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render skin

Lisana|| commission open||

14,266 subscribers

453,889 görüntüleme • 1 ay önce •via X (Twitter)

Anya Rossi• Live Now

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12 Yorum

GreenHero3485 profil fotoğrafı

GreenHero34851 ay önce

You're making it seem very easy. 😭 its not

Lisana|| commission open|| profil fotoğrafı

Lisana|| commission open||1 ay önce

😭😭

Grim Grey (Rock Crimson) profil fotoğrafı

Grim Grey (Rock Crimson)1 ay önce

How alluringly stunningly beautifully amazing!!

Lisana|| commission open|| profil fotoğrafı

Lisana|| commission open||1 ay önce

Thank you

Grim Grey (Rock Crimson) profil fotoğrafı

Grim Grey (Rock Crimson)1 ay önce

Thank you too for this wonderful sight!

💔Witches with Glitches🥀 profil fotoğrafı

💔Witches with Glitches🥀1 ay önce

OH MY GOD (sorry) watching this just unlocked a part of my brain with rendering that i never considered before thank you 😭😭 i gotta test if my epiphany is true now 😵‍💫

Lisana|| commission open|| profil fotoğrafı

Lisana|| commission open||1 ay önce

Really.!That's awesome

RiriGurin ✦ profil fotoğrafı

RiriGurin ✦1 ay önce

I’m obsessed with how soft the rendering looks

Lisana|| commission open|| profil fotoğrafı

Lisana|| commission open||1 ay önce

Really! Thank you!

Nana🩵(cmm open) profil fotoğrafı

Nana🩵(cmm open)1 ay önce

this tummy is so yummy (ㅅ˙³˙)♡ I love this soft looking render and ur lines are so alive... I'm in love (*´˘`*)♡

Lisana|| commission open|| profil fotoğrafı

Lisana|| commission open||1 ay önce

Hehe thank you♥️♥️

Lisana|| commission open|| profil fotoğrafı

Lisana|| commission open||1 ay önce

My brushes are available here

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Every time a new AI model demonstrates an ability to manipulate or generate media, it's celebrated as if we're witnessing these capabilities for the first time. This framing misses a crucial point: most of these capabilities have existed for decades. We just used different technology to accomplish them. What's changing now is that AI is allowing media generation and editing to be more accessible to many more - both in terms of cost and ease of use. Take David Fincher's The Social Network from 2010. The Winklevoss twins were played by two different actors, but Armie Hammer's face was digitally placed onto Josh Pence's body. What we call deepfakes today was just traditional VFX pipelines then. The process involved high-resolution facial scanning, detailed 3D modeling, precise facial rigging, and frame-by-frame tracking. The VFX team created photorealistic digital doubles, mapped accurate skin textures, and manually refined each transformation until the result was imperceptible. Most viewers never noticed - which is exactly the point. The best CGI is invisible CGI. This wasn't unique. Hollywood has been digitally transforming actors for decades through well-established technical pipelines: photogrammetry, facial capture, advanced compositing, and physics-based rendering. The question isn't whether we can do it - that has already been answered. Previously, two factors kept this technology contained: technical complexity and cost. Traditional graphics pipelines required specialized infrastructure - from high-end capture equipment to render farms - and deep technical expertise across multiple disciplines. "Fix it in post" meant teams of technical artists working with proprietary tools and complex workflows. More importantly, it was expensive - often millions per shot. Digital effects at this level are reserved for big-budget productions. AI isn't changing what's possible - it's changing the implementation stack. The same transformations that once required extensive hardware, specialized software, and teams of technical artists are being consolidated by generative and world models. The technology is moving from complex production pipelines to end-to-end solutions that anyone can use. Like Act-One (who said Act-Two?). What becomes possible when these capabilities are democratized? When sophisticated effects and graphics become accessible to many more filmmakers? When actors will be able to do more, in more languages, for more audiences? What happens when the technical and financial barriers to high-end content creation disappear?

Cristóbal Valenzuela

30,627 görüntüleme • 1 yıl önce

Quantum mechanics has a reputation for being mystical mainly because people skip the rules and jump to interpretations. In this lecture series, we’re doing the opposite. We start from the rules, follow the algebra, and let the picture be the calculation. Classical Probability Theory combines alternatives by adding their probabilities. Quantum Theory combines them one step earlier…add complex amplitudes first, then square at the end. That swap in order is everything. Expand |a₁ + a₂|² and you don’t just get |a₁|² + |a₂|²…you get a cross-term, 2 Re(a₁ a₂*). Its sign is set by phase, so the same two contributions can reinforce or cancel. Interference is just the algebra of squaring a sum. In the 3D render, the surface height is proportional to |a(x)| (so peaks become bright bands after squaring), while the surface skin is colored by the local phase arg(a(x)). As the phase knob φ(t) is swept on path 2, the cross-term oscillates, and you literally watch the interference ridges slide across the screen. We model a detector screen with coordinates x in R² (think x = (x,y)). A quantum state assigns a complex amplitude a(x). The rule for outcomes is p(x) = |a(x)|² Now the key situation: two coherent alternatives contribute to the same outcome x. Let their amplitudes be a₁(x) and a₂(x). Quantum says a(x) = a₁(x) + a₂(x) So the probability density becomes p(x) = |a₁(x) + a₂(x)|² Expand it (this is the whole episode): p(x) = (a₁ + a₂)(a₁* + a₂*) = |a₁|² + |a₂|² + a₁ a₂* + a₁* a₂ = |a₁|² + |a₂|² + 2 Re(a₁ a₂*) That last term is the interference term. It can be positive or negative. To see phase explicitly, write each contribution in polar form: a₁(x) = r₁(x) exp(i θ₁(x)) a₂(x) = r₂(x) exp(i θ₂(x)) Then a₁ a₂* = r₁ r₂ exp(i(θ₁ − θ₂)) So the cross-term is 2 Re(a₁ a₂*) = 2 r₁ r₂ cos(θ₁(x) − θ₂(x)) That’s the fringe engine: p(x) = r₁² + r₂² + 2 r₁ r₂ cos(Δθ(x)) Now the phase knob we animate: Add a controllable phase shift φ to path 2: a₂(x) → a₂(x) exp(i φ) Then Δθ(x) → Δθ(x) − φ, so p(x; φ) = r₁² + r₂² + 2 r₁ r₂ cos(Δθ(x) − φ) As φ changes smoothly, the bright/dark pattern slides continuously. Same setup, same geometry, same magnitudes r₁,r₂, only phase changed. #QuantumMechanics #WaveInterference #ComplexAmplitudes #DoubleSlit #Physics #Mathematics

Quantum mechanics has a reputation for being mystical mainly because people skip the rules and jump to interpretations. In this lecture series, we’re doing the opposite. We start from the rules, follow the algebra, and let the picture be the calculation. Classical Probability Theory combines alternatives by adding their probabilities. Quantum Theory combines them one step earlier…add complex amplitudes first, then square at the end. That swap in order is everything. Expand |a₁ + a₂|² and you don’t just get |a₁|² + |a₂|²…you get a cross-term, 2 Re(a₁ a₂). Its sign is set by phase, so the same two contributions can reinforce or cancel. Interference is just the algebra of squaring a sum. In the 3D render, the surface height is proportional to |a(x)| (so peaks become bright bands after squaring), while the surface skin is colored by the local phase arg(a(x)). As the phase knob φ(t) is swept on path 2, the cross-term oscillates, and you literally watch the interference ridges slide across the screen. We model a detector screen with coordinates x in R² (think x = (x,y)). A quantum state assigns a complex amplitude a(x). The rule for outcomes is p(x) = |a(x)|² Now the key situation: two coherent alternatives contribute to the same outcome x. Let their amplitudes be a₁(x) and a₂(x). Quantum says a(x) = a₁(x) + a₂(x) So the probability density becomes p(x) = |a₁(x) + a₂(x)|² Expand it (this is the whole episode): p(x) = (a₁ + a₂)(a₁ + a₂) = |a₁|² + |a₂|² + a₁ a₂ + a₁* a₂ = |a₁|² + |a₂|² + 2 Re(a₁ a₂) That last term is the interference term. It can be positive or negative. To see phase explicitly, write each contribution in polar form: a₁(x) = r₁(x) exp(i θ₁(x)) a₂(x) = r₂(x) exp(i θ₂(x)) Then a₁ a₂ = r₁ r₂ exp(i(θ₁ − θ₂)) So the cross-term is 2 Re(a₁ a₂*) = 2 r₁ r₂ cos(θ₁(x) − θ₂(x)) That’s the fringe engine: p(x) = r₁² + r₂² + 2 r₁ r₂ cos(Δθ(x)) Now the phase knob we animate: Add a controllable phase shift φ to path 2: a₂(x) → a₂(x) exp(i φ) Then Δθ(x) → Δθ(x) − φ, so p(x; φ) = r₁² + r₂² + 2 r₁ r₂ cos(Δθ(x) − φ) As φ changes smoothly, the bright/dark pattern slides continuously. Same setup, same geometry, same magnitudes r₁,r₂, only phase changed. #QuantumMechanics #WaveInterference #ComplexAmplitudes #DoubleSlit #Physics #Mathematics

Mathelirium

81,661 görüntüleme • 8 ay önce