” accompanied by assertions that they will not back down, followed by talk of “returning” to Omdurman as they had entered it before. This rhetoric, with its direct threats against civilians, clearly reflects the terrorist mindset prevailing within the militia. Within this exchange, the speaker addresses the people of Omdurman directly, stating that they have heard that residents “have gained weight, put on fat, rebuilt the city, and made it flourish again.” This statement constitutes an explicit admission that the Rapid Support Militia had previously destroyed the city, and that subsequent recovery came as a result of civilians returning and rebuilding after liberation by the Sudanese Armed Forces. This admission is immediately weaponized within a provocative threat, through the claim that the militia withdrew and deliberately allowed residents to “grow their feathers,” in preparation for returning to cut those feathers. It is widely known that the Rapid Support Militia left Khartoum and Omdurman after suffering a crushing defeat at the hands of the Sudanese Armed Forces. Nevertheless, this rhetoric is used to terrorize civilians, by threatening return, destruction, and revenge, and by transforming a military withdrawal into a tool of psychological intimidation directed at the population. The discourse then escalates to an even more explicit and dangerous level, as Yajooj and Majooj openly embraces looting, stating, “If you call us shafshafa, then we are shafshafa.” The term shafshafa is a colloquial expression referring to thugs and highway robbers who carry out violent looting outside any legal framework. This is followed by a direct threat of total destruction, as he declares that they will leave nothing behind, not even the bricks of Omdurman itself, expressing a clear intent to physically erase the city. The threats extend further to include historical and religious landmarks, with talk of removing them and taking them to Nyala. This rhetoric reflects a consistent pattern in the militia’s behavior, in which looting is presented as a deliberate choice, destruction is framed as an objective, cities are treated as spoils of war, and civilians are addressed as targets for collective punishment. These statements align with what has been documented on the ground across Sudan. Omdurman, Khartoum, Wad Madani, and large parts of Darfur have been subjected to systematic looting, arson, killings, sexual violence, and campaigns of intimidation that directly targeted civilians. What is said in this video corresponds closely with survivor testimonies, journalistic investigations, satellite imagery, and reports by humanitarian organizations. This video, along with many others, confirms that what is happening in Sudan is not a “civil war” between equal parties. Rather, it is organized violence carried out by an armed terrorist militia against civilian populations. This violence would not have reached its scale or persistence without direct external support from the authorities in Abu Dhabi, which enabled the militia to continue killing, looting, and terrorizing civilians. This support has manifested through funding, logistical assistance, the provision of weapons and mobility, as well as political and media cover, effectively prolonging the violence, turning cities into zones of systematic abuse, and forcing civilians to pay the price for this empowerment. This context further underscores that there is no moral, legal, or factual equivalence between the Sudanese Armed Forces and the Rapid Support Militia. The former is a state institution, while the latter is built on looting, intimidation, and destruction. For Sudanese people, this video is not shocking. However, it adds yet another documented piece of evidence to a long and well-established record of violations. #Sudan #RSFisTerroristOrganization #UAEKillsSudanesePeople #UAESponsorsTerrorism

A Circulated Video as Further Evidence of the Terrorist Nature of the Rapid Support Militia, and Why What Is Happening in Sudan Is Not a Civil War A recently circulated video has spread widely across Sudanese social media platforms, adding to an accumulating body of evidence documenting the violence and threats endured by Sudanese civilians for more than three years at the hands of the Rapid Support Militia (Janjaweed), which is backed by the United Arab Emirates. The footage shows three individuals. One of them, wearing the uniform of the Rapid Support Militia, is speaking to a well-known figure within the militia known by the nickname “Yajooj and Majooj.” This exchange is marked by explicit threats directed at the city of Omdurman. It begins with repeated statements about their intention to “enter on asphalt,” accompanied by assertions that they will not back down, followed by talk of “returning” to Omdurman as they had entered it before. This rhetoric, with its direct threats against civilians, clearly reflects the terrorist mindset prevailing within the militia. Within this exchange, the speaker addresses the people of Omdurman directly, stating that they have heard that residents “have gained weight, put on fat, rebuilt the city, and made it flourish again.” This statement constitutes an explicit admission that the Rapid Support Militia had previously destroyed the city, and that subsequent recovery came as a result of civilians returning and rebuilding after liberation by the Sudanese Armed Forces. This admission is immediately weaponized within a provocative threat, through the claim that the militia withdrew and deliberately allowed residents to “grow their feathers,” in preparation for returning to cut those feathers. It is widely known that the Rapid Support Militia left Khartoum and Omdurman after suffering a crushing defeat at the hands of the Sudanese Armed Forces. Nevertheless, this rhetoric is used to terrorize civilians, by threatening return, destruction, and revenge, and by transforming a military withdrawal into a tool of psychological intimidation directed at the population. The discourse then escalates to an even more explicit and dangerous level, as Yajooj and Majooj openly embraces looting, stating, “If you call us shafshafa, then we are shafshafa.” The term shafshafa is a colloquial expression referring to thugs and highway robbers who carry out violent looting outside any legal framework. This is followed by a direct threat of total destruction, as he declares that they will leave nothing behind, not even the bricks of Omdurman itself, expressing a clear intent to physically erase the city. The threats extend further to include historical and religious landmarks, with talk of removing them and taking them to Nyala. This rhetoric reflects a consistent pattern in the militia’s behavior, in which looting is presented as a deliberate choice, destruction is framed as an objective, cities are treated as spoils of war, and civilians are addressed as targets for collective punishment. These statements align with what has been documented on the ground across Sudan. Omdurman, Khartoum, Wad Madani, and large parts of Darfur have been subjected to systematic looting, arson, killings, sexual violence, and campaigns of intimidation that directly targeted civilians. What is said in this video corresponds closely with survivor testimonies, journalistic investigations, satellite imagery, and reports by humanitarian organizations. This video, along with many others, confirms that what is happening in Sudan is not a “civil war” between equal parties. Rather, it is organized violence carried out by an armed terrorist militia against civilian populations. This violence would not have reached its scale or persistence without direct external support from the authorities in Abu Dhabi, which enabled the militia to continue killing, looting, and terrorizing civilians. This support has manifested through funding, logistical assistance, the provision of weapons and mobility, as well as political and media cover, effectively prolonging the violence, turning cities into zones of systematic abuse, and forcing civilians to pay the price for this empowerment. This context further underscores that there is no moral, legal, or factual equivalence between the Sudanese Armed Forces and the Rapid Support Militia. The former is a state institution, while the latter is built on looting, intimidation, and destruction. For Sudanese people, this video is not shocking. However, it adds yet another documented piece of evidence to a long and well-established record of violations. #Sudan #RSFisTerroristOrganization #UAEKillsSudanesePeople #UAESponsorsTerrorism

Sudanese Echo

19,343 Aufrufe • vor 7 Monaten

Everytime you see the "Where is Kate Middleton?" and the conspiracies, smile my dears, because there is a greater implication here. After 5 months of public Bullying, Press pressures, Public Pressures and Palace pressures, NO ONE can tell you anything tangible about the princess; not the press, not the courtiers, no one. Prince William has indeed remained Catherine's Relentless protector and defender🔥 He has kept his promise to Catherine that •she would have surgery in complete privacy; •be in and out of the hospital in complete privacy; • Be back home to recover in complete privacy; • That he would take care of their children and handle everything while she focus on her recovery on complete privacy🤩 We are 5 months into 2024, and Catherine, as the Most High Profile future Queen in the World, has enjoyed a privacy that was not given to any other royal women or wife of an Heir apparent EVER in History. This is not thanks to the press; this is not even thanks to the Palace. It is because her Husband has refused to serve her on a platter and has not let himself be cowered by outside nor inside pressures on him to relent. As his mentor and Frmr Private secretary Jamie Lowther-Pinkerton already said of Him: "William was always someone of deeply impressive maturity[...] There are many examples of when I worked for William where it would have been very easy to take one route, but it wouldn’t have been the honorable or the right thing to do; so he took the more difficult route."❤️ Prince William proved his private secretary right indeed. He chose the most difficult path when it came to protecting Catherine because it was the right thing to do. The Easiest path would have been to give the press what they want: access to Catherine to take her pictures so they can make money of her and dissect her ad nauseam while she recovers. Instead, he chose to do the one thing that would anger them and bring their wrath on him: He gave them No access and No explanations🔥 William EVEN dared to take a mother's day picture of his OWN wife and children HIMSELF; How dare he..😏🤡 The Fact is, Catherine has Privacy ONLY because Prince William held strong for his family to remain at peace during this time of turmoil. In 2012 during their Pacific Royal tour, Catherine was once again victim of the Press attacks and violation of her privacy when the french magazine, The Closer, published topless pictures of her while on vacation with William. The DM editor, Rebecca English, quizzed him about the situation and it was then that Prince William revealed that Prior to marrying her, he had given his word to her parents that he would protect her at all costs and take care of her; a promise he continues to stand by❤️ Just this month, a friend of the RF revealed pretty much nothing to People Mag when he said that "Prince William is keeping his inner circle tight during a challenging chapter." The Source added: "He is not leaning on too many others"😏 Another source closer to the Wales said: "The Prince of Wales is relying heavily on the "nuclear family unit" of his immediate family of five and Kate’s supportive family: her parents Carole and Michael Middleton and her siblings Pippa and James"🔥 Who could blame him? He has to keep quiet since he knows everyone wants to know what he knows. So he is right to rely on the people who will never betray him nor Catherine: The Middletons. A daft post was asking "why are the Middletons not asking where their daughter is?" Why would they, Dimmy?🤡 They know exactly where she is and probably what she ate today. The Middletons have do not talk because they KNOW what is going on and are protecting their OWN Daughter, alongside William😏 So when you see people asking where she is, remember that the Future King kept his promise to his Wife; and a Man who will keep his promises to his wife and children, will keep his promises to his country and to the Monarchy☕️ 📹Tokkianami

Canellecitadelle

371,889 Aufrufe • vor 2 Jahren