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Since using probes is a very technical subject and difficult to understand without visual examples, I decided to create a video with an exaggerated example to show the incredible results that mrdoob 's work with probes can provide. As you can see in the video, the hybrid solution of...

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Anderson Mancini

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12,199 görüntüleme • 1 ay önce •via X (Twitter)

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My #threejs Lumen Decor Studio is getting an update. It will now support more settings and more complex scenes, thanks to the latest library updates. I'm combining #WebGPU SSGI with light probes, giving us the best of both worlds. Real-time light bounces via SSGI, and when the camera stops moving, I bake probes to measure the average light in the room, generating fill lights that paint an envmap. I also created a denoiser for SSGI, avoiding the previous blur that discarded the AO. Now, everything is lighter, a little noisier, but it complements indirect light well. Live link coming soon. BTW: The video is on my YouTube Channel in case you want to watch it in a higher resolution: #creativecoding #archiviz #WebGPU
2:39

My #threejs Lumen Decor Studio is getting an update. It will now support more settings and more complex scenes, thanks to the latest library updates. I'm combining #WebGPU SSGI with light probes, giving us the best of both worlds. Real-time light bounces via SSGI, and when the camera stops moving, I bake probes to measure the average light in the room, generating fill lights that paint an envmap. I also created a denoiser for SSGI, avoiding the previous blur that discarded the AO. Now, everything is lighter, a little noisier, but it complements indirect light well. Live link coming soon. BTW: The video is on my YouTube Channel in case you want to watch it in a higher resolution: #creativecoding #archiviz #WebGPU

Anderson Mancini

29,676 görüntüleme • 1 ay önce

Sparse Volumetric Light maps (WebGPU). Worked on ensuring C0 continuity across the entire map. For now this is achieved by purging incomplete node levels, works well enough even if it's a bit of a blunt tool. Actual locations for probes during the bake are now going through an optimization phase, which allows me to push probes behind surfaces out into the open resulting in much fewer light leakage artifacts. This video here has only 28,376 probes in the map, and takes 1.8Mb of VRAM
0:36

Sparse Volumetric Light maps (WebGPU). Worked on ensuring C0 continuity across the entire map. For now this is achieved by purging incomplete node levels, works well enough even if it's a bit of a blunt tool. Actual locations for probes during the bake are now going through an optimization phase, which allows me to push probes behind surfaces out into the open resulting in much fewer light leakage artifacts. This video here has only 28,376 probes in the map, and takes 1.8Mb of VRAM

Alex Goldring

15,814 görüntüleme • 4 ay önce

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)
0:52

Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

DepressedBergman

61,555 görüntüleme • 11 ay önce

How to Create Music That Matches Your Video's Sound with Suno Studio I made a quick video showing how I use Suno Studio to generate background music that fits the audio and mood of a video, similar to the example in the quoted post. This is the method I use at the moment but if you have a better approach, feel free to share it. Before starting, export the original audio from your video. I usually do this in CapCut. After generating a track you like in Suno Studio, you can import it back into CapCut and add it to your video. *This is not a paid partnership.
1:42

How to Create Music That Matches Your Video's Sound with Suno Studio I made a quick video showing how I use Suno Studio to generate background music that fits the audio and mood of a video, similar to the example in the quoted post. This is the method I use at the moment but if you have a better approach, feel free to share it. Before starting, export the original audio from your video. I usually do this in CapCut. After generating a track you like in Suno Studio, you can import it back into CapCut and add it to your video. *This is not a paid partnership.

Kōda

33,044 görüntüleme • 14 gün önce

This might be the craziest workflow you'll see this week. From #VR greyboxing to 3D worlds with the help of #AI. The 2 tools I used are ShapesXR and Marble from World Labs. Let me tell you why and how. - ShapesXR is the most powerful and fastest way to assemble 3D scenes at scale. - The library of assets + ability to sketch from procedural primitives gives the perfect balance between speed and freedom. - ShapesXR allows you to export your creation as a glTF that can be used as a "3D prompt" into Marble - Marble now allows you to create a panorama using a 3D scene as input increasing DRAMATICALLY the control you have during the creation process - Through the workflow you can adjust textures and objects in the scene using AI inpainting - There are tons of options on how to use the final output (create a #GaussianSplatting, export collision mesh and even a detailed mesh 🤯) This is the perfect examples of how VR creative tools improve and accelerate the design process... so make sure to follow me if that's your jam 😉.
1:01

This might be the craziest workflow you'll see this week. From #VR greyboxing to 3D worlds with the help of #AI. The 2 tools I used are ShapesXR and Marble from World Labs. Let me tell you why and how. - ShapesXR is the most powerful and fastest way to assemble 3D scenes at scale. - The library of assets + ability to sketch from procedural primitives gives the perfect balance between speed and freedom. - ShapesXR allows you to export your creation as a glTF that can be used as a "3D prompt" into Marble - Marble now allows you to create a panorama using a 3D scene as input increasing DRAMATICALLY the control you have during the creation process - Through the workflow you can adjust textures and objects in the scene using AI inpainting - There are tons of options on how to use the final output (create a #GaussianSplatting, export collision mesh and even a detailed mesh 🤯) This is the perfect examples of how VR creative tools improve and accelerate the design process... so make sure to follow me if that's your jam 😉.

Gabriele Romagnoli

20,126 görüntüleme • 7 ay önce

GROK IMAGINE PROMPT TIP: There's a very simple way to improve your prompts: use the prompts from the templates offered by Grok Imagine. These templates provide a wealth of prompts available to everyone. Take a prompt and analyze it to understand the purpose of each word. For example, I took the fish template and added a color change in the prompt using the video extension.
0:28

GROK IMAGINE PROMPT TIP: There's a very simple way to improve your prompts: use the prompts from the templates offered by Grok Imagine. These templates provide a wealth of prompts available to everyone. Take a prompt and analyze it to understand the purpose of each word. For example, I took the fish template and added a color change in the prompt using the video extension.

Déborah

550,902 görüntüleme • 3 ay önce

Following ☄︎ work, I'm experimenting with some react three fiber with #threejs webGPU. We no longer need an EffectComposer to use post-processing effects in #r3f. Now, everything is done by composing TSL nodes. I created a small component that helps in rendering post-processing effects. All you need to do is import the effects you want and add them to the final composition. I will share the link to the demo and source code on Monday 😍. Another thing I want to highlight is how amazing the Screen Space Reflection effect is. It generates reflections not only on the ground, as we had before in r3f in webgl. It is able to calculate the reflections between the meshes. Look how beautiful the reflection of the lightsaber on Darth Vader's mask is. This is not something that is easy to calculate and this is exactly where WebGPU in threejs shines! Congratulations to everyone on the threejs team. I am increasingly impressed with WebGPU and TSL.
1:41

Following ☄︎ work, I'm experimenting with some react three fiber with #threejs webGPU. We no longer need an EffectComposer to use post-processing effects in #r3f. Now, everything is done by composing TSL nodes. I created a small component that helps in rendering post-processing effects. All you need to do is import the effects you want and add them to the final composition. I will share the link to the demo and source code on Monday 😍. Another thing I want to highlight is how amazing the Screen Space Reflection effect is. It generates reflections not only on the ground, as we had before in r3f in webgl. It is able to calculate the reflections between the meshes. Look how beautiful the reflection of the lightsaber on Darth Vader's mask is. This is not something that is easy to calculate and this is exactly where WebGPU in threejs shines! Congratulations to everyone on the threejs team. I am increasingly impressed with WebGPU and TSL.

Anderson Mancini

26,339 görüntüleme • 1 yıl önce

Two new #threejs projects on the way 😍 Working on my own gem renderer with a custom refraction material in TSL for #WebGPU, combining Screen Space Reflections + SSGTAO for superior results, as this allows diamonds to generate reflections on the metal mesh. The performance is incredible, even on gems with over 200 diamonds. This time, without any additional libraries. Just React Three Fiber and a lot of magic with custom shaders in TSL. GemGPU™ will also come with a very minimalist gem and metal customization panel that hides and lets the jewelry be the star. I also created a beautiful new stats panel that completely hides in the scene when not needed. It provides relevant optimization information, a performance gauge, summary and expanded modes, and day/night toggle. In the video, you can also see SSGI in action, with a pearl that reflects, in real time, all the objects in the scene, just as the objects in the scene reflect the pearl. It's magical. There are still a few things to fix, but I'll share the live link soon. Stay tuned.
3:43

Two new #threejs projects on the way 😍 Working on my own gem renderer with a custom refraction material in TSL for #WebGPU, combining Screen Space Reflections + SSGTAO for superior results, as this allows diamonds to generate reflections on the metal mesh. The performance is incredible, even on gems with over 200 diamonds. This time, without any additional libraries. Just React Three Fiber and a lot of magic with custom shaders in TSL. GemGPU™ will also come with a very minimalist gem and metal customization panel that hides and lets the jewelry be the star. I also created a beautiful new stats panel that completely hides in the scene when not needed. It provides relevant optimization information, a performance gauge, summary and expanded modes, and day/night toggle. In the video, you can also see SSGI in action, with a pearl that reflects, in real time, all the objects in the scene, just as the objects in the scene reflect the pearl. It's magical. There are still a few things to fix, but I'll share the live link soon. Stay tuned.

Anderson Mancini

12,044 görüntüleme • 4 ay önce

“What you all don’t understand about the Portland thing is that this is huge. Donald Trump is going to use this as an example, with the full force of the National Guard. He wants this on TV, he wants it in the newspapers, he wants it on all the Social Media, and he is going to make an example, whether it’s Antifa or any other group that is found out that they are attacking ICE Agents; and he’s going to make an example of them…”
1:40

“What you all don’t understand about the Portland thing is that this is huge. Donald Trump is going to use this as an example, with the full force of the National Guard. He wants this on TV, he wants it in the newspapers, he wants it on all the Social Media, and he is going to make an example, whether it’s Antifa or any other group that is found out that they are attacking ICE Agents; and he’s going to make an example of them…”

Farm Girl Carrie 👩‍🌾

722,464 görüntüleme • 9 ay önce

This is the view from the drone itself. You can see it is using a thermal camera that makes people assume the video is taken at night. But obviously above you see it is not at night. I think this is why people assume bombers are only used at night. But they are used during the day. You can see the drone has two cameras, one thermal and one visual light and it depicts both in the video simultaneously.
0:32

This is the view from the drone itself. You can see it is using a thermal camera that makes people assume the video is taken at night. But obviously above you see it is not at night. I think this is why people assume bombers are only used at night. But they are used during the day. You can see the drone has two cameras, one thermal and one visual light and it depicts both in the video simultaneously.

Andrew Perpetua

12,542 görüntüleme • 1 yıl önce

With no changes to the physical setup and just readings from the 4 probes, the skin can also detect touch extent/shape in addition to location. The visualization implies the mechanism if you can figure it out!
0:38

With no changes to the physical setup and just readings from the 4 probes, the skin can also detect touch extent/shape in addition to location. The visualization implies the mechanism if you can figure it out!

j⧉nus

58,585 görüntüleme • 3 ay önce

Live: Source: You can download this to start your scenes with #r3f, #threejs WebGPU Renderer, and Post-Processing using #tsl. I also converted my jet engine shader from GLSL to TSL using the transpiler. It works like a dream😍. I added the Royal Naboo starship in the scene to show how Screen Space Reflections reacts to all metallic surfaces, not just the floor. I hope you like it. Please give me a star⭐️on GitHub if you can. #threejsJourney
1:27

Live: Source: You can download this to start your scenes with #r3f, #threejs WebGPU Renderer, and Post-Processing using #tsl. I also converted my jet engine shader from GLSL to TSL using the transpiler. It works like a dream😍. I added the Royal Naboo starship in the scene to show how Screen Space Reflections reacts to all metallic surfaces, not just the floor. I hope you like it. Please give me a star⭐️on GitHub if you can. #threejsJourney

Anderson Mancini

20,216 görüntüleme • 1 yıl önce

Believe it or not, this is Anime 2.0. I created this short-form anime using Azuki IP, all costs to produce it went directly to an independent artist/studio. As a fan and NFT holder, I was able to use character IP from the collection to bring this story to life, showing how fans can now actively participate in building the worlds they love. This shift from ‘Brand and Consumer’ to ‘Brand and Active Participant’ is revolutionary. It’s just a tiny example of what Anime 2.0 can signify. This is the future of storytelling.
1:34

Believe it or not, this is Anime 2.0. I created this short-form anime using Azuki IP, all costs to produce it went directly to an independent artist/studio. As a fan and NFT holder, I was able to use character IP from the collection to bring this story to life, showing how fans can now actively participate in building the worlds they love. This shift from ‘Brand and Consumer’ to ‘Brand and Active Participant’ is revolutionary. It’s just a tiny example of what Anime 2.0 can signify. This is the future of storytelling.

SteveG.

57,294 görüntüleme • 1 yıl önce

⚡️Live: You don't always need to use 3D elements in #threejs. In this example, a simple plane with a normal/displacement texture and lights that follows the mouse gives nice effects😍 The source code is here: #threejsJourney #r3f
1:40

⚡️Live: You don't always need to use 3D elements in #threejs. In this example, a simple plane with a normal/displacement texture and lights that follows the mouse gives nice effects😍 The source code is here: #threejsJourney #r3f

Anderson Mancini

47,570 görüntüleme • 3 yıl önce

Let me share a long-awaited behind-the-scenes video of how Simulon works. It all starts with setting up a scene. You set the location, lighting conditions and capture the light map with a few turns. After that, you can capture the environment mesh using the Lidar scanner. That's the moment the fun begins. You can bring in your #3D models with animations and capture a video of up to 50" using the #AR preview on screen. After that is done, you send the footage to the cloud and in a couple of minutes you get back an incredible #CGI shot. And this is just the beginning. Follow Gabriele Romagnoli to see how Simulon integrates with #Blender and in a full #VFX workflow. A special thanks to Divesh Naidoo for sharing early access and for building something 🤯
1:18

Let me share a long-awaited behind-the-scenes video of how Simulon works. It all starts with setting up a scene. You set the location, lighting conditions and capture the light map with a few turns. After that, you can capture the environment mesh using the Lidar scanner. That's the moment the fun begins. You can bring in your #3D models with animations and capture a video of up to 50" using the #AR preview on screen. After that is done, you send the footage to the cloud and in a couple of minutes you get back an incredible #CGI shot. And this is just the beginning. Follow Gabriele Romagnoli to see how Simulon integrates with #Blender and in a full #VFX workflow. A special thanks to Divesh Naidoo for sharing early access and for building something 🤯

Gabriele Romagnoli

142,504 görüntüleme • 2 yıl önce

#WATCH | Delhi | On Canada Prime Minister’s visit to India, Premier of Saskatchewan Scott Moe says, “I see it in a very positive light… Our province does a significant amount of trade with India back and forth. We are very happy to see a turning point in the relations between the governments. We attended the meetings earlier this week and we are very pleased… The turning point is, I think this is going to provide many more opportunities to build on this base of commerce that we have. So, it is an exciting week for Canada and I hope it is an exciting week for India as well.”
1:06

#WATCH | Delhi | On Canada Prime Minister’s visit to India, Premier of Saskatchewan Scott Moe says, “I see it in a very positive light… Our province does a significant amount of trade with India back and forth. We are very happy to see a turning point in the relations between the governments. We attended the meetings earlier this week and we are very pleased… The turning point is, I think this is going to provide many more opportunities to build on this base of commerce that we have. So, it is an exciting week for Canada and I hope it is an exciting week for India as well.”

ANI

15,602 görüntüleme • 3 ay önce

Ok, if these were shot from a bunker at a safe 5 mile distance why is the blast coming from the same direction as the bunker? The blast is literally coming from either the side or directly FROM the position of the camera. And then of course the shot inside the house has a few moments of smoke and debris destroying everything except apparently the periscope that was recording it from under the house. The only shot that appears to be genuine and not a tiny model is the massive blast at the end, and that appears to be recorded with a long lens from a distance. According to gaylen Windsor who was part of the Manhattan project those explosions were massive amounts of TNT. I hope that helps! I can see my precious video is revealing a lot of rage and anger in people. You should be relieved to know that you aren’t going to be “nuked.” And yes a bunch of governments can be in on it together just like thousands of McDonald’s all over the world can sell you fake meat everyday. Governments are just the farmers of men and when a new mind control product hits the market many use it.
0:51

Ok, if these were shot from a bunker at a safe 5 mile distance why is the blast coming from the same direction as the bunker? The blast is literally coming from either the side or directly FROM the position of the camera. And then of course the shot inside the house has a few moments of smoke and debris destroying everything except apparently the periscope that was recording it from under the house. The only shot that appears to be genuine and not a tiny model is the massive blast at the end, and that appears to be recorded with a long lens from a distance. According to gaylen Windsor who was part of the Manhattan project those explosions were massive amounts of TNT. I hope that helps! I can see my precious video is revealing a lot of rage and anger in people. You should be relieved to know that you aren’t going to be “nuked.” And yes a bunch of governments can be in on it together just like thousands of McDonald’s all over the world can sell you fake meat everyday. Governments are just the farmers of men and when a new mind control product hits the market many use it.

Owen Benjamin 🐻

261,654 görüntüleme • 3 yıl önce

This is probably the most complex workflow I’ve ever built, only with open-source tools. It took my 4 days. It takes four inputs: author, title, and style; and generates a full visual animated story in one click in ComfyUI . I worked on it for four days. There are still some bugs, but here’s the first preview. Here’s a quick breakdown: - The four inputs are sent to LLMs with precise instructions to generate: first, prompts for images and image modifications; second, prompts for animations; third, prompts for generating music. - All voices are generated from the text and timed precisely, as they determine the length of each animation segment. - The first image and video are generated to serve as the title, but also as the guide for all other images created for the video. - Titles and subtitles are also added automatically in Comfy. - I also developed a lot of custom nodes for minor frame calculations, mostly to match audio and video. - The full system is a large loop that, for each line of text, generates an image and then a video from that image. The loop was the hardest part to build in this workflow, so it can process either a 20-second video or a 2-minute video with the same input. - There are multiple combinations of LLMs that try to understand the text in the best way to provide the best prompts for images and video. - The final video is assembled entirely within ComfyUI. - The music is generated based on the LLM output and matches the exact timing of the full animation. - Done! For reference, this workflow uses a lot of models and only works on an RTX 6000 Pro with plenty of RAM. My goal is not to replace humans, as I’ll try to explain later, this workflow is highly controlled and can be adapted or reworked at any point by real artists! My aim was to create a tool that can animate text in one go, allowing the AI some freedom while keeping a strict flow. I don’t know yet how I’ll share this workflow with people, I still need to polish it properly, but maybe through Patreon. Anyway, I hope you enjoy my research, and let’s always keep pushing further! :)
0:55

This is probably the most complex workflow I’ve ever built, only with open-source tools. It took my 4 days. It takes four inputs: author, title, and style; and generates a full visual animated story in one click in ComfyUI . I worked on it for four days. There are still some bugs, but here’s the first preview. Here’s a quick breakdown: - The four inputs are sent to LLMs with precise instructions to generate: first, prompts for images and image modifications; second, prompts for animations; third, prompts for generating music. - All voices are generated from the text and timed precisely, as they determine the length of each animation segment. - The first image and video are generated to serve as the title, but also as the guide for all other images created for the video. - Titles and subtitles are also added automatically in Comfy. - I also developed a lot of custom nodes for minor frame calculations, mostly to match audio and video. - The full system is a large loop that, for each line of text, generates an image and then a video from that image. The loop was the hardest part to build in this workflow, so it can process either a 20-second video or a 2-minute video with the same input. - There are multiple combinations of LLMs that try to understand the text in the best way to provide the best prompts for images and video. - The final video is assembled entirely within ComfyUI. - The music is generated based on the LLM output and matches the exact timing of the full animation. - Done! For reference, this workflow uses a lot of models and only works on an RTX 6000 Pro with plenty of RAM. My goal is not to replace humans, as I’ll try to explain later, this workflow is highly controlled and can be adapted or reworked at any point by real artists! My aim was to create a tool that can animate text in one go, allowing the AI some freedom while keeping a strict flow. I don’t know yet how I’ll share this workflow with people, I still need to polish it properly, but maybe through Patreon. Anyway, I hope you enjoy my research, and let’s always keep pushing further! :)

Lovis Odin

58,571 görüntüleme • 9 ay önce

I had an intuition, how to make the waterline of the #hulls with a simple but effective method, that is, use object mapping and use the Z axis to control the mixing of colors, the video shows this simple approach, of course this can be applied to countless other cases. #b3d #ship
0:35

I had an intuition, how to make the waterline of the #hulls with a simple but effective method, that is, use object mapping and use the Z axis to control the mixing of colors, the video shows this simple approach, of course this can be applied to countless other cases. #b3d #ship

pafurijaz

13,674 görüntüleme • 1 yıl önce

Jonathan Demme on what attracted him to make 'The Silence of the Lambs' (1991): "Interviewer: You said you liked films with themes and psychological complexities. Is this what attracted you to 'Silence of the Lambs' (1991)? Demme: I saw the story of a woman in it. That was what appealed to me more than anything else. The idea of doing a violent picture, per se didn't hold any particular appeal for me- especially violence with women as the subjects. Certainly, that is the background of the film, but the film itself is very much the heroic struggle on the part of Clarice Starling to try to save a life, and that gripped me right away. We tried hard to swing the story very much from Clarice's point of view in order to force the audience into an even stronger identification with her than might ordinarily be the case. My cameraman, Tak Fujimoto, and I recognized that point-of-view shots are used in films often, but usually either for a particular point of emphasis, or for an extraordinary visual gag. What we decided to do here was to capitalize on the ability- of subjective camera to, once again, force identification with the character. We decided to use it, not just for a particular emphasis, but to bring that kind of emphasis to everything Clarice saw: operating on the premise that every scene she's in is a scene of great importance, let's show exactly what she sees in every single scene. Aside from the 1940s film 'The Lady in the Lake' (1947), we probably made the most use of point-of-view, in recent years anyway. We wondered if audiences might find it distracting, but we decided to commit to it anyway, because the potential was there to up the emotional ante quite a bit. The funny thing is, it's an easy shot to set up because all you have to do is watch what Jodie Foster does in the rehearsal and what she looks at; the cameraman watches that, and then it's his turn to duplicate what she saw. It's the easiest shot to dream up because you don't actually dream it up. You just copy what the actress is doing. When you get to the editing stage, theoretically certain kinds of shots need to precede a point-of-view shot for it to flow seamlessly into the montage- usually a shot of whoever's point-of-view it is, looking very, very close to the camera so it's not at all jarring when we turn around and see what they're seeing. It's quite easy to edit in as long as you have good close-ups of whoever it is whose point-of-view you're seeing." (Jonathan Demme's interview with Saskia Baron, the BBC's Late Show, 1991)
2:02

Jonathan Demme on what attracted him to make 'The Silence of the Lambs' (1991): "Interviewer: You said you liked films with themes and psychological complexities. Is this what attracted you to 'Silence of the Lambs' (1991)? Demme: I saw the story of a woman in it. That was what appealed to me more than anything else. The idea of doing a violent picture, per se didn't hold any particular appeal for me- especially violence with women as the subjects. Certainly, that is the background of the film, but the film itself is very much the heroic struggle on the part of Clarice Starling to try to save a life, and that gripped me right away. We tried hard to swing the story very much from Clarice's point of view in order to force the audience into an even stronger identification with her than might ordinarily be the case. My cameraman, Tak Fujimoto, and I recognized that point-of-view shots are used in films often, but usually either for a particular point of emphasis, or for an extraordinary visual gag. What we decided to do here was to capitalize on the ability- of subjective camera to, once again, force identification with the character. We decided to use it, not just for a particular emphasis, but to bring that kind of emphasis to everything Clarice saw: operating on the premise that every scene she's in is a scene of great importance, let's show exactly what she sees in every single scene. Aside from the 1940s film 'The Lady in the Lake' (1947), we probably made the most use of point-of-view, in recent years anyway. We wondered if audiences might find it distracting, but we decided to commit to it anyway, because the potential was there to up the emotional ante quite a bit. The funny thing is, it's an easy shot to set up because all you have to do is watch what Jodie Foster does in the rehearsal and what she looks at; the cameraman watches that, and then it's his turn to duplicate what she saw. It's the easiest shot to dream up because you don't actually dream it up. You just copy what the actress is doing. When you get to the editing stage, theoretically certain kinds of shots need to precede a point-of-view shot for it to flow seamlessly into the montage- usually a shot of whoever's point-of-view it is, looking very, very close to the camera so it's not at all jarring when we turn around and see what they're seeing. It's quite easy to edit in as long as you have good close-ups of whoever it is whose point-of-view you're seeing." (Jonathan Demme's interview with Saskia Baron, the BBC's Late Show, 1991)

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