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Some recent technical details: • Continued optimizing physics simulation to make the skirt's dynamics more natural. • Implemented dithered culling for the camera to ensure better optimization, while isolating camera collision to a separate layer to prevent the camera from getting stuck in walls or clipping through the character....

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MimikuWo

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218,930 görüntüleme • 1 ay önce •via X (Twitter)

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Optimized the character controller. Let's run a quick lap #ゲーム開発 #Unity #indiedev #MizuChronicles #水色戦記
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Optimized the character controller. Let's run a quick lap #ゲーム開発 #Unity #indiedev #MizuChronicles #水色戦記

MimikuWo

39,997 görüntüleme • 1 ay önce

0 clipping magic trick for Vtuber creators use bone constraints in unity or blender, to make the skirt follow the leg movement! when you apply physics together with this you will have 0 clipping with minimal effort on collision settings!
1:01

0 clipping magic trick for Vtuber creators use bone constraints in unity or blender, to make the skirt follow the leg movement! when you apply physics together with this you will have 0 clipping with minimal effort on collision settings!

Gloria - 3D artist 🪡✂️

19,740 görüntüleme • 1 yıl önce

Why the character movement in my custom game engine felt janky and how I fixed it. In a game engine, most often, a character moves using the physics engine. Meaning, the player is not just a coordinate in space but a physical body. It has velocity, it handles collisions, and it interacts with the world. Now, as you might know, physics engines need stability. If you run them at variable framerates, things start breaking. Objects phase through walls or fly off into space because the math becomes unpredictable. This is why most game engines lock their physics loop to a 60Hz fixed rate. But here’s the problem: If you have a high-end system, you don't want to limit it at 60 FPS. That's a waste of good hardware. Now, that said, if the GPU is rendering at 144 FPS but the player's position (physics driven) only updates 60 times a second, it creates a micro-stutter that ruins the "smooth" feel of the game. A good way to fix this is to treat the character as two separate things: 1. The Physics Body (Invisible part): This is the "real" character. It lives in the 60Hz physics world, it moves the player and handles collisions. 2. The Visual Model and Camera (Visible part): This is what the player actually sees. It doesn't care about collisions, its only job is to look nice and smooth at whatever framerate the GPU is pushing. Once you have this separation, you can use interpolation to keep them in sync. Every time the physics clock ticks, you save the previous position of the invisible body before moving it to the new one. Between those ticks, calculate how far we are between the last physics update and the next one. By using this to drive the visible parts of the game, the stutters disappear. The physics loop stays fixed behind the scenes, while the visuals slide smoothly between the snapshots. Example: - Right after a tick: blend_weight= 0.0 (The visual model stays at the old physics position). - Halfway to the next: blend_weight= 0.5 (The visual model slides to the middle point). - Just before the next: blend_weight= 0.9 (The visual model is almost at the new physics position). Pro-Tip A critical mistake I made initially, and one many devs make, is parenting the camera and visible parts directly to the player body. If you do this, the camera inherits the discrete 60Hz physics movement by default. In that setup, interpolation won't work because the camera is "stuck" to the physics clock. For this fix to work you must decouple the camera and visuals from the body and move them separately. Player movement processing in Detis Engine: - fixed_process: Physics runs at 60Hz. Handles collisions and raw movement. - process: Variable rate. Mainly used for player input caching in the player case. - late_process: Variable rate. Handles interpolated camera movement after physics and everything else is done being processed. - render. Submits the final interpolated transforms to the GPU. The test environment in the video is running on an old 2070-based laptop. Hopefully the video compression won't introduce any stutter... I’m sharing this in hopes it helps a fellow dev. Cheers.
0:23

Why the character movement in my custom game engine felt janky and how I fixed it. In a game engine, most often, a character moves using the physics engine. Meaning, the player is not just a coordinate in space but a physical body. It has velocity, it handles collisions, and it interacts with the world. Now, as you might know, physics engines need stability. If you run them at variable framerates, things start breaking. Objects phase through walls or fly off into space because the math becomes unpredictable. This is why most game engines lock their physics loop to a 60Hz fixed rate. But here’s the problem: If you have a high-end system, you don't want to limit it at 60 FPS. That's a waste of good hardware. Now, that said, if the GPU is rendering at 144 FPS but the player's position (physics driven) only updates 60 times a second, it creates a micro-stutter that ruins the "smooth" feel of the game. A good way to fix this is to treat the character as two separate things: 1. The Physics Body (Invisible part): This is the "real" character. It lives in the 60Hz physics world, it moves the player and handles collisions. 2. The Visual Model and Camera (Visible part): This is what the player actually sees. It doesn't care about collisions, its only job is to look nice and smooth at whatever framerate the GPU is pushing. Once you have this separation, you can use interpolation to keep them in sync. Every time the physics clock ticks, you save the previous position of the invisible body before moving it to the new one. Between those ticks, calculate how far we are between the last physics update and the next one. By using this to drive the visible parts of the game, the stutters disappear. The physics loop stays fixed behind the scenes, while the visuals slide smoothly between the snapshots. Example: - Right after a tick: blend_weight= 0.0 (The visual model stays at the old physics position). - Halfway to the next: blend_weight= 0.5 (The visual model slides to the middle point). - Just before the next: blend_weight= 0.9 (The visual model is almost at the new physics position). Pro-Tip A critical mistake I made initially, and one many devs make, is parenting the camera and visible parts directly to the player body. If you do this, the camera inherits the discrete 60Hz physics movement by default. In that setup, interpolation won't work because the camera is "stuck" to the physics clock. For this fix to work you must decouple the camera and visuals from the body and move them separately. Player movement processing in Detis Engine: - fixed_process: Physics runs at 60Hz. Handles collisions and raw movement. - process: Variable rate. Mainly used for player input caching in the player case. - late_process: Variable rate. Handles interpolated camera movement after physics and everything else is done being processed. - render. Submits the final interpolated transforms to the GPU. The test environment in the video is running on an old 2070-based laptop. Hopefully the video compression won't introduce any stutter... I’m sharing this in hopes it helps a fellow dev. Cheers.

Ioannis Koukourakis

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During our #Dawnwalker gameplay reveal in June, many of you shared your concerns about the game’s camera angles. We heard your feedback, took it into consideration, and decided to make some adjustments to the existing camera. On top of that, we’ve added a second camera option – set farther away from Coen – so you’ll be able to choose the view you prefer for your adventures. Take a look!
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During our #Dawnwalker gameplay reveal in June, many of you shared your concerns about the game’s camera angles. We heard your feedback, took it into consideration, and decided to make some adjustments to the existing camera. On top of that, we’ve added a second camera option – set farther away from Coen – so you’ll be able to choose the view you prefer for your adventures. Take a look!

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Disney used a nine-minute cartoon about an old windmill to help figure out how Snow White would look. Released in 1937 as part of the Silly Symphonies series, The Old Mill follows a group of animals sheltering inside an abandoned mill as a violent thunderstorm rolls through. There’s no dialogue. The story is told through movement, music and the storm itself. Disney was doing more than making a short cartoon. The Old Mill became the first Disney film to use the studio’s multiplane camera. Artwork was placed on separate layers of glass at different distances from the camera, allowing the foreground and background to move independently and giving the animation a sense of depth filmmakers hadn’t been able to achieve before. At the same time, Disney was making Snow White and the Seven Dwarfs. The Silly Symphonies gave the animators a place to test and refine ideas that could be carried into the feature, and the multiplane camera was one of them. Snow White premiered just weeks after The Old Mill. The Old Mill went on to win the Academy Award for Best Short Subject, Cartoon, and the multiplane camera itself later earned Disney a Scientific and Technical Academy Award. Not bad for a little cartoon about some animals trying to make it through a storm. Have you ever seen The Old Mill?
1:09

Disney used a nine-minute cartoon about an old windmill to help figure out how Snow White would look. Released in 1937 as part of the Silly Symphonies series, The Old Mill follows a group of animals sheltering inside an abandoned mill as a violent thunderstorm rolls through. There’s no dialogue. The story is told through movement, music and the storm itself. Disney was doing more than making a short cartoon. The Old Mill became the first Disney film to use the studio’s multiplane camera. Artwork was placed on separate layers of glass at different distances from the camera, allowing the foreground and background to move independently and giving the animation a sense of depth filmmakers hadn’t been able to achieve before. At the same time, Disney was making Snow White and the Seven Dwarfs. The Silly Symphonies gave the animators a place to test and refine ideas that could be carried into the feature, and the multiplane camera was one of them. Snow White premiered just weeks after The Old Mill. The Old Mill went on to win the Academy Award for Best Short Subject, Cartoon, and the multiplane camera itself later earned Disney a Scientific and Technical Academy Award. Not bad for a little cartoon about some animals trying to make it through a storm. Have you ever seen The Old Mill?

fOx

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【Magica Cloth 2 Showcase】 I remade all the hair and cloth physics with Magica Cloth 2 for an upcoming collab! Motion: DancerVTuber 海 夏青 Outfit: MONVIE_VRC Sharing a few quick tips: ✨Simple single-layer skirts → Mesh Cloth for the smoothest, silkiest movement! ✨Complex pleats or multi-layer skirts → Bone Cloth, but if bones aren’t dense enough and leg clipping happens, switch Connection Mode to Mesh-related options. It creates mesh-like links between bones and fixes most clipping instantly. ✨For simple double-layer skirts, you can also try applying Mesh Cloth to each layer separately and enable Self-Collision ✨Small frills, ribbons, or ties without bones → slap Mesh Cloth on them too. Trust me, when these tiny details move naturally, the whole outfit feels insanely satisfying! ✨If you have a guitar on you like I do, add colliders to the guitar too! That way it presses the skirt down naturally without clipping, just like real life ✨ If you run into stubborn clipping that’s hard to fix, try using Magica Wind Zone to blow the cloth in one direction, it might work like magic!
0:35

【Magica Cloth 2 Showcase】 I remade all the hair and cloth physics with Magica Cloth 2 for an upcoming collab! Motion: DancerVTuber 海 夏青 Outfit: MONVIE_VRC Sharing a few quick tips: ✨Simple single-layer skirts → Mesh Cloth for the smoothest, silkiest movement! ✨Complex pleats or multi-layer skirts → Bone Cloth, but if bones aren’t dense enough and leg clipping happens, switch Connection Mode to Mesh-related options. It creates mesh-like links between bones and fixes most clipping instantly. ✨For simple double-layer skirts, you can also try applying Mesh Cloth to each layer separately and enable Self-Collision ✨Small frills, ribbons, or ties without bones → slap Mesh Cloth on them too. Trust me, when these tiny details move naturally, the whole outfit feels insanely satisfying! ✨If you have a guitar on you like I do, add colliders to the guitar too! That way it presses the skirt down naturally without clipping, just like real life ✨ If you run into stubborn clipping that’s hard to fix, try using Magica Wind Zone to blow the cloth in one direction, it might work like magic!

chacha🎸

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made some improvements to the volleyball computer vision model: — program now works for indoor and beach volley — added an optical flow algorithm to compensate for camera movement during play same workflow using roboflow rapid + SAM3 + python, more details in QT thanks to everyone who sent a DM, i'll work with a few people to improve the model with more footage and camera angles. i'll get back to everyone who messaged
0:26

made some improvements to the volleyball computer vision model: — program now works for indoor and beach volley — added an optical flow algorithm to compensate for camera movement during play same workflow using roboflow rapid + SAM3 + python, more details in QT thanks to everyone who sent a DM, i'll work with a few people to improve the model with more footage and camera angles. i'll get back to everyone who messaged

AA

28,599 görüntüleme • 8 ay önce

Gene Kelly’s iconic “Alter Ego” dance in director Charles Vidor's 1944 musical romantic comedy Cover Girl was achieved through double exposure. Kelly performed the choreography twice, perfectly matching his movements and timing, while the camera crew precisely repeated camera moves, creating the illusion of him dancing with his own reflection. The film strip was run through the camera twice to layer two different performances on top of each other. Kelly had to hit the exact same spot in the frame during the second take as he did in the first, while the camera operator had to duplicate panning and tracking movements perfectly, ensuring the background stayed aligned in both takes. The scene was assembled using an optical printer to blend the two shots, a process that took tons of time to ensure the “ghost” reflection matched the live action. The scene was so technically challenging that director Charles Vidor initially believed it was impossible and walked off set, leaving Kelly and Stanley Donen to complete the production of the scene themselves.
1:23

Gene Kelly’s iconic “Alter Ego” dance in director Charles Vidor's 1944 musical romantic comedy Cover Girl was achieved through double exposure. Kelly performed the choreography twice, perfectly matching his movements and timing, while the camera crew precisely repeated camera moves, creating the illusion of him dancing with his own reflection. The film strip was run through the camera twice to layer two different performances on top of each other. Kelly had to hit the exact same spot in the frame during the second take as he did in the first, while the camera operator had to duplicate panning and tracking movements perfectly, ensuring the background stayed aligned in both takes. The scene was assembled using an optical printer to blend the two shots, a process that took tons of time to ensure the “ghost” reflection matched the live action. The scene was so technically challenging that director Charles Vidor initially believed it was impossible and walked off set, leaving Kelly and Stanley Donen to complete the production of the scene themselves.

MSI | Movie Star Icons

78,731 görüntüleme • 7 ay önce

Spend too much time on this camera. This is the current state, still a bit to do. At no point in this video do I make an input for the camera, it's all done automatically based on movement input, velocity & learping between some focus points. #gamedev #ue5 #prototyping
0:27

Spend too much time on this camera. This is the current state, still a bit to do. At no point in this video do I make an input for the camera, it's all done automatically based on movement input, velocity & learping between some focus points. #gamedev #ue5 #prototyping

MortMort

84,970 görüntüleme • 3 yıl önce

I've made further improvements to the character's rendering and the detailed breathing arcs on the body. But for some reason, the colors in the recorded footage look drastically different. Eh... it'll have to do. #ProjectJK
0:26

I've made further improvements to the character's rendering and the detailed breathing arcs on the body. But for some reason, the colors in the recorded footage look drastically different. Eh... it'll have to do. #ProjectJK

MimikuWo

22,093 görüntüleme • 5 ay önce

Webcam or DSLR Camera? What are some of the deciding factors when it comes to deciding what camera solution to use for your content? We asked some incredible creators their thoughts on various solutions and presented them with Elgato’s new Facecam 4K which takes the best of the webcam’s features and merges them with the professional, customisation features of a DSLR camera and puts it at a price point that makes the ability to create high quality content more accessible to creators. This is an absolute game changer for content creators, I’d love to know your thoughts and camera setups! Thank you to the following incredible creators for your insightful opinions and for being absolute legends: Walkrman ChelseaHonk stackgemma shiv 🔜 on twitch @kjohns281 Logaaaaan64 PoeyPlops #ElgatoPartner #Sponsored
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Webcam or DSLR Camera? What are some of the deciding factors when it comes to deciding what camera solution to use for your content? We asked some incredible creators their thoughts on various solutions and presented them with Elgato’s new Facecam 4K which takes the best of the webcam’s features and merges them with the professional, customisation features of a DSLR camera and puts it at a price point that makes the ability to create high quality content more accessible to creators. This is an absolute game changer for content creators, I’d love to know your thoughts and camera setups! Thank you to the following incredible creators for your insightful opinions and for being absolute legends: Walkrman ChelseaHonk stackgemma shiv 🔜 on twitch @kjohns281 Logaaaaan64 PoeyPlops #ElgatoPartner #Sponsored

Teegstah

19,530 görüntüleme • 1 yıl önce

In a critical moment when our country needed her, Kamala Harris rose to the challenge. America, let’s elect someone who has the experience, the character, and the strength to look at all the challenges our country is facing and create a better future for us all. We’ve only got 9 more days to make it happen. Let’s go:
2:41

In a critical moment when our country needed her, Kamala Harris rose to the challenge. America, let’s elect someone who has the experience, the character, and the strength to look at all the challenges our country is facing and create a better future for us all. We’ve only got 9 more days to make it happen. Let’s go:

Michelle Obama

421,310 görüntüleme • 1 yıl önce

Fixed a bunch of bugs and made some further improvements to the rendering. I also rebuilt a new graybox scene. That's a wrap for this month. Now I can spend the rest of the time peacefully writing the devlog and working on other things. #MizuChronicles #水色戦記
2:02

Fixed a bunch of bugs and made some further improvements to the rendering. I also rebuilt a new graybox scene. That's a wrap for this month. Now I can spend the rest of the time peacefully writing the devlog and working on other things. #MizuChronicles #水色戦記

MimikuWo

28,744 görüntüleme • 2 ay önce

Sharing this Godot quick tip for the new people trying to figure out how to mess with the game while it's running! ✨ (Thanks to Daniel Queiroz Porto and and Ian Williams for pointing this out) 1. Go to the Project Settings 2. Click "Advanced Settings" 3. In "Window" highlight "Always on Top" and create a new editor override for it by choosing "editor" from the list and clicking "Add" 4. Enable the new override you just added 5. Now when you run the scene (Ctrl+R) the window will always stay on top! 6. Press the Camera icon on top of the viewport to sync your editor camera to the game camera 7. Click on the "Remote" tab of the Scene panel. All of the changes you make to these objects will sync with your game in real time! Bonus Tip: You can make it switch to the "Remote" tab by default when you run the game if you go to Editor Settings (Ctrl+Comma) -> Network -> Debugger and click "Auto Switch to Remote Scene Tree"! #godottips
0:42

Sharing this Godot quick tip for the new people trying to figure out how to mess with the game while it's running! ✨ (Thanks to Daniel Queiroz Porto and and Ian Williams for pointing this out) 1. Go to the Project Settings 2. Click "Advanced Settings" 3. In "Window" highlight "Always on Top" and create a new editor override for it by choosing "editor" from the list and clicking "Add" 4. Enable the new override you just added 5. Now when you run the scene (Ctrl+R) the window will always stay on top! 6. Press the Camera icon on top of the viewport to sync your editor camera to the game camera 7. Click on the "Remote" tab of the Scene panel. All of the changes you make to these objects will sync with your game in real time! Bonus Tip: You can make it switch to the "Remote" tab by default when you run the game if you go to Editor Settings (Ctrl+Comma) -> Network -> Debugger and click "Auto Switch to Remote Scene Tree"! #godottips

passivestar

96,110 görüntüleme • 3 yıl önce

From time to time, people ask me how I make models so close to the reference, so here it goes: I work in orthographic view on one screen for modeling, and on the other, I keep a viewport with the camera aligned and the reference in front at low opacity using PureRef or Kuadro
0:56

From time to time, people ask me how I make models so close to the reference, so here it goes: I work in orthographic view on one screen for modeling, and on the other, I keep a viewport with the camera aligned and the reference in front at low opacity using PureRef or Kuadro

Vicente Moscardó Ribes

53,280 görüntüleme • 1 yıl önce

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx
1:32

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

Cohen Brawley

46,070 görüntüleme • 2 yıl önce

🚨 JUST IN: Mexican flag-waving foreigners and leftists are ACTIVELY BLOCKING an entire INTERSECTION while an anti-ICE "organizer" riles them up, after the Austin ICE-involved shooting A woman was on camera admitting to bringing MASKS to supply them MONEY IS BEHIND THIS. She's demanding MORE people rush to the streets to make life a nightmare for the police 😡 Notice just how rapidly they not only show up but show up with equipment? Police need to lay the hammer. Cut the BS, disperse the crowd and THROW THEM IN JAIL!
0:40

🚨 JUST IN: Mexican flag-waving foreigners and leftists are ACTIVELY BLOCKING an entire INTERSECTION while an anti-ICE "organizer" riles them up, after the Austin ICE-involved shooting A woman was on camera admitting to bringing MASKS to supply them MONEY IS BEHIND THIS. She's demanding MORE people rush to the streets to make life a nightmare for the police 😡 Notice just how rapidly they not only show up but show up with equipment? Police need to lay the hammer. Cut the BS, disperse the crowd and THROW THEM IN JAIL!

Eric Daugherty

178,995 görüntüleme • 3 gün önce

The robot is used to inspect the walls of ships. 🚢 The Magnet Crawler introduced by the University of Bremen is a lightweight and compact climbing robot for magnetic surfaces. The robot has two magnetic wheels driven by geared motors and an elastic tail to improve stability. In the front part of the robot, there is a miniature wireless camera. The robot is remotely teleoperated & the video signal from the camera is displayed to the operator on a portable screen. Let's wait and perhaps the robot will become more autonomous over time. Big fan of robots that make the world a safer place for humans.
0:51

The robot is used to inspect the walls of ships. 🚢 The Magnet Crawler introduced by the University of Bremen is a lightweight and compact climbing robot for magnetic surfaces. The robot has two magnetic wheels driven by geared motors and an elastic tail to improve stability. In the front part of the robot, there is a miniature wireless camera. The robot is remotely teleoperated & the video signal from the camera is displayed to the operator on a portable screen. Let's wait and perhaps the robot will become more autonomous over time. Big fan of robots that make the world a safer place for humans.

Lukas Ziegler

61,982 görüntüleme • 1 yıl önce