Загрузка видео...

Не удалось загрузить видео

На главную

Silver Palace CBT2 Testing: Highest Settings (1440p) 0:00 Without frame gen 3:37 With frame gen My PC Specs: - Ryzen 5 5800x - 5070 Ti - DDR4 32GB RAM #SilverPalace

Naruvt0's profile picture

Naru

81,486 subscribers

15,021 просмотров • 1 месяц назад •via X (Twitter)

#SilverPalace
LIVE

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

Silver Palace CBT2 Testing: High Settings (1440p) 0:00 Without frame gen 3:05 With frame gen My PC Specs: - Ryzen 7 5800x - 5070 Ti - DDR4 32GB RAM #SilverPalace
6:23

Silver Palace CBT2 Testing: High Settings (1440p) 0:00 Without frame gen 3:05 With frame gen My PC Specs: - Ryzen 7 5800x - 5070 Ti - DDR4 32GB RAM #SilverPalace

Naru

13,405 просмотров • 1 месяц назад

Silver Palace CBT2 Testing: Lowest Settings (1440p) My PC Specs: - Ryzen 5 5800x - 5070 Ti - DDR4 32GB Ram #SilverPalace
6:43

Silver Palace CBT2 Testing: Lowest Settings (1440p) My PC Specs: - Ryzen 5 5800x - 5070 Ti - DDR4 32GB Ram #SilverPalace

Naru

39,835 просмотров • 2 месяцев назад

I hope the Silver Palace devs optimize the game further. I’m only getting around 60–65 FPS right now. Please take your time with the optimization! 🙏 → Ryzen 7 5800X3D → RTX 5060 Ti 16GB → 48GB RAM → 2TB SSD → DLSS Quality + Very High Settings (Not Native) #SilverPalace
0:38

I hope the Silver Palace devs optimize the game further. I’m only getting around 60–65 FPS right now. Please take your time with the optimization! 🙏 → Ryzen 7 5800X3D → RTX 5060 Ti 16GB → 48GB RAM → 2TB SSD → DLSS Quality + Very High Settings (Not Native) #SilverPalace

Kaito

140,011 просмотров • 2 месяцев назад

Samson PC Performance test on RX 9070 XT, Ryzen 7 9800X3D with 32GB of RAM. I've set the settings everything on Ultra running at output resolution of 4K with FSR is set to quality and frame-gen is turned off. There are frametime issues and performance dips that I've honestly expected as this is an Unreal Engine 5 game, the AA implementation is also not that good either as the game looks a little bit blurry
1:55

Samson PC Performance test on RX 9070 XT, Ryzen 7 9800X3D with 32GB of RAM. I've set the settings everything on Ultra running at output resolution of 4K with FSR is set to quality and frame-gen is turned off. There are frametime issues and performance dips that I've honestly expected as this is an Unreal Engine 5 game, the AA implementation is also not that good either as the game looks a little bit blurry

NikTek

28,636 просмотров • 5 месяцев назад

Assassins Creed: Shadows PC Port is absolute garbage. I'm playing AC: Shadows both on Console and PC, unfortunately even if you have a high-end PC, the Game stutters on PC. This is most likely because of Denuvo and bad Optimization. The Frametime is so bad I can't even begin to describe it, I'm forced to turn Frame-Gen on just to have a smooth experience. Disabling Frame-Gen and even running this Game on the lowest possible settings still results in a sub-par experience. This clip credit to zWORMz Gaming shows him trying to run AC: Shadows with Max Settings on an RTX 5070 Ti with the Ryzen 7 9800X3D and the Game still struggles to hit 60FPS! having specs anything even below these ones means that the Game will run even worse on most PC Gamers. The PC Port is terrible.
0:27

Assassins Creed: Shadows PC Port is absolute garbage. I'm playing AC: Shadows both on Console and PC, unfortunately even if you have a high-end PC, the Game stutters on PC. This is most likely because of Denuvo and bad Optimization. The Frametime is so bad I can't even begin to describe it, I'm forced to turn Frame-Gen on just to have a smooth experience. Disabling Frame-Gen and even running this Game on the lowest possible settings still results in a sub-par experience. This clip credit to zWORMz Gaming shows him trying to run AC: Shadows with Max Settings on an RTX 5070 Ti with the Ryzen 7 9800X3D and the Game still struggles to hit 60FPS! having specs anything even below these ones means that the Game will run even worse on most PC Gamers. The PC Port is terrible.

NikTek

752,324 просмотров • 1 год назад

Silver Palace Devs Are Currently Working on Optimization (Read Full) → The game used to run at 30–40 FPS on 1440p DLAA, Very High settings, but now it averages around 70 FPS on maxed-out settings with DLAA. → Keep in mind, the RTX 5060 Ti isn't a true 1440p card. → You'll need a balanced PC to run this game well. If you have an average CPU paired with a powerful GPU, you'll likely experience a CPU bottleneck. Drop your PC specs below, and I'll tell you how well the game is likely to run on your system. #SilverPalace #Gacha
3:09

Silver Palace Devs Are Currently Working on Optimization (Read Full) → The game used to run at 30–40 FPS on 1440p DLAA, Very High settings, but now it averages around 70 FPS on maxed-out settings with DLAA. → Keep in mind, the RTX 5060 Ti isn't a true 1440p card. → You'll need a balanced PC to run this game well. If you have an average CPU paired with a powerful GPU, you'll likely experience a CPU bottleneck. Drop your PC specs below, and I'll tell you how well the game is likely to run on your system. #SilverPalace #Gacha

Kaito

13,458 просмотров • 1 месяц назад

🚨this is my Havens Hollow FPS on Call Of Duty Black Ops 7🚨 Specs: 9950x3d2, 7200 mhz ram OC'd to 8000 c34, 5090 in 1440p native. 🚫NO DLSS, NO FRAME GEN, NO TRICKS🚫 I'm a little rusty so dont judge haha tried to get some actual gameplay for you guys.
1:33

🚨this is my Havens Hollow FPS on Call Of Duty Black Ops 7🚨 Specs: 9950x3d2, 7200 mhz ram OC'd to 8000 c34, 5090 in 1440p native. 🚫NO DLSS, NO FRAME GEN, NO TRICKS🚫 I'm a little rusty so dont judge haha tried to get some actual gameplay for you guys.

PrayOrSomething

12,683 просмотров • 4 месяцев назад

Silver Palace Mobile System Requirements (Unofficial) Android Minimum: Snapdragon 855 / Dimensity 8000 / Kirin 990, 6 GB RAM, Android 10+ Recommended: Snapdragon 8 Gen 2/3, Dimensity 9200+, Kirin 9000S+, 8–12 GB RAM iOS Minimum : iPhone 12 Pro or newer, 6 GB RAM, iOS 15+ Note : These are my estimated requirements based on other Unreal Engine 5 open-world games and are not official. #SilverPalace #Gacha
1:37

Silver Palace Mobile System Requirements (Unofficial) Android Minimum: Snapdragon 855 / Dimensity 8000 / Kirin 990, 6 GB RAM, Android 10+ Recommended: Snapdragon 8 Gen 2/3, Dimensity 9200+, Kirin 9000S+, 8–12 GB RAM iOS Minimum : iPhone 12 Pro or newer, 6 GB RAM, iOS 15+ Note : These are my estimated requirements based on other Unreal Engine 5 open-world games and are not official. #SilverPalace #Gacha

Kaito

42,462 просмотров • 2 месяцев назад

Silver Palace Performance Update ( Good News ) • Silver Palace addressed the performance issues and released an approximately 600 MB patch that fixes most of the stuttering. • I'm now getting 60–90 FPS at 1440p with DLSS Quality. Previously, I was only getting 30–40 FPS (without Frame Generation). • The game still needs more optimization. FPS drops quite a bit during combat, but the overall experience has improved significantly. Glad to see the developers listened to the community's feedback. #SilverPalace #Gacha
2:01

Silver Palace Performance Update ( Good News ) • Silver Palace addressed the performance issues and released an approximately 600 MB patch that fixes most of the stuttering. • I'm now getting 60–90 FPS at 1440p with DLSS Quality. Previously, I was only getting 30–40 FPS (without Frame Generation). • The game still needs more optimization. FPS drops quite a bit during combat, but the overall experience has improved significantly. Glad to see the developers listened to the community's feedback. #SilverPalace #Gacha

Kaito

51,141 просмотров • 1 месяц назад

Borderlands 4 Performance Summary in 2 minutes: 0:00 - Native Res Badass Settings the game runs bad 0:30 - Upscaling Performance Mode Badass Settings, the game barely manages to hit 60FPS 1:20 - Frame Gen turned on and now you have 100 FPS Some people will turn all these settings on and be happy with it but in my honest opinion these are used as crutches to make the game look as if it performs good. Borderlands 4 has a certain art style that doesn't look like it needs these kind of settings to be turned on to play at a high framerate but sadly it does and you can defend this if you want but the future of gaming looks bleak, using this tech to not optimize the games further will just result in input latency increase as every game will be delivered with frame-gen turned on in the devs mind.
1:53

Borderlands 4 Performance Summary in 2 minutes: 0:00 - Native Res Badass Settings the game runs bad 0:30 - Upscaling Performance Mode Badass Settings, the game barely manages to hit 60FPS 1:20 - Frame Gen turned on and now you have 100 FPS Some people will turn all these settings on and be happy with it but in my honest opinion these are used as crutches to make the game look as if it performs good. Borderlands 4 has a certain art style that doesn't look like it needs these kind of settings to be turned on to play at a high framerate but sadly it does and you can defend this if you want but the future of gaming looks bleak, using this tech to not optimize the games further will just result in input latency increase as every game will be delivered with frame-gen turned on in the devs mind.

NikTek

359,686 просмотров • 1 год назад

Lord of Mysteries game 🎩 Official Updated System Requirements : 1 . PC System Requirements (Desktop) [Minimum Requirements]: • OS: Windows 10/11 64-bit • CPU: Core i7-7700 / Ryzen 5 3400G • GPU: GTX 1060 (6GB) / RX 5500 • RAM: 16GB • Storage: At least 80GB of available space [Recommended Requirements]: • OS: Windows 10/11 64-bit • CPU: Core i7-12700 / Ryzen 7 7700X • GPU: RTX 3070 Ti / RX 6800 • RAM: 32GB • SSD Storage: Over 80GB of available space 2 . PC System Requirements (Laptop) [Minimum Requirements] • OS: Windows 10/11 64-bit • CPU: Core i5-11400H / Ryzen 5 6600H • GPU: RTX 3050 (6GB) / RX 5600M • RAM: 16GB Storage: At least 80GB of available space [Recommended Requirements] • OS: Windows 10/11 64-bit • CPU: Core i7-13700HX / Ryzen 7 8840HX • GPU: RTX 4070 / RX 6850M XT • RAM: 32GB • SSD Storage: Over 80GB of available space 3 . Android System Requirements • OS: Android 7.1 or higher • RAM: 8GB or above • Storage: At least 30GB of available space [Recommended Requirements]: • Processor equipped with Qualcomm Snapdragon 8 Gen 2 or MediaTek Dimensity 9200 and above. [Minimum Requirements]: • Processor equipped with Snapdragon 855 and above. 4 . iOS System Requirements • OS: iOS 15 or higher • Storage: At least 30GB of available space [Recommended Requirements]: • Device (Processor): iPhone 14 Pro (equipped with A16 chip) and above. [Minimum Requirements]: • Device (Processor): iPhone 12 (equipped with A14 chip) and above. Note : Devs said they are still optimizing the game and these requirements are not final for public launch.
2:10

Lord of Mysteries game 🎩 Official Updated System Requirements : 1 . PC System Requirements (Desktop) [Minimum Requirements]: • OS: Windows 10/11 64-bit • CPU: Core i7-7700 / Ryzen 5 3400G • GPU: GTX 1060 (6GB) / RX 5500 • RAM: 16GB • Storage: At least 80GB of available space [Recommended Requirements]: • OS: Windows 10/11 64-bit • CPU: Core i7-12700 / Ryzen 7 7700X • GPU: RTX 3070 Ti / RX 6800 • RAM: 32GB • SSD Storage: Over 80GB of available space 2 . PC System Requirements (Laptop) [Minimum Requirements] • OS: Windows 10/11 64-bit • CPU: Core i5-11400H / Ryzen 5 6600H • GPU: RTX 3050 (6GB) / RX 5600M • RAM: 16GB Storage: At least 80GB of available space [Recommended Requirements] • OS: Windows 10/11 64-bit • CPU: Core i7-13700HX / Ryzen 7 8840HX • GPU: RTX 4070 / RX 6850M XT • RAM: 32GB • SSD Storage: Over 80GB of available space 3 . Android System Requirements • OS: Android 7.1 or higher • RAM: 8GB or above • Storage: At least 30GB of available space [Recommended Requirements]: • Processor equipped with Qualcomm Snapdragon 8 Gen 2 or MediaTek Dimensity 9200 and above. [Minimum Requirements]: • Processor equipped with Snapdragon 855 and above. 4 . iOS System Requirements • OS: iOS 15 or higher • Storage: At least 30GB of available space [Recommended Requirements]: • Device (Processor): iPhone 14 Pro (equipped with A16 chip) and above. [Minimum Requirements]: • Device (Processor): iPhone 12 (equipped with A14 chip) and above. Note : Devs said they are still optimizing the game and these requirements are not final for public launch.

LOTM Universe

81,912 просмотров • 1 месяц назад

Monster Hunter Wilds big performance patch is out on PC. I spoke with the user who originally discovered the DLC bug and they confirmed that it seems to be fixed. More improvements I noticed from some quick testing (continued): • Better 1% lows for smoother gameplay with less hitching and stutter • Lower VRAM usage (10+ GB -> 7.5GB) • Higher FPS in some cases • CPU optimizations • High res texture pack is actually usable now • Lowered the install size by 45GB with texture pack • Some users report that their new frame rate WITHOUT FG = old frame rate WITH FG • More graphics options to tweak Overall, this update seems to have done the trick. Still not 100% perfect but MUCH better than it was before. The recent Steam reviews have also been very positive so it seems that most agree. Another patch is coming in February with even more optimizations for both PC and console. Settings and PC specs at the end - this was the default recommended settings at 4K DLSS Performance, Frame Gen off, 16x AF (roughly the High preset). Finally, Capcom didn't credit anyone in the Patch Notes so shoutout to de_Tylmarande for originally bringing the DLC bug to people's attention. #MonsterHunter #MonsterHunterWilds
3:29

Monster Hunter Wilds big performance patch is out on PC. I spoke with the user who originally discovered the DLC bug and they confirmed that it seems to be fixed. More improvements I noticed from some quick testing (continued): • Better 1% lows for smoother gameplay with less hitching and stutter • Lower VRAM usage (10+ GB -> 7.5GB) • Higher FPS in some cases • CPU optimizations • High res texture pack is actually usable now • Lowered the install size by 45GB with texture pack • Some users report that their new frame rate WITHOUT FG = old frame rate WITH FG • More graphics options to tweak Overall, this update seems to have done the trick. Still not 100% perfect but MUCH better than it was before. The recent Steam reviews have also been very positive so it seems that most agree. Another patch is coming in February with even more optimizations for both PC and console. Settings and PC specs at the end - this was the default recommended settings at 4K DLSS Performance, Frame Gen off, 16x AF (roughly the High preset). Finally, Capcom didn't credit anyone in the Patch Notes so shoutout to de_Tylmarande for originally bringing the DLC bug to people's attention. #MonsterHunter #MonsterHunterWilds

KAMI

294,625 просмотров • 7 месяцев назад

Azur Promilia — Optimization Test Showcase 1. So guys, this is one of the best optimized gacha games I’ve ever played. If your PC can run Genshin and Arknights: Endfield, congrats — you can run this game. 2. I’m running it on a 5800X3D + RTX 5060 Ti with 48GB dual-channel RAM. 3. Maxed graphics at 1440p. My results :* The game is really well optimized. There are a few frame drops when teleporting to a different area, but overall it runs really well. Just a reminder: the 5060 Ti isn’t a 1440p card — it’s more of a 1080p Ultra card. Mobile version dropping in a few hours. #AzurPromilia #Gacha
2:20

Azur Promilia — Optimization Test Showcase 1. So guys, this is one of the best optimized gacha games I’ve ever played. If your PC can run Genshin and Arknights: Endfield, congrats — you can run this game. 2. I’m running it on a 5800X3D + RTX 5060 Ti with 48GB dual-channel RAM. 3. Maxed graphics at 1440p. My results :* The game is really well optimized. There are a few frame drops when teleporting to a different area, but overall it runs really well. Just a reminder: the 5060 Ti isn’t a 1440p card — it’s more of a 1080p Ultra card. Mobile version dropping in a few hours. #AzurPromilia #Gacha

Kaito

42,737 просмотров • 6 дней назад

Silver Palace Performance Results After 48 Hours of Testing !! 1. The game currently runs worse than Wuthering Waves, with frequent frame drops. 2. The developers have released 3 updates so far, and I noticed that the CPU bottleneck has been reduced. 3. These results are on DLSS Quality. DLAA has even more stuttering. Question: Is it fixable? Answer: It depends. No matter what, this game is going to be very demanding. If you look at NTE, it uses a hybrid graphics system where you can disable SSR through presets, but Silver Palace doesn't have an option like that. Combined with other heavy graphical effects, performance takes a noticeable hit. This hybrid system should have been available from the start. Since we're only in CBT2, I expect some improvements before launch. Based on my testing, the game will likely perform similarly to STALKER 2, and performance will also depend heavily on Frame Generation. I also noticed CPU bottlenecks on both DLAA and DLSS in almost every area. Things that need to be added: Render Distance setting — this would significantly reduce CPU bottlenecks for mid-range and low-end CPUs. #SilverPalace #Gacha
1:09

Silver Palace Performance Results After 48 Hours of Testing !! 1. The game currently runs worse than Wuthering Waves, with frequent frame drops. 2. The developers have released 3 updates so far, and I noticed that the CPU bottleneck has been reduced. 3. These results are on DLSS Quality. DLAA has even more stuttering. Question: Is it fixable? Answer: It depends. No matter what, this game is going to be very demanding. If you look at NTE, it uses a hybrid graphics system where you can disable SSR through presets, but Silver Palace doesn't have an option like that. Combined with other heavy graphical effects, performance takes a noticeable hit. This hybrid system should have been available from the start. Since we're only in CBT2, I expect some improvements before launch. Based on my testing, the game will likely perform similarly to STALKER 2, and performance will also depend heavily on Frame Generation. I also noticed CPU bottlenecks on both DLAA and DLSS in almost every area. Things that need to be added: Render Distance setting — this would significantly reduce CPU bottlenecks for mid-range and low-end CPUs. #SilverPalace #Gacha

Kaito

134,948 просмотров • 2 месяцев назад

FULL GPT-5 Testing Video It's a very good model. 0:00 - Intro 0:25 - Rubik's Cube 3:18 - Microsoft Excel Clone 4:41 - Microsoft Word Clone 5:22 - 3D Conway's Game of Life 6:57 - Complex Snake Game 8:41 - Double Pendulum Physics 9:38 - Speed Test 10:31 - Recreating Hexagon Test From Image 11:06 - New Hexagon Bouncing Ball Test 12:10 - 3D Typography Simulator 12:48 - Flight Simulator 13:53 - 3D Realistic Lego Builder 15:08 - Realistic Physics Cloth Simulation 16:00 - Fluid Dynamics Simulation 17:08 - Raytracing 17:53 - Cloning Twitter 18:14 - Auth Page Creation 18:38 - 20x20x20 Rubik's Cube SOLVED 19:00 - '90-Inspired Hacker Website 19:40 - ecommerce Checkout Page 20:01 - Financial Dashboard 20:35 - Geo location 21:00 - Image Gen 21:37 - Multi-modality 22:33 - SVG Accuracy 22:45 - How many Rs in Strawberry? 22:50 - Sycophancy
25:23

FULL GPT-5 Testing Video It's a very good model. 0:00 - Intro 0:25 - Rubik's Cube 3:18 - Microsoft Excel Clone 4:41 - Microsoft Word Clone 5:22 - 3D Conway's Game of Life 6:57 - Complex Snake Game 8:41 - Double Pendulum Physics 9:38 - Speed Test 10:31 - Recreating Hexagon Test From Image 11:06 - New Hexagon Bouncing Ball Test 12:10 - 3D Typography Simulator 12:48 - Flight Simulator 13:53 - 3D Realistic Lego Builder 15:08 - Realistic Physics Cloth Simulation 16:00 - Fluid Dynamics Simulation 17:08 - Raytracing 17:53 - Cloning Twitter 18:14 - Auth Page Creation 18:38 - 20x20x20 Rubik's Cube SOLVED 19:00 - '90-Inspired Hacker Website 19:40 - ecommerce Checkout Page 20:01 - Financial Dashboard 20:35 - Geo location 21:00 - Image Gen 21:37 - Multi-modality 22:33 - SVG Accuracy 22:45 - How many Rs in Strawberry? 22:50 - Sycophancy

Matthew Berman

61,938 просмотров • 1 год назад

What AI tools should you be using to be more productive? It's my job to test new products - here's the 10 I'm sticking with ⬇️ 0:00 Intro to AI productivity 0:20 Comet – AI browser 1:09 Julius – Chat with your data 2:08 Happenstance – AI LinkedIn 3:10 Granola – Bot-free AI meeting notes 4:30 Gamma – Slides, docs, sites via prompt 5:33 Willow – Voice-to-text + editing 6:20 Superhuman – AI-powered email 7:02 Overlap – Auto short-form video clips 7:41 Krea – "All in one" creative tool 8:26 ChatGPT – Deep dives + image gen
9:15

What AI tools should you be using to be more productive? It's my job to test new products - here's the 10 I'm sticking with ⬇️ 0:00 Intro to AI productivity 0:20 Comet – AI browser 1:09 Julius – Chat with your data 2:08 Happenstance – AI LinkedIn 3:10 Granola – Bot-free AI meeting notes 4:30 Gamma – Slides, docs, sites via prompt 5:33 Willow – Voice-to-text + editing 6:20 Superhuman – AI-powered email 7:02 Overlap – Auto short-form video clips 7:41 Krea – "All in one" creative tool 8:26 ChatGPT – Deep dives + image gen

Olivia Moore

60,885 просмотров • 1 год назад

Countering Ingrid’s forward/up teleport mix with a fuzzy option 👇 When Ingrid forces a forward teleport or up teleport mix, and reacting with the correct anti-air on the fly is difficult, a fuzzy option can help cover both. 0:00- Press st.LP right after blocking the forward teleport. • Forward teleport → if blocked, you get point-blank +3 • Up teleport → st.LP anti-airs it This allows you to cover both options. (The fuzzy timing window is 3 frames.) 0:09- Sagat’s st.LP is 5-frame startup, so the timing window is only 2 frames. Using cr.LP as the anti-air gives a 3-frame window, making it slightly easier. If you want to anti-air both options consistently, and 4HP are also effective. 0:27- Dhalsim: fuzzy st/cr.LP, 4MP anti-air 0:40- Ken: fuzzy st.LP, cr.HP anti-air 0:57- Chun-Li: fuzzy st/cr.LP, anti-air 1:09- Rashid: fuzzy st.LP, anti-air 1:20- Ed: fuzzy st.LP, anti-air 1:30- JP: fuzzy cr.LP 1:37- Cammy: fuzzy st/cr.LP, 4MP anti-air 1:48- Blanka: 4MK, anti-air 1:58- Guile: fuzzy st.LP, st.HP anti-air Most of the cast can generally deal with this mix using a fuzzy st.LP.
2:16

Countering Ingrid’s forward/up teleport mix with a fuzzy option 👇 When Ingrid forces a forward teleport or up teleport mix, and reacting with the correct anti-air on the fly is difficult, a fuzzy option can help cover both. 0:00- Press st.LP right after blocking the forward teleport. • Forward teleport → if blocked, you get point-blank +3 • Up teleport → st.LP anti-airs it This allows you to cover both options. (The fuzzy timing window is 3 frames.) 0:09- Sagat’s st.LP is 5-frame startup, so the timing window is only 2 frames. Using cr.LP as the anti-air gives a 3-frame window, making it slightly easier. If you want to anti-air both options consistently, and 4HP are also effective. 0:27- Dhalsim: fuzzy st/cr.LP, 4MP anti-air 0:40- Ken: fuzzy st.LP, cr.HP anti-air 0:57- Chun-Li: fuzzy st/cr.LP, anti-air 1:09- Rashid: fuzzy st.LP, anti-air 1:20- Ed: fuzzy st.LP, anti-air 1:30- JP: fuzzy cr.LP 1:37- Cammy: fuzzy st/cr.LP, 4MP anti-air 1:48- Blanka: 4MK, anti-air 1:58- Guile: fuzzy st.LP, st.HP anti-air Most of the cast can generally deal with this mix using a fuzzy st.LP.

白(ワラキア)

15,114 просмотров • 3 месяцев назад

So, a lot of you have been talking about Wuthering Waves' optimization. Let me explain. 5700G (16 MB L3 Cache) + RX 9060 XT (FSR Quality) vs 5800X3D (96 MB 3D V-Cache) + RTX 5060 Ti (DLSS Quality) Note: I even increased the graphics settings on the 5060 Ti to show the difference. Explanation: Both GPUs deliver similar performance overall, but you'll notice higher FPS on the right side. Why? The Ryzen 7 5800X3D's 96 MB 3D V-Cache significantly improves performance in Wuthering Waves, especially 1% lows and overall frame consistency. In my testing, the performance improvement was around 40% compared to the 5700G. One reason is that Wuthering Waves is very CPU-sensitive, particularly in open-world areas. There are also optimization issues that Kuro Games still needs to address. I'm not trying to downplay anyone's PC. I'm simply pointing out that Wuthering Waves benefits a lot from CPUs with larger L3 cache, similar to games like Crimson Desert, STALKER 2, and Black Myth: Wukong. PS5 Performance Kuro Games still needs to improve the PS5 and PS5 Pro versions. Even some demanding games perform better on those consoles, so there's definitely room for optimization. I hope this helps! If you have any questions or want the best settings for your PC, feel free to ask. #WutheringWaves #Gacha
1:00

So, a lot of you have been talking about Wuthering Waves' optimization. Let me explain. 5700G (16 MB L3 Cache) + RX 9060 XT (FSR Quality) vs 5800X3D (96 MB 3D V-Cache) + RTX 5060 Ti (DLSS Quality) Note: I even increased the graphics settings on the 5060 Ti to show the difference. Explanation: Both GPUs deliver similar performance overall, but you'll notice higher FPS on the right side. Why? The Ryzen 7 5800X3D's 96 MB 3D V-Cache significantly improves performance in Wuthering Waves, especially 1% lows and overall frame consistency. In my testing, the performance improvement was around 40% compared to the 5700G. One reason is that Wuthering Waves is very CPU-sensitive, particularly in open-world areas. There are also optimization issues that Kuro Games still needs to address. I'm not trying to downplay anyone's PC. I'm simply pointing out that Wuthering Waves benefits a lot from CPUs with larger L3 cache, similar to games like Crimson Desert, STALKER 2, and Black Myth: Wukong. PS5 Performance Kuro Games still needs to improve the PS5 and PS5 Pro versions. Even some demanding games perform better on those consoles, so there's definitely room for optimization. I hope this helps! If you have any questions or want the best settings for your PC, feel free to ask. #WutheringWaves #Gacha

Kaito

37,409 просмотров • 2 месяцев назад

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 просмотров • 1 месяц назад