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Simple yet very useful improvements in Three.js latest versions. - Env map/background rotation - Env map/background intensity - AgX tone mapping

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Bruno Simon

77,684 subscribers

14,078 Aufrufe • vor 2 Jahren •via X (Twitter)

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6 Kommentare

Profilbild von Anderson Mancini
Anderson Mancinivor 2 Jahren

@threejs The envmap rotation is my favorite one! So easy to use and yet so powerful :).

Profilbild von Abdulhamit Akaslan
Abdulhamit Akaslanvor 2 Jahren

@threejs Finally!

Profilbild von RΞNN
RΞNNvor 2 Jahren

@threejs Great update, especially env map rotation, really useful

Profilbild von Rolans
Rolansvor 2 Jahren

@threejs AgX sounds interesting. Been really enjoying it in Blender since 4.0

Profilbild von AarkeinDevaed
AarkeinDevaedvor 2 Jahren

@threejs Finally 🙌🏻

Profilbild von Sergio Vicanò
Sergio Vicanòvor 2 Jahren

@threejs Good! Drei/Enviroment will be update?

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Jim Ferguson

523,933 Aufrufe • vor 7 Monaten

People are undoubtedly a little alarmed at having unwittingly helped build a 3D map of the world for Niantic by contributing 30 billion crowdsourced images. I interviewed Niantic's CTO Brian McClendon about exactly this in a TED interview last year -- he's also the guy who co-created Google Earth. But let's put it in perspective. Pokestop data isn't what you think it is. It's not a surveillance panopticon of your neighborhood. These are static captures of parks, statues, murals, landmarks -- the places people congregate. Brian described it as "building the map from the bottom up, from the locations where people spend time." Think of these 20 million waypoints as basically the inverse of what Google mapped with Street View. Google mapped the drivable streets. Niantic mapped where people actually hang out. Cool data, genuinely useful for visual positioning -- but very different from what the headlines imply. And lest we forget that Niantic is just one of many companies quietly building their own map of the world right now -- and they're all capturing different facets of reality: >🚶 person-level: Axon body cams on hundreds of thousands of officers. Meta Ray-Ban glasses capturing first-person POV at scale -- overseas operators reviewing images every time someone says "Hey Meta." > 🚗 vehicle-level: Tesla dashcams on every car in the fleet, massive onboard compute extracting and distilling data to the cloud. Waymo with cm-accurate 3D maps of every city they operate in. Fleet telematics cameras on delivery vehicles globally. > 🏠 street & home-level: Flock Safety deploying CCTV across neighborhoods and cities. Amazon with Ring cameras on every doorstep and mailroom (recently got dragged over that Super Bowl commercial about fusing all these cams together to find your dog) plus dashcams on every Prime delivery van. Roomba mapping your floor plan every time it vacuums -- Amazon wanted that data badly enough to try acquiring iRobot for $1.7B before regulators shut it down. > 🥽 headset-level: Apple Vision Pro and Meta Quest build a 3D model of whatever room you're in every time you put them on. Between Ring, Roomba, and your headset, your entire home is being spatially understood by at least three different companies. >📍platform-level: Google with Street View cars, aerial planes, satellite imagery, and live location from every Android phone in your pocket. Apple doing the same with mapping cars AND every LiDAR iPhone is quietly a 3D scanner. And yeah, despite the "Apple is too privacy-conscious" narrative, they're collecting location data too. >🏃 trajectory-level: Strava mapped every running and cycling trail on Earth -- and accidentally exposed secret military bases in Afghanistan and Syria because soldiers logged their jogs. When you aggregate enough individual trajectories, patterns emerge that were never supposed to be visible. > 🛰️ space-level: Planet Labs imaging the entire Earth's landmass every single day from orbit. Vantor capturing it in higher detail. Iceye doing it in 3D using SAR. If something changes anywhere on the planet -- a building goes up, a forest burns down, a military convoy moves -- before-and-after imagery within 24 hours. Fused together -- we have everything from body cam to dashcam to doorbell to phone to satellite -- every layer of physical reality is being mapped by somebody right now. Different sensors, different angles, different purposes. Same pattern. The interesting part is how they incentivize it. Google spends billions. Mapillary tried altruism. Hivemapper grinds with crypto. Pokémon GO cracked something none of them could: a game mechanic that subsidizes the scanning behavior. You're not building a map. You're catching pokemon. The map is just a side effect. 3D scanning is still a niche hobby for reality capture nerds like me. The moment somebody gamifies dense 3D capture at scale -- not posed photos but actual geometry -- that's when this blows wide open. Niantic sold the games for $3.5B but kept the spatial platform, with a data-sharing agreement in place. One team makes the game great, the other builds the spatial infrastructure underneath. Incentives finally aligned. Gaming is becoming a way for humans to contribute real-world trajectories that help physical AI learn about the real world. Google does it with live traffic. Tesla does it with autopilot. The mechanic is different but the pattern is identical -- and most people are already part of at least one -- if not a majority -- of these datasets whether they realize it or not.
0:37

People are undoubtedly a little alarmed at having unwittingly helped build a 3D map of the world for Niantic by contributing 30 billion crowdsourced images. I interviewed Niantic's CTO Brian McClendon about exactly this in a TED interview last year -- he's also the guy who co-created Google Earth. But let's put it in perspective. Pokestop data isn't what you think it is. It's not a surveillance panopticon of your neighborhood. These are static captures of parks, statues, murals, landmarks -- the places people congregate. Brian described it as "building the map from the bottom up, from the locations where people spend time." Think of these 20 million waypoints as basically the inverse of what Google mapped with Street View. Google mapped the drivable streets. Niantic mapped where people actually hang out. Cool data, genuinely useful for visual positioning -- but very different from what the headlines imply. And lest we forget that Niantic is just one of many companies quietly building their own map of the world right now -- and they're all capturing different facets of reality: >🚶 person-level: Axon body cams on hundreds of thousands of officers. Meta Ray-Ban glasses capturing first-person POV at scale -- overseas operators reviewing images every time someone says "Hey Meta." > 🚗 vehicle-level: Tesla dashcams on every car in the fleet, massive onboard compute extracting and distilling data to the cloud. Waymo with cm-accurate 3D maps of every city they operate in. Fleet telematics cameras on delivery vehicles globally. > 🏠 street & home-level: Flock Safety deploying CCTV across neighborhoods and cities. Amazon with Ring cameras on every doorstep and mailroom (recently got dragged over that Super Bowl commercial about fusing all these cams together to find your dog) plus dashcams on every Prime delivery van. Roomba mapping your floor plan every time it vacuums -- Amazon wanted that data badly enough to try acquiring iRobot for $1.7B before regulators shut it down. > 🥽 headset-level: Apple Vision Pro and Meta Quest build a 3D model of whatever room you're in every time you put them on. Between Ring, Roomba, and your headset, your entire home is being spatially understood by at least three different companies. >📍platform-level: Google with Street View cars, aerial planes, satellite imagery, and live location from every Android phone in your pocket. Apple doing the same with mapping cars AND every LiDAR iPhone is quietly a 3D scanner. And yeah, despite the "Apple is too privacy-conscious" narrative, they're collecting location data too. >🏃 trajectory-level: Strava mapped every running and cycling trail on Earth -- and accidentally exposed secret military bases in Afghanistan and Syria because soldiers logged their jogs. When you aggregate enough individual trajectories, patterns emerge that were never supposed to be visible. > 🛰️ space-level: Planet Labs imaging the entire Earth's landmass every single day from orbit. Vantor capturing it in higher detail. Iceye doing it in 3D using SAR. If something changes anywhere on the planet -- a building goes up, a forest burns down, a military convoy moves -- before-and-after imagery within 24 hours. Fused together -- we have everything from body cam to dashcam to doorbell to phone to satellite -- every layer of physical reality is being mapped by somebody right now. Different sensors, different angles, different purposes. Same pattern. The interesting part is how they incentivize it. Google spends billions. Mapillary tried altruism. Hivemapper grinds with crypto. Pokémon GO cracked something none of them could: a game mechanic that subsidizes the scanning behavior. You're not building a map. You're catching pokemon. The map is just a side effect. 3D scanning is still a niche hobby for reality capture nerds like me. The moment somebody gamifies dense 3D capture at scale -- not posed photos but actual geometry -- that's when this blows wide open. Niantic sold the games for $3.5B but kept the spatial platform, with a data-sharing agreement in place. One team makes the game great, the other builds the spatial infrastructure underneath. Incentives finally aligned. Gaming is becoming a way for humans to contribute real-world trajectories that help physical AI learn about the real world. Google does it with live traffic. Tesla does it with autopilot. The mechanic is different but the pattern is identical -- and most people are already part of at least one -- if not a majority -- of these datasets whether they realize it or not.

Bilawal Sidhu

203,550 Aufrufe • vor 4 Monaten

** Mega Parodius Update ** The team have been busy over last couple of weeks , implementing more of the games engine. WIP since last update : White Bell power up ( this is the text attack ) Blue Bell power up ( full screen explosion ) Catboss & animating Trees Updated Lazers to work on the BGB layer ( Plane A updated to 64x64 tilemap ) . Pyron has been doing excellent work on Blue bell Explosion, Whitebell power up text gfx - the slogans are great !! Arcade quality tree animations have been added. Feeding me a lot of videos so we can replicate the arcade port more accurately. Vector Orbitex has updated the music to mark IV for stage 1 making it smaller yet again , he's also added the Orchestra Hit in , potentially more samples can be added back in now also as the song now is a miniscule 57 kb. I keep telling him its 2025 - not 1990 for rom sizes haha , a professional is always a professional though !! The Blue Bell power up uses the static large sprite class I made for SOTA where it supports unlimited amount of sprites per object and detects all the reverses / flips & uses the same tile pointers where it can and crunches it down into single sprite object. We use up to 40 sprites in the Explosion but only 147 tiles needed in vram thanks to clever use of mirroring. The Catboss is easily the hardest enemy in the level for a few reasons - we also had to free up Plane A so the boss could shift upwards onscreen, so lazer effects were shifted to Plane B. The bit that caused me the most issues was when he sits in the water line between the two islands. He is quite wide and also has overlapping palettes and animating parts , to do it solely with sprites would have lead to severe dropout at times. At the waterline we have to simulate 3 background planes and sprites at that point and we only have 2 background planes. Luckily the MD sprite engine is very flexible and we were able to recreate the arcade look at this point with some sprite trickery, the water-line is now sprites . So we use Plane A + sprites to recreate him and use a lot of plane animation to reduce the amount of sprites needed. For example the face, the tail the propeller are all plane A animations . I analysed the SNES/PCE versions and we use less sprites than those versions for him so that will help reduce the chance of sprite dropout when attacking. The Catboss is only about 1/2 done , all damage states, the onboard penguin factory, bullets from Cannons yet to added etc. He wraps around at the end of the vid as theres no destruction routine in for him yet . No extra enemies in at this stage , tackling the hard parts first etc. We took the arcade GFX for the Trees that sway around under the Catboss, all the animations are in. There were some DMA bandwidth issues originally I had to sort out as the Catboss has several animating parts + swaying Trees was leading to overload so after some load balancing it all is playing nicely !! We still have loads of stuff to add , collisions are not in - normal enemy waves etc but yeah a lot of future issues were sorting out just getting this far. So the team is very happy with the progress !! #SGDK #Parodius #SegaGenesis #SegaMegadrive #indiegame
0:47

** Mega Parodius Update ** The team have been busy over last couple of weeks , implementing more of the games engine. WIP since last update : White Bell power up ( this is the text attack ) Blue Bell power up ( full screen explosion ) Catboss & animating Trees Updated Lazers to work on the BGB layer ( Plane A updated to 64x64 tilemap ) . Pyron has been doing excellent work on Blue bell Explosion, Whitebell power up text gfx - the slogans are great !! Arcade quality tree animations have been added. Feeding me a lot of videos so we can replicate the arcade port more accurately. Vector Orbitex has updated the music to mark IV for stage 1 making it smaller yet again , he's also added the Orchestra Hit in , potentially more samples can be added back in now also as the song now is a miniscule 57 kb. I keep telling him its 2025 - not 1990 for rom sizes haha , a professional is always a professional though !! The Blue Bell power up uses the static large sprite class I made for SOTA where it supports unlimited amount of sprites per object and detects all the reverses / flips & uses the same tile pointers where it can and crunches it down into single sprite object. We use up to 40 sprites in the Explosion but only 147 tiles needed in vram thanks to clever use of mirroring. The Catboss is easily the hardest enemy in the level for a few reasons - we also had to free up Plane A so the boss could shift upwards onscreen, so lazer effects were shifted to Plane B. The bit that caused me the most issues was when he sits in the water line between the two islands. He is quite wide and also has overlapping palettes and animating parts , to do it solely with sprites would have lead to severe dropout at times. At the waterline we have to simulate 3 background planes and sprites at that point and we only have 2 background planes. Luckily the MD sprite engine is very flexible and we were able to recreate the arcade look at this point with some sprite trickery, the water-line is now sprites . So we use Plane A + sprites to recreate him and use a lot of plane animation to reduce the amount of sprites needed. For example the face, the tail the propeller are all plane A animations . I analysed the SNES/PCE versions and we use less sprites than those versions for him so that will help reduce the chance of sprite dropout when attacking. The Catboss is only about 1/2 done , all damage states, the onboard penguin factory, bullets from Cannons yet to added etc. He wraps around at the end of the vid as theres no destruction routine in for him yet . No extra enemies in at this stage , tackling the hard parts first etc. We took the arcade GFX for the Trees that sway around under the Catboss, all the animations are in. There were some DMA bandwidth issues originally I had to sort out as the Catboss has several animating parts + swaying Trees was leading to overload so after some load balancing it all is playing nicely !! We still have loads of stuff to add , collisions are not in - normal enemy waves etc but yeah a lot of future issues were sorting out just getting this far. So the team is very happy with the progress !! #SGDK #Parodius #SegaGenesis #SegaMegadrive #indiegame

Shannon Birt

19,241 Aufrufe • vor 9 Monaten

The Pipeline Deal That Could Remake Iraq’s Oil Map As the Turkey-Iraq pipeline agreement is set to expire in July, the two countries have started negotiations on a new agreement. The treaty lapses during the sharpest contraction in Gulf energy shipping in recent memory, and that has turned a technical renewal into a contest over the shape of Iraq’s export map. The legal background shapes every Iraqi position in the talks. The pipeline went dark in 2023 after Iraq won arbitration against Turkey over unauthorized Kurdish exports between 2014 and 2018, with Turkey ordered to pay about $1.5 billion. Baghdad will not sign a successor agreement that leaves ownership of the crude, the marketing channel, or the payment route open to a parallel Erbil-Ankara reading. Ankara, for its part, is not negotiating a simple renewal. Turkish Energy Minister Alparslan Bayraktar has argued repeatedly that the line carries a nominal capacity of nearly 1.5 million bpd and has never been used at scale. Any new agreement, he says, must include a mechanism to guarantee fuller use. Reaching that volume requires extending the line south toward Basra, since northern production cannot fill it. Turkey folds this into the wider Development Road from Faw to Turkey, reframed as an energy corridor carrying oil, gas, petrochemicals, refining, and electricity alongside road and rail. Baghdad’s instrument is the Basra-Haditha pipeline, which the Oil Ministry calls the backbone of the northern export system. Baghdad has chosen a turnkey, state-financed model with full Oil Ministry ownership after rejecting an investment structure that would have handed an outside party long-term transit rights. If Turkey is seeking ownership leverage under the heading of investment, that is the Iraqi red line. The decisive feature of the Iraqi design is that Basra-Haditha is multidirectional. From Haditha, crude could move north to Ceyhan. In theory, it could also support future western exits toward Baniyas and Tartus on the Syrian coast, or southwest toward Aqaba in Jordan. These branches should not be read as equally imminent projects. Their immediate value is strategic optionality. They give Baghdad a map of alternatives, even before all of them become physical export routes. For the Kurdistan Region, the trajectory is unfavourable. Its 2014-built line, with a design capacity of nearly 900,000 bpd, remains physically useful in the short term while the ministry-controlled Kirkuk-Fishkhabur line, rated at nearly 1.5 million bpd, is rehabilitated as a federal bypass. Once that bypass and Basra-Haditha are in place, the KRG pipeline becomes a feeder rather than a strategic bottleneck. Baghdad’s aim is not necessarily to shut it. The aim is to strip it of independent commercial authority. Turkey signs with Baghdad alone, SOMO markets the crude, and revenue runs through the federal treasury. The KRG line may remain part of the infrastructure, but not as the basis for a parallel political economy. Whatever the structure, a deal struck before the deadline will not restore the pre-2023 model. The likeliest endpoint is Ceyhan returning as a federal corridor under SOMO and the treasury, the KRG line being tolerated as infrastructure without political-commercial autonomy, and Turkey gaining volume guarantees and investment access but not a chokehold over Iraqi oil. Baghdad’s wager is that holding the Syrian and Jordanian options open is what keeps Ceyhan a corridor rather than a second Hormuz. More details:
0:41

The Pipeline Deal That Could Remake Iraq’s Oil Map As the Turkey-Iraq pipeline agreement is set to expire in July, the two countries have started negotiations on a new agreement. The treaty lapses during the sharpest contraction in Gulf energy shipping in recent memory, and that has turned a technical renewal into a contest over the shape of Iraq’s export map. The legal background shapes every Iraqi position in the talks. The pipeline went dark in 2023 after Iraq won arbitration against Turkey over unauthorized Kurdish exports between 2014 and 2018, with Turkey ordered to pay about $1.5 billion. Baghdad will not sign a successor agreement that leaves ownership of the crude, the marketing channel, or the payment route open to a parallel Erbil-Ankara reading. Ankara, for its part, is not negotiating a simple renewal. Turkish Energy Minister Alparslan Bayraktar has argued repeatedly that the line carries a nominal capacity of nearly 1.5 million bpd and has never been used at scale. Any new agreement, he says, must include a mechanism to guarantee fuller use. Reaching that volume requires extending the line south toward Basra, since northern production cannot fill it. Turkey folds this into the wider Development Road from Faw to Turkey, reframed as an energy corridor carrying oil, gas, petrochemicals, refining, and electricity alongside road and rail. Baghdad’s instrument is the Basra-Haditha pipeline, which the Oil Ministry calls the backbone of the northern export system. Baghdad has chosen a turnkey, state-financed model with full Oil Ministry ownership after rejecting an investment structure that would have handed an outside party long-term transit rights. If Turkey is seeking ownership leverage under the heading of investment, that is the Iraqi red line. The decisive feature of the Iraqi design is that Basra-Haditha is multidirectional. From Haditha, crude could move north to Ceyhan. In theory, it could also support future western exits toward Baniyas and Tartus on the Syrian coast, or southwest toward Aqaba in Jordan. These branches should not be read as equally imminent projects. Their immediate value is strategic optionality. They give Baghdad a map of alternatives, even before all of them become physical export routes. For the Kurdistan Region, the trajectory is unfavourable. Its 2014-built line, with a design capacity of nearly 900,000 bpd, remains physically useful in the short term while the ministry-controlled Kirkuk-Fishkhabur line, rated at nearly 1.5 million bpd, is rehabilitated as a federal bypass. Once that bypass and Basra-Haditha are in place, the KRG pipeline becomes a feeder rather than a strategic bottleneck. Baghdad’s aim is not necessarily to shut it. The aim is to strip it of independent commercial authority. Turkey signs with Baghdad alone, SOMO markets the crude, and revenue runs through the federal treasury. The KRG line may remain part of the infrastructure, but not as the basis for a parallel political economy. Whatever the structure, a deal struck before the deadline will not restore the pre-2023 model. The likeliest endpoint is Ceyhan returning as a federal corridor under SOMO and the treasury, the KRG line being tolerated as infrastructure without political-commercial autonomy, and Turkey gaining volume guarantees and investment access but not a chokehold over Iraqi oil. Baghdad’s wager is that holding the Syrian and Jordanian options open is what keeps Ceyhan a corridor rather than a second Hormuz. More details:

The National Context

13,412 Aufrufe • vor 1 Monat

If you take a movement to unpack this visualization... You'll see how it simply breaks down how reality works. At frame 0 you have a static image. Everything is one, this is the monad. As soon as you hit frame 1 there is movement, there is change. Now you have two states, moving, or static. When Nikola Tesla says you can explain everything in frequency and vibration. The difference between frame 0 and 1, is vibration. The difference between movement and no movement. This is like binary logic we use in code which is made up of 0's and 1's. After frame 1, is when frequency emerges. Because the difference between frame 1 and all frames after is about how fast is the vibration/movement happening. If we skip forward to frame 50... You have a shape that begins to emerge, this is the 8 dots, then the 6 dots. Notice how unstable it is, it's 8 dots, then 6, then a moment with 4 in a rectangle These shapes are emergent properties. The first two emergent properties after the monad was vibration and frequency. Next comes shape (i'm skipping over rotation and direction). These shapes of dots can only exist when you have frequency and rotation. This frequency and rotation creates vortex energy. It's the same energy that things like your chakras use. Or the same energy we harness in devices like engines, airplanes, fans, blenders, hard drives, etc. It's also the same vortex energy you'll see in a tornado or hurricane. They are powered because they harness rotation and frequency(change/movement). Going back to the video, notice that it is inside the entire shape, the internal structure is manifesting before the external structure does. Then around frame 60 the hexagon of circles begins to rotate. First it was the two dots that moved and now it's a complex shape that is coming to life. This is a higher dimension (or lower depending on how you look at it) manifesting into existence. The internal state is "awakening" and experiencing it's own change like what happened to the whole shape in the first frames. But it is unstable. That's why it doesn't persist for long. If you think of the 8 dots being the octahedron, they map to the element of air. Air is in the material world, but it is not something you can see. The brief moments the 8 dots are visible is similar to that effect. They are only experienceable between a small frequency band of frames. Now here's where stability begins to appear in the internal structure. This is when the 4 dots appear. You'll see that the four dots, the square, is stable and persists the most visibly for the most amount of frames. The square represents earth in the platonic solids to elements mapping. Earth, is material, it's stable. We build our buildings in squares and with earth because it is a solid shape to build on. This visualization shows you why. Across different vibrations (frame rates) it can self sustain. Between this point and frame 180, you'll see a new emergent property. Which is depth. A new dimension is introduced at around frame 90 but really becomes visible at around frame 110. You can see a foreground and background. There is the shape of the dots, but also the triskellion wave happening in the background. Let's jump to frame 180. Notice how it is the same as frame 0 except... It's flashing. If you were paying attention, you'll notice you could see flashing at frame 90 and frame 120, but they didn't persist for long. At around 150 it started to reach stability and 180 it was solidified. Between frames 150 and 180 there is flashing, but the image is still moving. Only for a brief moment at frame 180 is the movement frozen and the flashing persists. Think of that like your computer screen. It's what your screen is doing right now as you read this. Even tho the text isn't moving, the screen is flashing at 60 or 120hz. The images appear on your device because this flashing brings things to life. The entire material realm and your physical body right now, is doing the same thing. While you look solid... You're flashing in and out of existence at very high frequencies. You can look at frame 180 and frame 0 as the same essence but it is the mid point between an octave change. In the video, the ying and yang was vertical, now it is horizontal. This is a phase shift. If you notice at exactly frame 180, the rotation freezes and then the direction of rotation changes. The process then repeats all the way to frame 360 but in the opposite sequence. Once it reaches frame 360, that is an octave change and the process repeats. Each time you repeat the process is a layering of the same patterns into higher octaves. This is the same as your chakras or how other things work. They are like russian nesting dolls where every octave is layering onto the next. The complexity of your body is a layering of basic principles that emerged in earlier stages. Your organs are built of systems that are built with cells that are built with proteins that are built with atoms and so on. The atoms, work just like your body at a basic level. Your body works just like the galaxies. At each level you'll have the same pattern. This is where the idea "As Above, So Below" from. The monad, splits in two, and so on and so on. One cell, splits into two through mitosis in the same logic. We could spend all day going through examples of how biology, physics, spirituality, etc. aren't really different. They are just categories that we use to dissect these frequencies and octaves of energy but they only start paying attention within the confines of materialism. The problem is, none of the sciences start at the root patterns. Because that is reserved for religion or spirituality. It's too woo-woo to take seriously so it's dismissed. And because of that... We're left ignorant on the simple explanations for how things work. Now you need some expert with tools you don't have access to in order to explain things. When you could be understanding them without the tools. The Yin and Yang symbol in this video is 3,000 years old. It's simple. Yet I just showed you how it explains deeper layers of reality.
1:59

If you take a movement to unpack this visualization... You'll see how it simply breaks down how reality works. At frame 0 you have a static image. Everything is one, this is the monad. As soon as you hit frame 1 there is movement, there is change. Now you have two states, moving, or static. When Nikola Tesla says you can explain everything in frequency and vibration. The difference between frame 0 and 1, is vibration. The difference between movement and no movement. This is like binary logic we use in code which is made up of 0's and 1's. After frame 1, is when frequency emerges. Because the difference between frame 1 and all frames after is about how fast is the vibration/movement happening. If we skip forward to frame 50... You have a shape that begins to emerge, this is the 8 dots, then the 6 dots. Notice how unstable it is, it's 8 dots, then 6, then a moment with 4 in a rectangle These shapes are emergent properties. The first two emergent properties after the monad was vibration and frequency. Next comes shape (i'm skipping over rotation and direction). These shapes of dots can only exist when you have frequency and rotation. This frequency and rotation creates vortex energy. It's the same energy that things like your chakras use. Or the same energy we harness in devices like engines, airplanes, fans, blenders, hard drives, etc. It's also the same vortex energy you'll see in a tornado or hurricane. They are powered because they harness rotation and frequency(change/movement). Going back to the video, notice that it is inside the entire shape, the internal structure is manifesting before the external structure does. Then around frame 60 the hexagon of circles begins to rotate. First it was the two dots that moved and now it's a complex shape that is coming to life. This is a higher dimension (or lower depending on how you look at it) manifesting into existence. The internal state is "awakening" and experiencing it's own change like what happened to the whole shape in the first frames. But it is unstable. That's why it doesn't persist for long. If you think of the 8 dots being the octahedron, they map to the element of air. Air is in the material world, but it is not something you can see. The brief moments the 8 dots are visible is similar to that effect. They are only experienceable between a small frequency band of frames. Now here's where stability begins to appear in the internal structure. This is when the 4 dots appear. You'll see that the four dots, the square, is stable and persists the most visibly for the most amount of frames. The square represents earth in the platonic solids to elements mapping. Earth, is material, it's stable. We build our buildings in squares and with earth because it is a solid shape to build on. This visualization shows you why. Across different vibrations (frame rates) it can self sustain. Between this point and frame 180, you'll see a new emergent property. Which is depth. A new dimension is introduced at around frame 90 but really becomes visible at around frame 110. You can see a foreground and background. There is the shape of the dots, but also the triskellion wave happening in the background. Let's jump to frame 180. Notice how it is the same as frame 0 except... It's flashing. If you were paying attention, you'll notice you could see flashing at frame 90 and frame 120, but they didn't persist for long. At around 150 it started to reach stability and 180 it was solidified. Between frames 150 and 180 there is flashing, but the image is still moving. Only for a brief moment at frame 180 is the movement frozen and the flashing persists. Think of that like your computer screen. It's what your screen is doing right now as you read this. Even tho the text isn't moving, the screen is flashing at 60 or 120hz. The images appear on your device because this flashing brings things to life. The entire material realm and your physical body right now, is doing the same thing. While you look solid... You're flashing in and out of existence at very high frequencies. You can look at frame 180 and frame 0 as the same essence but it is the mid point between an octave change. In the video, the ying and yang was vertical, now it is horizontal. This is a phase shift. If you notice at exactly frame 180, the rotation freezes and then the direction of rotation changes. The process then repeats all the way to frame 360 but in the opposite sequence. Once it reaches frame 360, that is an octave change and the process repeats. Each time you repeat the process is a layering of the same patterns into higher octaves. This is the same as your chakras or how other things work. They are like russian nesting dolls where every octave is layering onto the next. The complexity of your body is a layering of basic principles that emerged in earlier stages. Your organs are built of systems that are built with cells that are built with proteins that are built with atoms and so on. The atoms, work just like your body at a basic level. Your body works just like the galaxies. At each level you'll have the same pattern. This is where the idea "As Above, So Below" from. The monad, splits in two, and so on and so on. One cell, splits into two through mitosis in the same logic. We could spend all day going through examples of how biology, physics, spirituality, etc. aren't really different. They are just categories that we use to dissect these frequencies and octaves of energy but they only start paying attention within the confines of materialism. The problem is, none of the sciences start at the root patterns. Because that is reserved for religion or spirituality. It's too woo-woo to take seriously so it's dismissed. And because of that... We're left ignorant on the simple explanations for how things work. Now you need some expert with tools you don't have access to in order to explain things. When you could be understanding them without the tools. The Yin and Yang symbol in this video is 3,000 years old. It's simple. Yet I just showed you how it explains deeper layers of reality.

Jamal ☯︎ 🔆🧘🏽🧠

13,149 Aufrufe • vor 3 Monaten

Summary of Kurogames Recruit Interview Translated by Xu I. Introduction to Types of Planning 1. Combat Planner: Responsible for character skills and combat system design. 2. Narrative Planner: Responsible for writing the storyline, worldbuilding, character backstories, etc. 3. System Planner: Responsible for UI, event portals. 4. Quest Planner: Responsible for the logical design and flow of main and side quests. 5. Level Planner: Mainly responsible for building the narrative platform (product design), creating engaging interactions, etc. II. Core Responsibilities of Level Planning Building the Narrative Platform (Product Structure Design) 1. Use whiteboards and self-made processes to communicate to teammates what kind of scene content the level planner wants, e.g., reverse design of the mission scene for Jiyan Companion Quests dungeon. 2. Make good use of existing in-game mechanics and engine tools (such as UE Blueprints) to implement gameplay prototypes. Only through multiple iterations and feedback can a satisfying outcome be achieved — e.g., using flower seeds to connect paths in Camellya Companion Quests dungeon. 3. Use scripting tools to support smooth and exciting level flow — e.g., 1.3 Black Shores skiing segment. III. Open World Level Design - Example Regions: mt firmament, Black Shores, Nimbus Sanctum, Avinoleum Pioneers of Scene Pipeline Level planners mainly handle the following in massive open-world design tasks: 1. Provide basic map size, terrain structure, main roads, and points of interest (including main quest locations) 2. Propose and lead the design of core gameplay features, such as time reversal, Tethys portals, gliding, gravity inversion, etc. 3. Use top-down maps, whiteboxes, and even self-made models to push scene artists (2D, 3D, lighting) into action For example, the “first look” view — open-world level planners must emphasize its design and guide artists to focus accordingly. IV. Growth Path of a Level Planner Creative Master - Beginner Level Designer: Familiar with the game and development environment, capable of handling simple design work and basic configurations. Example: Completing an interactive mechanism “Chronosorter” in Mt. Firmament from version 1.1 / Placing wild monsters in Mt. Firmament. Senior Level Designer: Capable of completing full level content under the team lead’s guidance. Example: Designing the scene flow of version 2.0 Exploration quest “Where Wind Returns to Celestial Realms” under guidance. - Veteran Level Designer: Able to independently handle full level flow, area or area-themed gameplay design, and proactively push downstream execution efficiently. Example: Independently designing the themed gameplay “Tethys Portal” in version 1.3, and following through with visual performance so other level teammates can configure it smoothly. ➥Extension — Version Level Owner: Leads the level team to accomplish set design goals, guides new team members, coordinates with other departments, and ensures high-quality implementation. Example: Planning the map design of version 2.2 Avinoleum, coordinating cooperation between level planners and other departments. - Creative Master: Able to lead the team in creating level content that exceeds market expectations. Key Point: Able to repeatedly do the above! Examples: — Chief planner and owner of mt firmament and Time Reversal gameplay in version 1.1 — Chief planner and owner of Black Shores map and Tethys Portal in version 1.3 — Chief planner and owner of Flight gameplay in Rinascita in version 2.0 V. Q&A Q: At the end of version 1.0, exploration felt tedious and repetitive. Although version 2.0 introduced some fresh ideas, it’s hard to see how future updates can keep innovating without falling back into the same monotony. A: Everyone already recognized that issue in 1.0, which is why we iterated heavily in 2.0. The goal is simple — to get every planner thinking. We look at everyone's interesting ideas or even creative mechanics from other games that we can integrate. These will definitely feel refreshing, so please stay tuned — it will happen for sure. Q: Older maps felt darker in tone, BGM was monotonous, and overall gameplay was dull. While Rinascita was a major improvement, it felt fragmented, as if each person built something pretty in isolation. It’s hard to describe the region with a unified theme. A: That’s true — it was indeed pieced together by many people. The disjointed feeling came from insufficient communication. We’re aware of the issue and will solve it in version 3.0 or even later versions in the 2.x series. Once there’s a clear theme, the sense of disjointedness won’t be as strong. Q: How do planners decide what kind of map to make? What’s the workflow? A: Narrative, level, quest, and programming planners all sit down together to discuss what we want to make. Everyone shares ideas one by one, and we consolidate them based on data. Q: I’m a veteran of Wuthering Waves and Punishing Gray Raven. I think the four-person team setup, stationary dialogues, map, art, tech, and story are all great. Before Wuthering Waves came out, I used to play a competitor title — Genshin... (includes critical feedback) A: During development, we didn’t aim to compete directly. Comparisons don’t help us create anything better. We’re focused on what we can do and what we’re good at. Q: For the anniversary event, it seems like there was a disconnect between the company’s and players’ expectations. A: Yes, version 2.3 didn’t do well. We’ve already apologized — it was an issue. For the next anniversary, we’ll take it more seriously. Operations is aware of the problem. We’re learning and growing with each mistake. Everyone encounters problems, but we accept them and improve. That’s the best feedback we can give our players. #punishinggrayraven #WutheringWaves
48:36

Summary of Kurogames Recruit Interview Translated by Xu I. Introduction to Types of Planning 1. Combat Planner: Responsible for character skills and combat system design. 2. Narrative Planner: Responsible for writing the storyline, worldbuilding, character backstories, etc. 3. System Planner: Responsible for UI, event portals. 4. Quest Planner: Responsible for the logical design and flow of main and side quests. 5. Level Planner: Mainly responsible for building the narrative platform (product design), creating engaging interactions, etc. II. Core Responsibilities of Level Planning Building the Narrative Platform (Product Structure Design) 1. Use whiteboards and self-made processes to communicate to teammates what kind of scene content the level planner wants, e.g., reverse design of the mission scene for Jiyan Companion Quests dungeon. 2. Make good use of existing in-game mechanics and engine tools (such as UE Blueprints) to implement gameplay prototypes. Only through multiple iterations and feedback can a satisfying outcome be achieved — e.g., using flower seeds to connect paths in Camellya Companion Quests dungeon. 3. Use scripting tools to support smooth and exciting level flow — e.g., 1.3 Black Shores skiing segment. III. Open World Level Design - Example Regions: mt firmament, Black Shores, Nimbus Sanctum, Avinoleum Pioneers of Scene Pipeline Level planners mainly handle the following in massive open-world design tasks: 1. Provide basic map size, terrain structure, main roads, and points of interest (including main quest locations) 2. Propose and lead the design of core gameplay features, such as time reversal, Tethys portals, gliding, gravity inversion, etc. 3. Use top-down maps, whiteboxes, and even self-made models to push scene artists (2D, 3D, lighting) into action For example, the “first look” view — open-world level planners must emphasize its design and guide artists to focus accordingly. IV. Growth Path of a Level Planner Creative Master - Beginner Level Designer: Familiar with the game and development environment, capable of handling simple design work and basic configurations. Example: Completing an interactive mechanism “Chronosorter” in Mt. Firmament from version 1.1 / Placing wild monsters in Mt. Firmament. Senior Level Designer: Capable of completing full level content under the team lead’s guidance. Example: Designing the scene flow of version 2.0 Exploration quest “Where Wind Returns to Celestial Realms” under guidance. - Veteran Level Designer: Able to independently handle full level flow, area or area-themed gameplay design, and proactively push downstream execution efficiently. Example: Independently designing the themed gameplay “Tethys Portal” in version 1.3, and following through with visual performance so other level teammates can configure it smoothly. ➥Extension — Version Level Owner: Leads the level team to accomplish set design goals, guides new team members, coordinates with other departments, and ensures high-quality implementation. Example: Planning the map design of version 2.2 Avinoleum, coordinating cooperation between level planners and other departments. - Creative Master: Able to lead the team in creating level content that exceeds market expectations. Key Point: Able to repeatedly do the above! Examples: — Chief planner and owner of mt firmament and Time Reversal gameplay in version 1.1 — Chief planner and owner of Black Shores map and Tethys Portal in version 1.3 — Chief planner and owner of Flight gameplay in Rinascita in version 2.0 V. Q&A Q: At the end of version 1.0, exploration felt tedious and repetitive. Although version 2.0 introduced some fresh ideas, it’s hard to see how future updates can keep innovating without falling back into the same monotony. A: Everyone already recognized that issue in 1.0, which is why we iterated heavily in 2.0. The goal is simple — to get every planner thinking. We look at everyone's interesting ideas or even creative mechanics from other games that we can integrate. These will definitely feel refreshing, so please stay tuned — it will happen for sure. Q: Older maps felt darker in tone, BGM was monotonous, and overall gameplay was dull. While Rinascita was a major improvement, it felt fragmented, as if each person built something pretty in isolation. It’s hard to describe the region with a unified theme. A: That’s true — it was indeed pieced together by many people. The disjointed feeling came from insufficient communication. We’re aware of the issue and will solve it in version 3.0 or even later versions in the 2.x series. Once there’s a clear theme, the sense of disjointedness won’t be as strong. Q: How do planners decide what kind of map to make? What’s the workflow? A: Narrative, level, quest, and programming planners all sit down together to discuss what we want to make. Everyone shares ideas one by one, and we consolidate them based on data. Q: I’m a veteran of Wuthering Waves and Punishing Gray Raven. I think the four-person team setup, stationary dialogues, map, art, tech, and story are all great. Before Wuthering Waves came out, I used to play a competitor title — Genshin... (includes critical feedback) A: During development, we didn’t aim to compete directly. Comparisons don’t help us create anything better. We’re focused on what we can do and what we’re good at. Q: For the anniversary event, it seems like there was a disconnect between the company’s and players’ expectations. A: Yes, version 2.3 didn’t do well. We’ve already apologized — it was an issue. For the next anniversary, we’ll take it more seriously. Operations is aware of the problem. We’re learning and growing with each mistake. Everyone encounters problems, but we accept them and improve. That’s the best feedback we can give our players. #punishinggrayraven #WutheringWaves

Narushio

226,844 Aufrufe • vor 1 Jahr

I am truly struggling to understand the last part of this video, theres no logic. First of all I'm very sorry and have much emptahy for Claire Clarkson for what happened to her at the hands of Hassan. I frequently get that very train and I often don't feel safe on it. In fact Sunday just gone I didn't feel safe, as a new to the parish was acting very starnge. But why would she, after being sexually assaulted by a man from Afghanistan 🇦🇫 , then repeatedly label people as crazy or racist for having concerns about all the similar assaults and the ones yet to happen (but are on the horizon). Ireland is following the same path as Sweden and Germany etc. We already have in recent times become a country with a THREE times the average rape and sexual assault rate compared to the EU average (not including crimes that go UNREPORTED). Does Ms. Clarkson understand that the psyche and mentality of Irish men did not just change in a very short period and more of them decided to rape and sexually assault? That's not what happened. The increase co incided with an influx of people from countries where "toxic rape culture" is real and oppression of women and girls is real. These are just plain and simple facts. Yes we have our own homegrown Irish scum and yes not all men we have coming here will by any means go on to rape or sexually assault. But still all the aforementioned points stand. Plus we have no way of knowing who ANYONE is. NOT ONE PERSON is vetted. If I was a rapist or a murderer from a faraway land and I wanted to both retain and predatory urges and nature and also conceal my past I would choose Ireland as a destination. It's the perfect place. I'm very sorry for Claire Clarkson and what she has suffered and can relate at a personal level. I do not want this post to be about hating this woman but rather be about common sense and reality. Please God, let sense prevail across this land. Her very own experience should tell her we have a problem. She is releasing his photo because she knows he is a likely a serial offender and she knows he assaulted at least two women. Its not about colour Claire. It's about background checks and cultural norms. Source:
4:54

I am truly struggling to understand the last part of this video, theres no logic. First of all I'm very sorry and have much emptahy for Claire Clarkson for what happened to her at the hands of Hassan. I frequently get that very train and I often don't feel safe on it. In fact Sunday just gone I didn't feel safe, as a new to the parish was acting very starnge. But why would she, after being sexually assaulted by a man from Afghanistan 🇦🇫 , then repeatedly label people as crazy or racist for having concerns about all the similar assaults and the ones yet to happen (but are on the horizon). Ireland is following the same path as Sweden and Germany etc. We already have in recent times become a country with a THREE times the average rape and sexual assault rate compared to the EU average (not including crimes that go UNREPORTED). Does Ms. Clarkson understand that the psyche and mentality of Irish men did not just change in a very short period and more of them decided to rape and sexually assault? That's not what happened. The increase co incided with an influx of people from countries where "toxic rape culture" is real and oppression of women and girls is real. These are just plain and simple facts. Yes we have our own homegrown Irish scum and yes not all men we have coming here will by any means go on to rape or sexually assault. But still all the aforementioned points stand. Plus we have no way of knowing who ANYONE is. NOT ONE PERSON is vetted. If I was a rapist or a murderer from a faraway land and I wanted to both retain and predatory urges and nature and also conceal my past I would choose Ireland as a destination. It's the perfect place. I'm very sorry for Claire Clarkson and what she has suffered and can relate at a personal level. I do not want this post to be about hating this woman but rather be about common sense and reality. Please God, let sense prevail across this land. Her very own experience should tell her we have a problem. She is releasing his photo because she knows he is a likely a serial offender and she knows he assaulted at least two women. Its not about colour Claire. It's about background checks and cultural norms. Source:

Susanne Delaney

22,028 Aufrufe • vor 1 Jahr

LIFE UPDATE 🧡 I first want to say I am incredibly grateful to God and all the opportunities He has given me. For those of you that don’t know my story, I started my Bitcoin journey at the very end of 2020. Bitcoin came at such a pivotal point in my life, and I know it was God working in the background so He could connect me with incredible people that would leave a footprint in my heart forever. Shortly after, I started working at Swan 🦢. When I tell you the HONOR it is to have been with such an incredible team. Back then, when I was on team calls with , Brady Swenson, Brandon Quittem, Brekkie⚒️, Yan | swan.com and others, I felt overwhelmed with gratitude and at the same time so blessed. These people who are incredibly smart and experienced in their craft became my teachers. I was a just baby Swan starting my Bitcoin journey, but incredibly hungry and eager to learn. Later on, I got to work closely with Kristin Thompson and the rest of the Pacific Bitcoin team 🧡 When I tell you this team is magic, it feels like an understatement. Although today it is time for Swan and I to part ways, I know this is God once again working in the background for incredible things in my life. All I can say is thank you Swans for a wild and crazy journey and for being a testament that there really is a brighter future ahead for all of us. So…What will happen with Camila!? Only God knows ❤️. And that gives me all the peace I need. I have a lot of beautiful things happening in my life right now and the most beautiful family. This is a perfect moment for me to pause, breathe, reflect, and plan for what is to come! My life mission is simple. Be light and love to those around me and serve. I truly believe that as a Bitcoiner, I also have the responsibility to educate however I can. It’s in our DNA, right? I’m excited to continue to share my life journey with all of you so thank you, all of you, for joining me on this awesome ride ✨ I want to leave you guys with the video that started it all for me 😂🧡😎 As Jim Rohn always said, “The best is yet to come.” Much love and talk soon! Camila Campton 🧡
0:26

LIFE UPDATE 🧡 I first want to say I am incredibly grateful to God and all the opportunities He has given me. For those of you that don’t know my story, I started my Bitcoin journey at the very end of 2020. Bitcoin came at such a pivotal point in my life, and I know it was God working in the background so He could connect me with incredible people that would leave a footprint in my heart forever. Shortly after, I started working at Swan 🦢. When I tell you the HONOR it is to have been with such an incredible team. Back then, when I was on team calls with , Brady Swenson, Brandon Quittem, Brekkie⚒️, Yan | swan.com and others, I felt overwhelmed with gratitude and at the same time so blessed. These people who are incredibly smart and experienced in their craft became my teachers. I was a just baby Swan starting my Bitcoin journey, but incredibly hungry and eager to learn. Later on, I got to work closely with Kristin Thompson and the rest of the Pacific Bitcoin team 🧡 When I tell you this team is magic, it feels like an understatement. Although today it is time for Swan and I to part ways, I know this is God once again working in the background for incredible things in my life. All I can say is thank you Swans for a wild and crazy journey and for being a testament that there really is a brighter future ahead for all of us. So…What will happen with Camila!? Only God knows ❤️. And that gives me all the peace I need. I have a lot of beautiful things happening in my life right now and the most beautiful family. This is a perfect moment for me to pause, breathe, reflect, and plan for what is to come! My life mission is simple. Be light and love to those around me and serve. I truly believe that as a Bitcoiner, I also have the responsibility to educate however I can. It’s in our DNA, right? I’m excited to continue to share my life journey with all of you so thank you, all of you, for joining me on this awesome ride ✨ I want to leave you guys with the video that started it all for me 😂🧡😎 As Jim Rohn always said, “The best is yet to come.” Much love and talk soon! Camila Campton 🧡

Camila Campton 🧡

28,740 Aufrufe • vor 2 Jahren

So how is the Sega Dreamcast's very own native port of Mario Kart 64 coming along? Well, lets take a look at some footage I just captured directly from my DC of jnmartin's latest build! Minor texture corruption is still present on some of the sprites here and there, plus there's no audio yet, BUT MY OH MY! She's running like a dream and looks SHARP as hell at with progressive scan at twice the resolution! You'll immediately notice virtually all of the texture corruption on the text and UI sprites have been fixed. You can now actually see your item box, and clouds are drawn properly in the background, rather than over the top of the scene in the foreground. Somehow, along with fixing all of this in the past few days, jnmartin has also found the time to get the monitors in the backgrounds of Luigi's Raceway and Wario Stadium correctly projecting a view of the scene onto their screens. This somewhat-advanced effect (for the time) was actually done on the N64 (in this game) WITHOUT doing a secondary render-to-texture pass, which requires submitting the scene a second time to the GPU. Instead, the framebuffer was divided into small, tiled chunks (1/6 of its total size), with only a single small chunk getting updated per frame. This way, the amount of direct VRAM access from the CPU (which is typically slow as hell) is kept to a minimum within the duration of a particular frame, with multiple frames being required to update the entire screen. But anyway, she's starting to look and play incredibly well, and those of us with early access to the builds have been thoroughly enjoying revisiting this title on our favorite platform!
1:44

So how is the Sega Dreamcast's very own native port of Mario Kart 64 coming along? Well, lets take a look at some footage I just captured directly from my DC of jnmartin's latest build! Minor texture corruption is still present on some of the sprites here and there, plus there's no audio yet, BUT MY OH MY! She's running like a dream and looks SHARP as hell at with progressive scan at twice the resolution! You'll immediately notice virtually all of the texture corruption on the text and UI sprites have been fixed. You can now actually see your item box, and clouds are drawn properly in the background, rather than over the top of the scene in the foreground. Somehow, along with fixing all of this in the past few days, jnmartin has also found the time to get the monitors in the backgrounds of Luigi's Raceway and Wario Stadium correctly projecting a view of the scene onto their screens. This somewhat-advanced effect (for the time) was actually done on the N64 (in this game) WITHOUT doing a secondary render-to-texture pass, which requires submitting the scene a second time to the GPU. Instead, the framebuffer was divided into small, tiled chunks (1/6 of its total size), with only a single small chunk getting updated per frame. This way, the amount of direct VRAM access from the CPU (which is typically slow as hell) is kept to a minimum within the duration of a particular frame, with multiple frames being required to update the entire screen. But anyway, she's starting to look and play incredibly well, and those of us with early access to the builds have been thoroughly enjoying revisiting this title on our favorite platform!

Falco Girgis

45,534 Aufrufe • vor 1 Jahr

全网疯传神老师这个提示词太好玩了 我改了一版裸眼3D版本 然后又花了1美金做了一个视频 产品展示历史3D图提示词： Role & Subject: A museum-grade, hyper-realistic 16:9 3D infographic masterpiece titled "THE EVOLUTION OF [Product Name]". The visual style combines cinematic product photography with advanced technical blueprint aesthetics, emphasizing extreme depth and tangible 3D presence. The Hero Lineup (3D Volumetric Core): • A complete chronological sequence of 8-12 historical versions of [Product Name], from earliest prototype to futuristic concept • Arranged on a precision-engineered floating ruler/timeline base with depth shadows and reflection mapping • 3D Rendering Enhancement: - Octane Render + Unreal Engine 5 volumetric lighting - PBR (Physically Based Rendering) materials with: * Sub-surface scattering for organic materials * Metallic/roughness maps for mechanical parts * Micro-displacement for surface texture depth - Each object casts realistic shadows on the background plane - Edge rim lighting (0.3 intensity) to separate objects from background - Depth of field: Sharp focus on center objects, subtle bokeh on edges • Material Evolution Story: - Early versions: Weathered textures (rust, wear marks, patina) - Mid-era: Industrial matte finishes with visible manufacturing seams - Modern: Pristine glossy surfaces with screen-space reflections - Future: Holographic elements with volumetric fog effects Brand Atmosphere (The 3D Canvas): • Background: Deep [Brand Color] with physical texture layers: - Embossed vintage patent drawings (normal-mapped) - Floating translucent glass panels with engraved engineering notes - Volumetric god rays piercing through layered newspaper clippings - Particle system: Subtle floating dust motes with motion blur • Header Zone: - Brand logo: Extruded 3D metal badge with bevel and emboss - Title typography: Carved letterpress effect with depth shadows - Metallic foil stamp simulation with anisotropic highlights The "Hyper-Dense" 3D Information Layer: A complex, organized data-maximalist layout with spatial depth: 1. Dense Annotation Network: - Ultra-fine white hairlines (0.5px) connecting components to data blocks - Lines have slight 3D curvature following perspective rules - Connection nodes: Small metallic spheres with Fresnel reflections 2. Contextual Era Modules: - Floating glass panels hovering above the timeline - Each decade module has: * Frosted glass material with transparency gradient * Iconographic markers in raised relief * Subtle animated pulse effects (optional) 3. Magnifying Lens Inserts: - Circular/hexagonal cutouts with beveled glass edges - Extreme macro close-ups showing: * Material grain (wood, metal, plastic crystals) * Internal mechanisms with exploded-view depth - Lens distortion shader for realism 4. Technical Specs Strip (Bottom): - Structured data bar with 3D segmented panels - Each cell: Slightly recessed with inner shadow - Typography: Laser-etched effect on brushed metal texture - Micro LED indicator lights between data points 3D Enhancement Technical Specs: • Rendering Engine: Octane Render / Unreal Engine 5.3 • Global Illumination: HDRI environment map (studio lighting setup) • Camera Settings: - Focal Length: 35mm (slight wide-angle for information density) - F-Stop: f/5.6 (selective focus) - Chromatic Aberration: 0.2 (photographic realism) • Post-Processing Stack: - Ambient Occlusion (AO) for micro-shadows - Screen Space Reflections (SSR) - Volumetric lighting with light shaft scattering - Color Grading: Cinematic LUT with lifted blacks - Sharpness: 130% (crisp data legibility) • Material Library: - Metals: Anisotropic brushed aluminum, polished chrome - Glass: IOR 1.52 with caustics - Plastics: Translucent with thickness variation - Paper: Subsurface scattering for vintage documents Output Parameters: --ar 16:9 --v 6.1 --style raw --stylize 400 --quality 2 --chaos 10 Additional Flags (for AI generators): --3d-rendering --volumetric-lighting --octane-quality --pbr-materials --depth-of-field Metadata Variables to Replace: [Product Name] → Your subject (e.g., "POP MART Designer Toys") [Brand Color] → Primary brand color (e.g., "Deep Navy Blue #1A2332") [Material Vibe] → Core material story (e.g., "Vinyl to Resin to Smart Materials") [Key Components] → Specific product features (e.g., "Joints, Paint Finish, Packaging") Pro Tips for Maximum 3D Impact: 1. Use "isometric 3D layout" for uniform depth perception 2. Add "floating holographic UI elements" for futuristic tech feel 3. Include "cross-section cutaway views" to show internal structure 4. Apply "chromatic aberration" around high-contrast edges for lens realism 5. Insert "measurement calipers" as 3D props for scale reference
0:25

全网疯传神老师这个提示词太好玩了 我改了一版裸眼3D版本 然后又花了1美金做了一个视频 产品展示历史3D图提示词： Role & Subject: A museum-grade, hyper-realistic 16:9 3D infographic masterpiece titled "THE EVOLUTION OF [Product Name]". The visual style combines cinematic product photography with advanced technical blueprint aesthetics, emphasizing extreme depth and tangible 3D presence. The Hero Lineup (3D Volumetric Core): • A complete chronological sequence of 8-12 historical versions of [Product Name], from earliest prototype to futuristic concept • Arranged on a precision-engineered floating ruler/timeline base with depth shadows and reflection mapping • 3D Rendering Enhancement: - Octane Render + Unreal Engine 5 volumetric lighting - PBR (Physically Based Rendering) materials with: * Sub-surface scattering for organic materials * Metallic/roughness maps for mechanical parts * Micro-displacement for surface texture depth - Each object casts realistic shadows on the background plane - Edge rim lighting (0.3 intensity) to separate objects from background - Depth of field: Sharp focus on center objects, subtle bokeh on edges • Material Evolution Story: - Early versions: Weathered textures (rust, wear marks, patina) - Mid-era: Industrial matte finishes with visible manufacturing seams - Modern: Pristine glossy surfaces with screen-space reflections - Future: Holographic elements with volumetric fog effects Brand Atmosphere (The 3D Canvas): • Background: Deep [Brand Color] with physical texture layers: - Embossed vintage patent drawings (normal-mapped) - Floating translucent glass panels with engraved engineering notes - Volumetric god rays piercing through layered newspaper clippings - Particle system: Subtle floating dust motes with motion blur • Header Zone: - Brand logo: Extruded 3D metal badge with bevel and emboss - Title typography: Carved letterpress effect with depth shadows - Metallic foil stamp simulation with anisotropic highlights The "Hyper-Dense" 3D Information Layer: A complex, organized data-maximalist layout with spatial depth: 1. Dense Annotation Network: - Ultra-fine white hairlines (0.5px) connecting components to data blocks - Lines have slight 3D curvature following perspective rules - Connection nodes: Small metallic spheres with Fresnel reflections 2. Contextual Era Modules: - Floating glass panels hovering above the timeline - Each decade module has: * Frosted glass material with transparency gradient * Iconographic markers in raised relief * Subtle animated pulse effects (optional) 3. Magnifying Lens Inserts: - Circular/hexagonal cutouts with beveled glass edges - Extreme macro close-ups showing: * Material grain (wood, metal, plastic crystals) * Internal mechanisms with exploded-view depth - Lens distortion shader for realism 4. Technical Specs Strip (Bottom): - Structured data bar with 3D segmented panels - Each cell: Slightly recessed with inner shadow - Typography: Laser-etched effect on brushed metal texture - Micro LED indicator lights between data points 3D Enhancement Technical Specs: • Rendering Engine: Octane Render / Unreal Engine 5.3 • Global Illumination: HDRI environment map (studio lighting setup) • Camera Settings: - Focal Length: 35mm (slight wide-angle for information density) - F-Stop: f/5.6 (selective focus) - Chromatic Aberration: 0.2 (photographic realism) • Post-Processing Stack: - Ambient Occlusion (AO) for micro-shadows - Screen Space Reflections (SSR) - Volumetric lighting with light shaft scattering - Color Grading: Cinematic LUT with lifted blacks - Sharpness: 130% (crisp data legibility) • Material Library: - Metals: Anisotropic brushed aluminum, polished chrome - Glass: IOR 1.52 with caustics - Plastics: Translucent with thickness variation - Paper: Subsurface scattering for vintage documents Output Parameters: --ar 16:9 --v 6.1 --style raw --stylize 400 --quality 2 --chaos 10 Additional Flags (for AI generators): --3d-rendering --volumetric-lighting --octane-quality --pbr-materials --depth-of-field Metadata Variables to Replace: [Product Name] → Your subject (e.g., "POP MART Designer Toys") [Brand Color] → Primary brand color (e.g., "Deep Navy Blue #1A2332") [Material Vibe] → Core material story (e.g., "Vinyl to Resin to Smart Materials") [Key Components] → Specific product features (e.g., "Joints, Paint Finish, Packaging") Pro Tips for Maximum 3D Impact: 1. Use "isometric 3D layout" for uniform depth perception 2. Add "floating holographic UI elements" for futuristic tech feel 3. Include "cross-section cutaway views" to show internal structure 4. Apply "chromatic aberration" around high-contrast edges for lens realism 5. Insert "measurement calipers" as 3D props for scale reference

serva huang

12,281 Aufrufe • vor 7 Monaten

Desveaux’s Theory of Helix Fields Tweet 1 of 2 For decades, we treated the universe like a giant stage where particles act out their lives. What if the stage itself isn't empty? What if the "void" of space is a structured, rotating medium that is constantly twisting & turning? We have been looking at the pieces of the puzzle, but ignoring the board they sit on. It’s been hiding in plain in sight? My idea on Helix Fields suggests everything we see, from the smallest atom to the largest galaxy, is actually a "corkscrew" in the fabric of reality. In standard physics, we think of particles like tiny billiard balls. In Helix Field Theory, we rethink them as solitons - essentially stable, high-energy "whirlpools" or "corkscrews" made of space itself. Imagine a ribbon. If you pull it straight, it’s flat and simple. But if you twist it, you create a spiral. That twist is what we call Torsion. My theory says that what we perceive as "matter" is simply a place where the vacuum of space is rotating so tightly that it creates a "density core." To explain how this all works, we use a mathematical roadmap called a Lagrangian. Think of it as a master recipe or cookbook for the universe. It combines four key ingredients: 1. Electricity and Magnetism: How light and energy move. 2. Scalar Fields: The underlying "pressure" of the vacuum in space itself 3. Matter: The physical "stuff" we can touch. 4. Torsion: The "twist" or rotational force of space. By looking at the universe through this "helix" lens, we can solve two of the biggest headaches in modern science: The Hubble Tension - Astronomers are currently arguing over how fast the universe is expanding because different measurements give different answers. My theory suggests this "tension" exists because we haven't accounted for the universal rotation (torsion) affecting our measurements. The Dark Sector - We know there is "Dark Matter" and "Dark Energy" out there, but we can't find it. Helix Field Theory suggests these aren't invisible particles, but rather geometric artifacts - ripples and shadows created by the rotating vacuum itself. We are moving away from a universe of "things" and toward a universe of geometry and motion. If the vacuum of space is a structured, rotating medium, then we aren't just living in the universe - we are part of its physical rotation. The "Quantum Substratum" isn't just a theory; it’s a new way to understand the very "twist" of existence. - Protons: tiny rotating black hole-like cores anchoring the scalar field - Neutrons: stabilisers that prevent proton cores from decaying - Quarks & Gluons: the deepest torsion knots; the strong force is intrinsic torsion - Electrons: corkscrew-shaped solitons producing microscopic magnetic vortices - Neutrinos: ultra-light messenger waves traveling along the field’s “communication lines.” - Photons: instruction ripples traveling at light speed - Dark Photons: the “torsion messengers” of the Helix Field. They carry the twist, regulate the twist, and stabilize the twisting motion - W and Z bosons: on/off switches and stabilising nodes in the neutrino network - Higgs field: the local density of the scalar field, giving solitons their effective mass - Dark energy: the gentle outward push caused by the field’s overall rotation - Entropy: friction in that rotation, giving time its arrow - Cosmic Microwave Background: the universal “sustain pedal” like on a guitar or piano, keeping the field’s vibrations in phase. In this vision, dark matter isn’t missing matter - it’s the gravitational echo of the scalar field itself. Exploring antiparticles further: they may regulate the flow of time itself. In a rotational and torsional universe Time is a neutral observer: the past and future are fixed, but the present - our free will - is the point where choices echo into fate. Time is the “God” of the universe: ever-present, ever-aware, never interfering - just watching, as we decide which thread to follow.
1:18

Desveaux’s Theory of Helix Fields Tweet 1 of 2 For decades, we treated the universe like a giant stage where particles act out their lives. What if the stage itself isn't empty? What if the "void" of space is a structured, rotating medium that is constantly twisting & turning? We have been looking at the pieces of the puzzle, but ignoring the board they sit on. It’s been hiding in plain in sight? My idea on Helix Fields suggests everything we see, from the smallest atom to the largest galaxy, is actually a "corkscrew" in the fabric of reality. In standard physics, we think of particles like tiny billiard balls. In Helix Field Theory, we rethink them as solitons - essentially stable, high-energy "whirlpools" or "corkscrews" made of space itself. Imagine a ribbon. If you pull it straight, it’s flat and simple. But if you twist it, you create a spiral. That twist is what we call Torsion. My theory says that what we perceive as "matter" is simply a place where the vacuum of space is rotating so tightly that it creates a "density core." To explain how this all works, we use a mathematical roadmap called a Lagrangian. Think of it as a master recipe or cookbook for the universe. It combines four key ingredients: 1. Electricity and Magnetism: How light and energy move. 2. Scalar Fields: The underlying "pressure" of the vacuum in space itself 3. Matter: The physical "stuff" we can touch. 4. Torsion: The "twist" or rotational force of space. By looking at the universe through this "helix" lens, we can solve two of the biggest headaches in modern science: The Hubble Tension - Astronomers are currently arguing over how fast the universe is expanding because different measurements give different answers. My theory suggests this "tension" exists because we haven't accounted for the universal rotation (torsion) affecting our measurements. The Dark Sector - We know there is "Dark Matter" and "Dark Energy" out there, but we can't find it. Helix Field Theory suggests these aren't invisible particles, but rather geometric artifacts - ripples and shadows created by the rotating vacuum itself. We are moving away from a universe of "things" and toward a universe of geometry and motion. If the vacuum of space is a structured, rotating medium, then we aren't just living in the universe - we are part of its physical rotation. The "Quantum Substratum" isn't just a theory; it’s a new way to understand the very "twist" of existence. - Protons: tiny rotating black hole-like cores anchoring the scalar field - Neutrons: stabilisers that prevent proton cores from decaying - Quarks & Gluons: the deepest torsion knots; the strong force is intrinsic torsion - Electrons: corkscrew-shaped solitons producing microscopic magnetic vortices - Neutrinos: ultra-light messenger waves traveling along the field’s “communication lines.” - Photons: instruction ripples traveling at light speed - Dark Photons: the “torsion messengers” of the Helix Field. They carry the twist, regulate the twist, and stabilize the twisting motion - W and Z bosons: on/off switches and stabilising nodes in the neutrino network - Higgs field: the local density of the scalar field, giving solitons their effective mass - Dark energy: the gentle outward push caused by the field’s overall rotation - Entropy: friction in that rotation, giving time its arrow - Cosmic Microwave Background: the universal “sustain pedal” like on a guitar or piano, keeping the field’s vibrations in phase. In this vision, dark matter isn’t missing matter - it’s the gravitational echo of the scalar field itself. Exploring antiparticles further: they may regulate the flow of time itself. In a rotational and torsional universe Time is a neutral observer: the past and future are fixed, but the present - our free will - is the point where choices echo into fate. Time is the “God” of the universe: ever-present, ever-aware, never interfering - just watching, as we decide which thread to follow.

Clinton Desveaux

23,492 Aufrufe • vor 6 Monaten

Something interesting caught my eye today - the Russians are fabricating Ukrainian attacks again. In neither of these videos is a single Ukrainian soldier seen, living or dead, and yet the usual suspects have already marked up gains for the AFU. Why would the Russians do this?⬇️ Well, it's a military maxim that you always reinforce success. At the same time, the situational awareness of the AFU's command is awful - it's quite clear that every level of command in that organization routinely lies to their superiors, and given the casualties they take on a daily basis it's likely that the brigade in charge of any given front sector doesn't have a very clear idea of where its troops actually are at any given time and how many of them are still alive, let alone the strength and disposition of the local Russians. It's likely that a significant amount of the AFU's situation map is simply copy-pasted off of brOSINT/broenkor war mapper products. Thus if the Russians want to bait the AFU into dissipating its limited resources, it's quite simple to shell or drone some abandoned area behind their own front line, film the fireworks, release the footage, and wait. The "successful Ukrainian attack" will filter into the AFU's operational picture in a matter of hours and they will start making decisions based on it. And this isn't the first time they've done this, the Russians fabricated a Ukrainian counterattack in Toretsk last year that eventually sucked in real AFU units and command attention while they were preparing for the final assault that retook Sudzha and collapsed the remainder of the Ukrainian salient into Kursk Oblast. When observing this war you always need to remember that the combatants have diametrically opposite approaches to public relations. Ukrainians will often deploy combat forces purely to drive narratives on social media - while the Russians will just as often use social media narratives to accomplish battlefield objectives.
1:09

Something interesting caught my eye today - the Russians are fabricating Ukrainian attacks again. In neither of these videos is a single Ukrainian soldier seen, living or dead, and yet the usual suspects have already marked up gains for the AFU. Why would the Russians do this?⬇️ Well, it's a military maxim that you always reinforce success. At the same time, the situational awareness of the AFU's command is awful - it's quite clear that every level of command in that organization routinely lies to their superiors, and given the casualties they take on a daily basis it's likely that the brigade in charge of any given front sector doesn't have a very clear idea of where its troops actually are at any given time and how many of them are still alive, let alone the strength and disposition of the local Russians. It's likely that a significant amount of the AFU's situation map is simply copy-pasted off of brOSINT/broenkor war mapper products. Thus if the Russians want to bait the AFU into dissipating its limited resources, it's quite simple to shell or drone some abandoned area behind their own front line, film the fireworks, release the footage, and wait. The "successful Ukrainian attack" will filter into the AFU's operational picture in a matter of hours and they will start making decisions based on it. And this isn't the first time they've done this, the Russians fabricated a Ukrainian counterattack in Toretsk last year that eventually sucked in real AFU units and command attention while they were preparing for the final assault that retook Sudzha and collapsed the remainder of the Ukrainian salient into Kursk Oblast. When observing this war you always need to remember that the combatants have diametrically opposite approaches to public relations. Ukrainians will often deploy combat forces purely to drive narratives on social media - while the Russians will just as often use social media narratives to accomplish battlefield objectives.

Armchair Warlord

11,038 Aufrufe • vor 8 Monaten