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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 просмотров • 2 лет назад •via X (Twitter)

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Комментарии: 6

Фото профиля Anderson Mancini
Anderson Mancini2 лет назад

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

Фото профиля Abdulhamit Akaslan
Abdulhamit Akaslan2 лет назад

@threejs Finally!

Фото профиля RΞNN
RΞNN2 лет назад

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

Фото профиля Rolans
Rolans2 лет назад

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

Фото профиля AarkeinDevaed
AarkeinDevaed2 лет назад

@threejs Finally 🙌🏻

Фото профиля Sergio Vicanò
Sergio Vicanò2 лет назад

@threejs Good! Drei/Enviroment will be update?

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This is our Trackmania streamers' campain submission with a map called ▶️Snowballin' 🏅 GPS Time (01'18"290) I built this in sections together with my friends Röder Kilian 東京🇯🇵 Armin and Illuminatu and our plan was to showcase and implement many of the new tricks and skills needed that came with the Snow update. Our original plan was to build a multilap map with 2 rounds, one round driven entirely with the Stadium car and the other round driven with the Snow car. However we soon decided that this plan was a bit too ambitious for our mapping skills, as it is quite tough to build paths that work with both the Stadium and Snow car equally well. So we started over again and Röder had the great idea to re-use part of the start blocks later in the race while driving the Snow car, so we still have a somewhat "multi-lappy" feel to the map. All in all I think this map is quite challenging, yet very fun to hunt, as it really rewards good turns and fast exits as the snowball effect is very important on this track (hence why we gave it the name Snowballin'). To make sure I don't channel all the hate that this map might give us just to myself, I rendered this small run for you (GPS Time (01'18"290)) so you can see and @ the person who's part you hated the most! 😂
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This is our Trackmania streamers' campain submission with a map called ▶️Snowballin' 🏅 GPS Time (01'18"290) I built this in sections together with my friends Röder Kilian 東京🇯🇵 Armin and Illuminatu and our plan was to showcase and implement many of the new tricks and skills needed that came with the Snow update. Our original plan was to build a multilap map with 2 rounds, one round driven entirely with the Stadium car and the other round driven with the Snow car. However we soon decided that this plan was a bit too ambitious for our mapping skills, as it is quite tough to build paths that work with both the Stadium and Snow car equally well. So we started over again and Röder had the great idea to re-use part of the start blocks later in the race while driving the Snow car, so we still have a somewhat "multi-lappy" feel to the map. All in all I think this map is quite challenging, yet very fun to hunt, as it really rewards good turns and fast exits as the snowball effect is very important on this track (hence why we gave it the name Snowballin'). To make sure I don't channel all the hate that this map might give us just to myself, I rendered this small run for you (GPS Time (01'18"290)) so you can see and @ the person who's part you hated the most! 😂

TrilluXe

42,929 просмотров • 2 лет назад

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Yesterday, I led a delegation of friends, political associates and my children, to Mamukan a small community in Jada. Their once shepherd boy, just like me, is rising from a very humble background rooted in traditional family values of respect and trust to put Mamukan on the global map. That is why I have strong belief that anyone can rise from zero to hero, Insha Allah. Prof. Ahmed Shehu (Pullo Jada) is not only intellectually sound, and resourceful, but also of good character. He has just earned the traditional title of Chiroma Nyibango, Jada District and I couldn't be left out in the celebration. Prof. Ahmed is family. He is more than an aide. He is not only a resilient young man but also sagacious, and I told the people of Mamukan that his story is just starting. Congratulations, Chiroma Nyibango. -AA

Atiku Abubakar

79,110 просмотров • 7 месяцев назад

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89,825 просмотров • 1 месяц назад

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Interesting times in the maps space, and its exciting there is so much buzz - maps are awesome :) My parents Rakesh and Rashmi Verma pioneered digital mapping in India in 1995, returning from the US after a successful career there with the passion and desire to do something unique for India. And it’s been 20 years for me personally in the mapping space, since I was a 19-year old Stanford engineering undergraduate student and got involved in starting India’s first interactive mapping portal, I realise MapmyIndia is a relatively lesser known company amidst more consumer facing global and local players, so it would be great if this post can be amplified, so that more people can be made aware 🙏 Warm regards, Rohan Verma CEO & ED, MapmyIndia *** A few thoughts on maps: 1) Accuracy and quality of maps is critical. I’d caution folks to check out quality and reliability of maps by browsing those maps in areas familiar to them, and if they notice errors in them, in terms of incorrect places marked wrongly on the map, it should serve as a reminder not to rely on such maps. I’ve personally looked at the maps of various global and local players, and find so many inaccuracies, which confirms my belief that the difficult art and science of map-making is not as easy and people may imagine or claim. 2) What’s exciting about Mappls MapmyIndia, as a home-grown indigenous deep tech digital products and platforms company, is that not just did we pioneer digital mapping in India since 1995, when there were no other digital maps available for the country, but back then, and even now, we’ve always built the most cutting-edge tech to build the most capable maps and empower our customers, users and developers with the most comprehensive and advanced solutions. Over the last 15 or so years, there have actually been many global and local players who have come into the mapping market, yet for some reason or the other, they haven’t sustained or maintained quality. On our side we have continuously innovated in our products and tech - already bringing and making the most advanced featured available into our 4D HD maps covering 360 RealViews and 3D drone and digital twin based maps, immersive views and RealVerses - and focused on solving the needs of Indian consumers and enterprises, and served customers and users with humility, passion and consistency, with a solid and sustainable business model to ensure and provide a long-term reliable mapping solution for customers and the country. 3) Here’s an explainer video of our maps, tech & APIs which focus on how developers, users and customers can leverage our solutions to get their needs solved in the best way. Do watch - you’ll be pleasantly surprised and happy at the offering. 4) To try out as a developer for yourself, visit We’re glad that tens of thousands of developers, and their hundreds of millions of users, benefit from Mappls MapmyIndia Maps & APIs everyday, using both our free plans and our commercial plans. Do try for your own needs as a developer. 5) In one sense, the quality and capability of Mappls MapmyIndia is proven to be better and more useful and valuable through our free consumer Mappls MapmyIndia app (learn more and download from which has gotten love from millions of consumers who are able to navigate safer and better. MapmyIndia Mappls Rakesh Verma @RashmiV1956

Rohan Verma

16,210 просмотров • 2 лет назад

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Task Force Admiral - WW2 Carrier 3D Wargame on PC!

49,757 просмотров • 2 лет назад

** Sega Genesis 3D Engine Update 8 ** Significant improvements all round as you can see and hear from the last update !! Foremost - A huge thanks to Toni Gálvez - Megastyle - BG. who has joined the project to create a bit of 16bit low poly magic. Toni's an Amiga fan but also crazy about game dev in general, he's worked on GBC, GBA, PC, MD, PSP, C64, CPC, MSX... and others. Gaming titles include War Times, Metal Gear, Rocketman, Tintin & Asterix to name a few. He's provided the great new ship model you see on screen - new striped buildings, all the backgrounds / palettes etc. There's a lot of models he's given me which need to be added, also he will be planning a lot of the level design. Very happy to have him help me turn this into something more than a tech demo as I have my hands tied pushing the MD as far as it can go haha - there is no cpu cycle to be spared. Also many thanks to my good friend CYBERDEOUS - Crouzet Laurent for the Music for this showing , I wanted to have the music load occurring so we have a realistic benchmark for performance and he was only too obliging. If you're into MD chiptunes check him out !! Since last update : New player model , substantially more detailed than the Arwing. Last update had a 23 triangle Arwing , this update has a 39 triangle custom model from Toni. We had several to choose from , others will be used for enemies . 3D Buffer size increased 25% to 256x160. This was quite tricky as I'm close to the DMA limit even with an extended vblank . Spent a few days thinking of how to do this as like anything retro every solution has a drawback, finally got a workable solution. It makes a big difference to have a bit more vertical height . Z Rotation added ( the screen tilting left to right ) , small hit to vertex transform on cpu thanks to look up tables doing the heavy lifting, saving 4 multiplies per vertex. Multiple speed ups in rendering code. Onscreen paths with no range checking used until Z is close enough to cause clipping , partial onscreen drawing pathes that need to check boundaries, quad rendering completely rewritten - was very very painfull to get right . I found out the hard way that things are great when they are not rotating in the Z axis haha . Partial buffer draw optimisations - which have helped with the massive dma load , sending up to a 20kb buffer in a single frame needs a lot of optimisation. Min / Max tile lines are analysed and only sent if dirtied , reducing most buffer swaps substantially. Still some issues to sort out , at times you can see the flicker near top of screen when frames are near full height . I need to optimise that a bit. Due to the onscreen buffer system a full Sprite background had to be implemented almost Neo Geo style. This flips the usual MD rendering system on its head as it uses both foreground and background layers for a foreground 3d plane and sprites for the background. This presents a few issues, one is to get a tilt effect on the background by using narrow sprites (16x32) we run out of sprites when trying to cover the screen. Thankfully the MD is not limited to 80 sprites, to fix this a 114 sprite multiplexor is used to draw the background, its completely made up of 16x32 sprites ! Why do things this way ? speed . Its the interleaved foreground/background layers that allow a double buffered ram system writing to write to vram using dma in a completely linear fashion - virtually no tile translation needed. The negative is you have no planes for the background, that's where the sprites come in . Thanks to H40 mode we still have a few sprites we can use for effects in the forground also . Thankfully we can implement a fairly good tilt still for the background using sprites, in future updates this will be able to move horizontally also and a bit of vertical movement. XGM1 music driver in use to simulate music cpu load, XGM2 unfortunately with the massive DMA needed to shift the 3d buffers would slow down at times rendering it unusable, XGM1 plays at full speed - albiet with a bit more of a cpu hit. Together with the sprite multiplexor and the music driver active theres a 10 % hit to cpu so I've had to play around with draw distances / object heights and other optimisations to offset that. Not to mention the larger buffer takes more cpu to fill also. Everything is placeholder so will be changed with proper stage design. We are averaging 20 FPS in the current video, I'll push for more as always !! Progress continues on my other projects , updates soon on those - retirement can't come quick enough . #SGDK #SegaGenesis #SegaMegadrive
1:17

** Sega Genesis 3D Engine Update 8 ** Significant improvements all round as you can see and hear from the last update !! Foremost - A huge thanks to Toni Gálvez - Megastyle - BG. who has joined the project to create a bit of 16bit low poly magic. Toni's an Amiga fan but also crazy about game dev in general, he's worked on GBC, GBA, PC, MD, PSP, C64, CPC, MSX... and others. Gaming titles include War Times, Metal Gear, Rocketman, Tintin & Asterix to name a few. He's provided the great new ship model you see on screen - new striped buildings, all the backgrounds / palettes etc. There's a lot of models he's given me which need to be added, also he will be planning a lot of the level design. Very happy to have him help me turn this into something more than a tech demo as I have my hands tied pushing the MD as far as it can go haha - there is no cpu cycle to be spared. Also many thanks to my good friend CYBERDEOUS - Crouzet Laurent for the Music for this showing , I wanted to have the music load occurring so we have a realistic benchmark for performance and he was only too obliging. If you're into MD chiptunes check him out !! Since last update : New player model , substantially more detailed than the Arwing. Last update had a 23 triangle Arwing , this update has a 39 triangle custom model from Toni. We had several to choose from , others will be used for enemies . 3D Buffer size increased 25% to 256x160. This was quite tricky as I'm close to the DMA limit even with an extended vblank . Spent a few days thinking of how to do this as like anything retro every solution has a drawback, finally got a workable solution. It makes a big difference to have a bit more vertical height . Z Rotation added ( the screen tilting left to right ) , small hit to vertex transform on cpu thanks to look up tables doing the heavy lifting, saving 4 multiplies per vertex. Multiple speed ups in rendering code. Onscreen paths with no range checking used until Z is close enough to cause clipping , partial onscreen drawing pathes that need to check boundaries, quad rendering completely rewritten - was very very painfull to get right . I found out the hard way that things are great when they are not rotating in the Z axis haha . Partial buffer draw optimisations - which have helped with the massive dma load , sending up to a 20kb buffer in a single frame needs a lot of optimisation. Min / Max tile lines are analysed and only sent if dirtied , reducing most buffer swaps substantially. Still some issues to sort out , at times you can see the flicker near top of screen when frames are near full height . I need to optimise that a bit. Due to the onscreen buffer system a full Sprite background had to be implemented almost Neo Geo style. This flips the usual MD rendering system on its head as it uses both foreground and background layers for a foreground 3d plane and sprites for the background. This presents a few issues, one is to get a tilt effect on the background by using narrow sprites (16x32) we run out of sprites when trying to cover the screen. Thankfully the MD is not limited to 80 sprites, to fix this a 114 sprite multiplexor is used to draw the background, its completely made up of 16x32 sprites ! Why do things this way ? speed . Its the interleaved foreground/background layers that allow a double buffered ram system writing to write to vram using dma in a completely linear fashion - virtually no tile translation needed. The negative is you have no planes for the background, that's where the sprites come in . Thanks to H40 mode we still have a few sprites we can use for effects in the forground also . Thankfully we can implement a fairly good tilt still for the background using sprites, in future updates this will be able to move horizontally also and a bit of vertical movement. XGM1 music driver in use to simulate music cpu load, XGM2 unfortunately with the massive DMA needed to shift the 3d buffers would slow down at times rendering it unusable, XGM1 plays at full speed - albiet with a bit more of a cpu hit. Together with the sprite multiplexor and the music driver active theres a 10 % hit to cpu so I've had to play around with draw distances / object heights and other optimisations to offset that. Not to mention the larger buffer takes more cpu to fill also. Everything is placeholder so will be changed with proper stage design. We are averaging 20 FPS in the current video, I'll push for more as always !! Progress continues on my other projects , updates soon on those - retirement can't come quick enough . #SGDK #SegaGenesis #SegaMegadrive

Shannon Birt

30,427 просмотров • 3 дней назад

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0:24

The Visual Studio Code insiders version that just shipped and will ship in the next few days will come with an insane amount of new capabilities. A few highlights: - You can now run sub-agents in parallel. Yes, really. I even attached a video. - Major UX improvements for sub agents, especially visible in the chat window - A new search tool wrapped as a sub-agent that iteratively runs multiple search tools: semantic_search, file_search, grep_search Which connects nicely to the point above: multiple searches running in parallel, efficiently and fast - Anthropic’s Message API is now enabled by default - You can choose the model for the cloud agent (three available, all premium) - Extended thinking support when using the Claude cloud agent This is part of the broader multi-vendor cloud support under AgentsHQ I wrote about a few weeks ago - Tasks sent to the background agent (basically the CLI tool) now always run in isolation, each with its own git worktree - In a multi-repo workspace, assigning a task to a cloud agent prompts you to choose the target repo Same behavior when opening an empty workspace with no repo - Support for building an external index for files not supported by GitHub’s default indexing - UI/UX improvements for starting new sessions and switching between local / background / cloud agents - Skills are now first-class citizens, just like prompt files, with better UX indicating when a skill is loaded - Improved API for dynamic contribution of prompt files New V2 includes skills as part of the model. Curious to see the extensions that will leverage this - Finally, initial support for showing context usage percentage per session - Skills are enabled by default - Resizable chat window and session view. Small thing, but it was driving me crazy 😁 - A new integrated browser meant to replace the old simple browser Maybe the beginning of real browser use? - Better UI/UX for token streaming in chat - Ability to index external files not supported by GitHub There’s a lot more. Some of it hasn’t fully landed yet, but everything that has is already in Insiders. The next stable release should drop in early February. As usual, I’m just shocked by the volume of features this team ships every month. After the holiday slowdown, this one is shaping up to be a wild release.

Oren Melamed

29,555 просмотров • 6 месяцев назад

Exciting News from the Knakal Map Room Bob Knakal here, and I’m thrilled to share some exciting news about my latest venture. After a period of reflection and immense support from this incredible community, I’m proud to announce the launch of BKREA (BKREA). BKREA is born from an entrepreneurial spirit reawakened, with a vision to redefine the capital markets landscape through investment sales, debt, and equity. This wouldn't have been possible without the heartwarming texts, DMs, and voice messages from many of you. Your support during the challenging times was incredible, and I am deeply grateful for every word of encouragement. In the past few weeks, I've met with numerous individuals and companies, each with fantastic platforms and innovative ideas. Yet, it became clear that forging our path, creating a company for a new age, was the direction to follow. Reflecting on how the world has transformed since I began my journey in 1984, without a computer, fax machine, or cell phone, I’m convinced that the next five years will bring about even more dramatic changes, especially with advancements in AI. At BKREA, we’re embracing this future by integrating AI technologies to interpret data in new ways and streamline our transaction processes, all while holding onto our valued analog methods, like those cherished here in the map room. Our commitment is to our clients, ensuring the best outcomes through innovation and efficiency. I’m also excited to introduce Seth Samowitz as our new COO. With a tremendous background in AI, Seth is the perfect leader to guide us in this new direction. Our goal is to assemble the best team for our clients, selecting top talent across the entire market to ensure the finest execution in every venture. Moreover, we’re launching the Knakal Affiliate Program (KAP) to strengthen connections and collaboration within our industry. I encourage you to visit our website, to learn more about how we’re transforming real estate advisory services. My cell number remains the same, and I’m eager to connect or reconnect with many of you. Feel free to reach out at BK@BKREA.com. A huge thank you again for your support and kindness. I look forward to connecting with you online or at events. Here’s to a future where tradition and technology converge to create value for our clients!
4:57

Exciting News from the Knakal Map Room Bob Knakal here, and I’m thrilled to share some exciting news about my latest venture. After a period of reflection and immense support from this incredible community, I’m proud to announce the launch of BKREA (BKREA). BKREA is born from an entrepreneurial spirit reawakened, with a vision to redefine the capital markets landscape through investment sales, debt, and equity. This wouldn't have been possible without the heartwarming texts, DMs, and voice messages from many of you. Your support during the challenging times was incredible, and I am deeply grateful for every word of encouragement. In the past few weeks, I've met with numerous individuals and companies, each with fantastic platforms and innovative ideas. Yet, it became clear that forging our path, creating a company for a new age, was the direction to follow. Reflecting on how the world has transformed since I began my journey in 1984, without a computer, fax machine, or cell phone, I’m convinced that the next five years will bring about even more dramatic changes, especially with advancements in AI. At BKREA, we’re embracing this future by integrating AI technologies to interpret data in new ways and streamline our transaction processes, all while holding onto our valued analog methods, like those cherished here in the map room. Our commitment is to our clients, ensuring the best outcomes through innovation and efficiency. I’m also excited to introduce Seth Samowitz as our new COO. With a tremendous background in AI, Seth is the perfect leader to guide us in this new direction. Our goal is to assemble the best team for our clients, selecting top talent across the entire market to ensure the finest execution in every venture. Moreover, we’re launching the Knakal Affiliate Program (KAP) to strengthen connections and collaboration within our industry. I encourage you to visit our website, to learn more about how we’re transforming real estate advisory services. My cell number remains the same, and I’m eager to connect or reconnect with many of you. Feel free to reach out at [email protected]. A huge thank you again for your support and kindness. I look forward to connecting with you online or at events. Here’s to a future where tradition and technology converge to create value for our clients!

Bob Knakal | NYC Investment Sales

181,948 просмотров • 2 лет назад

I often wonder if the people Mario chose to interview are drawn from a random sample of the unhinged Israel Derangement Syndrome list or that they are educated, think they know everything but are stupidly ignorant. Take this example (for a complete historical background see my tweet below. I have offered Mario to be in his show and correct facts to all the IDS half truth - but he does not want me to challenge them:-) any how this person knows the dates: 1948, 1967 - but has no clue to what it means. Even when Mario tried to tell her: "No , Hizbullha is bombing Israel proper" (not any imaginary "occupied land") she is off on her hyperbalomenia trying to justify Hizbullha firing rockets on civilians in their homes in Israel (on land that has always been Israel. Not 67, not 48 - but long long ago. Look up the history of Metula in google) - and she does not know the map , she does not know history, all she has are unhinged allegations about Israel not performing its duties - to justify the clear Hezbollah war crimes of firing anti tank and ballistics missiles at school bus, private residence and explosive drones on school yards. What a total shameless ignorance in the name of "morality". I am sure about one thing: She has no idea what is going on. Yet .Mario Nawfal interviewed her as an "X-perrt" as part of the echochamber of IDS.
0:49

I often wonder if the people Mario chose to interview are drawn from a random sample of the unhinged Israel Derangement Syndrome list or that they are educated, think they know everything but are stupidly ignorant. Take this example (for a complete historical background see my tweet below. I have offered Mario to be in his show and correct facts to all the IDS half truth - but he does not want me to challenge them:-) any how this person knows the dates: 1948, 1967 - but has no clue to what it means. Even when Mario tried to tell her: "No , Hizbullha is bombing Israel proper" (not any imaginary "occupied land") she is off on her hyperbalomenia trying to justify Hizbullha firing rockets on civilians in their homes in Israel (on land that has always been Israel. Not 67, not 48 - but long long ago. Look up the history of Metula in google) - and she does not know the map , she does not know history, all she has are unhinged allegations about Israel not performing its duties - to justify the clear Hezbollah war crimes of firing anti tank and ballistics missiles at school bus, private residence and explosive drones on school yards. What a total shameless ignorance in the name of "morality". I am sure about one thing: She has no idea what is going on. Yet .Mario Nawfal interviewed her as an "X-perrt" as part of the echochamber of IDS.

Eyal Ofer אייל עופר

21,041 просмотров • 1 месяц назад

BREAKING:🚨 THE PACIFIC FLASHPOINT IS FORMING — AND EVERYONE JUST CHOSE SIDES 🚨 Today was not routine naval movement. It was a strategic declaration. China’s Liaoning carrier strike group, reinforced by joint Chinese-Russian bomber formations, has maneuvered directly into waters near Japan — at the very moment Tokyo asserts readiness to defend Taiwan alongside the United States. This was a message. And every regional player heard it. What it signals: • Beijing is preparing for more than rhetoric • Moscow is now openly acting as a Pacific force multiplier • North Korea is posturing in the background with missile readiness • Japan has triggered its “existential threat” doctrine • The U.S. Indo-Pacific Command is being forced into rapid alignment This isn’t symbolic positioning. A carrier strike group doesn’t move without intent. Strategic bombers don’t appear in formation without rehearsal. This is shaping the pre-crisis map. Three nuclear-armed states — China, Russia, North Korea — now signaling a unified posture against Japan, Taiwan, and the American security umbrella that protects them. We have entered a phase where: — One mistake becomes confrontation — One miscalculation becomes escalation — One strike becomes a regional war The Indo-Pacific is no longer “tense.” It is approaching ignition temperature. The question isn’t whether a line has been crossed— the question is who crosses it next. Defense Intelligence
2:01

BREAKING:🚨 THE PACIFIC FLASHPOINT IS FORMING — AND EVERYONE JUST CHOSE SIDES 🚨 Today was not routine naval movement. It was a strategic declaration. China’s Liaoning carrier strike group, reinforced by joint Chinese-Russian bomber formations, has maneuvered directly into waters near Japan — at the very moment Tokyo asserts readiness to defend Taiwan alongside the United States. This was a message. And every regional player heard it. What it signals: • Beijing is preparing for more than rhetoric • Moscow is now openly acting as a Pacific force multiplier • North Korea is posturing in the background with missile readiness • Japan has triggered its “existential threat” doctrine • The U.S. Indo-Pacific Command is being forced into rapid alignment This isn’t symbolic positioning. A carrier strike group doesn’t move without intent. Strategic bombers don’t appear in formation without rehearsal. This is shaping the pre-crisis map. Three nuclear-armed states — China, Russia, North Korea — now signaling a unified posture against Japan, Taiwan, and the American security umbrella that protects them. We have entered a phase where: — One mistake becomes confrontation — One miscalculation becomes escalation — One strike becomes a regional war The Indo-Pacific is no longer “tense.” It is approaching ignition temperature. The question isn’t whether a line has been crossed— the question is who crosses it next. Defense Intelligence

Jim Ferguson

524,040 просмотров • 7 месяцев назад

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 просмотров • 4 месяцев назад

** 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 просмотров • 9 месяцев назад

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 просмотров • 1 месяц назад

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 просмотров • 3 месяцев назад

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 просмотров • 1 год назад

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 просмотров • 1 год назад

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 просмотров • 2 лет назад

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

45,600 просмотров • 1 год назад

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 просмотров • 7 месяцев назад

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 просмотров • 6 месяцев назад