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Stop rotating flat shadows manually. Go to Effect > Distort & Transform > Free Distort to map realistic perspective ground shadows in Adobe Illustrator. #illustrator #graphicdesign #designtips #vectorart #adobeillustrator

MONABLIZ UIUX

1,629 subscribers

111,654 просмотров • 4 дней назад •via X (Twitter)

Искусство Образование Наука и технологии #illustrator #graphicdesign #designtips #vectorart #adobeillustrator

Anya Rossi• Live Now

Private livecam show

Комментарии: 1

Фото профиля kukukachu

kukukachu3 дней назад

what I don't get is why these easy edits are so damn tedious. Just have an option that's NOT in the damn right click.

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how to create some amazing Particle Effects Using Wrinkle and Bloat Tools with Transform Effect to in Adobe Illustrator.

how to create some amazing Particle Effects Using Wrinkle and Bloat Tools with Transform Effect to in Adobe Illustrator.

Dr Fonts©

14,431 просмотров • 1 год назад

🚨BREAKING: Newly released body cam footage CONFIRMS Megan Thee Stallion did step on glass — officers at the scene state she cut her foot on a broken liquor bottle exiting the SUV. Liquid seen spilled on the ground. No mention of gunfire injuries. We’ve been told for months that the clip showing Megan stepping on something while exiting the vehicle was from a plastic bottle. That was false. It was glass — confirmed by the police officers on the scene. These body cam videos and others were suppressed, despite showing clear contradictions in Megan’s story. There were multiple instances that should’ve raised reasonable doubt, but the prosecution, Megan, and her team did everything they could to distort the facts. For whatever reason, Tory had to take the fall. They didn’t care about him. His life meant nothing to them. It’s time to let him go. Free Tory Lanez now!

🚨BREAKING: Newly released body cam footage CONFIRMS Megan Thee Stallion did step on glass — officers at the scene state she cut her foot on a broken liquor bottle exiting the SUV. Liquid seen spilled on the ground. No mention of gunfire injuries. We’ve been told for months that the clip showing Megan stepping on something while exiting the vehicle was from a plastic bottle. That was false. It was glass — confirmed by the police officers on the scene. These body cam videos and others were suppressed, despite showing clear contradictions in Megan’s story. There were multiple instances that should’ve raised reasonable doubt, but the prosecution, Megan, and her team did everything they could to distort the facts. For whatever reason, Tory had to take the fall. They didn’t care about him. His life meant nothing to them. It’s time to let him go. Free Tory Lanez now!

ComeWithFacts

3,988,265 просмотров • 1 год назад

Seedance 2.5 Prompt: Create a 30-second ultra-photorealistic cinematic travel-vlog video. SUBJECT: A beautiful young adult woman with long, layered brown hair with subtle natural highlights, wearing a white crop top, loose blue jeans, and carrying a brown shoulder bag. SCENE & ACTION: 0–7s: She naturally walks down the aisle of a modern commercial airplane. Use a medium close-up tracking shot from slightly in front and to the side. Her hair moves naturally as she walks. Passengers, overhead compartments, seats, windows, and realistic cabin details remain visible in the background. 7–13s: She reaches her seat and stops naturally. The camera gently pans with her movement as she places her brown shoulder bag underneath the seat in front of her. Show realistic hand movement and accurate interaction between the bag, seat, and floor. 13–19s: She stands up and casually adjusts her layered hair with one hand. The camera performs a subtle tilt and gentle push-in while maintaining a natural medium close-up. Her expression remains relaxed and authentic. 19–26s: She turns and smoothly sits in her seat. Capture realistic body mechanics, natural clothing folds, hair movement, and believable weight distribution. Background passengers continue subtle natural movements. 26–30s: She settles comfortably into the seat and looks toward the airplane window, then briefly toward the camera with a relaxed travel-vlog expression. The camera gently stabilizes while retaining subtle handheld realism. CAMERA: Handheld cinematic camera, medium close-up, smooth tracking, gentle panning and tilting, subtle natural camera shake, realistic depth of field, natural motion blur, occasional slight focus adjustment, no abrupt camera movements. LIGHTING: Bright natural-looking airplane cabin lighting mixed with soft daylight coming through the windows. Realistic skin illumination, soft shadows, accurate reflections, natural exposure. VISUAL STYLE: Ultra-realistic live-action footage, premium travel vlog aesthetic, authentic commercial airplane interior, realistic skin texture, individual hair strands, physically accurate fabric, realistic materials, natural color grading, cinematic 4K detail, believable background activity, true-to-life proportions and perspective. MOTION & PHYSICS: Natural human walking, realistic hair physics, accurate hand-object interaction, believable sitting motion, realistic fabric movement, physically correct shadows and reflections. NEGATIVE: No CGI appearance, no cartoon look, no plastic skin, no beauty-filter effect, no exaggerated expressions, no unnatural body movements, no warped anatomy, no extra fingers or limbs, no deformed hands, no flickering, no object morphing, no duplicated passengers, no unstable background, no sudden cuts, no unrealistic camera movement, no identity changes. OVERALL: Make the entire 30-second sequence feel like authentic footage captured inside a real airplane by a professional travel vlogger, with seamless continuity between every action and highly realistic human and environmental motion.

Seedance 2.5 Prompt: Create a 30-second ultra-photorealistic cinematic travel-vlog video. SUBJECT: A beautiful young adult woman with long, layered brown hair with subtle natural highlights, wearing a white crop top, loose blue jeans, and carrying a brown shoulder bag. SCENE & ACTION: 0–7s: She naturally walks down the aisle of a modern commercial airplane. Use a medium close-up tracking shot from slightly in front and to the side. Her hair moves naturally as she walks. Passengers, overhead compartments, seats, windows, and realistic cabin details remain visible in the background. 7–13s: She reaches her seat and stops naturally. The camera gently pans with her movement as she places her brown shoulder bag underneath the seat in front of her. Show realistic hand movement and accurate interaction between the bag, seat, and floor. 13–19s: She stands up and casually adjusts her layered hair with one hand. The camera performs a subtle tilt and gentle push-in while maintaining a natural medium close-up. Her expression remains relaxed and authentic. 19–26s: She turns and smoothly sits in her seat. Capture realistic body mechanics, natural clothing folds, hair movement, and believable weight distribution. Background passengers continue subtle natural movements. 26–30s: She settles comfortably into the seat and looks toward the airplane window, then briefly toward the camera with a relaxed travel-vlog expression. The camera gently stabilizes while retaining subtle handheld realism. CAMERA: Handheld cinematic camera, medium close-up, smooth tracking, gentle panning and tilting, subtle natural camera shake, realistic depth of field, natural motion blur, occasional slight focus adjustment, no abrupt camera movements. LIGHTING: Bright natural-looking airplane cabin lighting mixed with soft daylight coming through the windows. Realistic skin illumination, soft shadows, accurate reflections, natural exposure. VISUAL STYLE: Ultra-realistic live-action footage, premium travel vlog aesthetic, authentic commercial airplane interior, realistic skin texture, individual hair strands, physically accurate fabric, realistic materials, natural color grading, cinematic 4K detail, believable background activity, true-to-life proportions and perspective. MOTION & PHYSICS: Natural human walking, realistic hair physics, accurate hand-object interaction, believable sitting motion, realistic fabric movement, physically correct shadows and reflections. NEGATIVE: No CGI appearance, no cartoon look, no plastic skin, no beauty-filter effect, no exaggerated expressions, no unnatural body movements, no warped anatomy, no extra fingers or limbs, no deformed hands, no flickering, no object morphing, no duplicated passengers, no unstable background, no sudden cuts, no unrealistic camera movement, no identity changes. OVERALL: Make the entire 30-second sequence feel like authentic footage captured inside a real airplane by a professional travel vlogger, with seamless continuity between every action and highly realistic human and environmental motion.

Saul Goodman

34,476 просмотров • 4 дней назад

In meetings, there’s a familiar pattern. Someone asks, “What does everyone think?” and the first person to speak is usually the most confident. That initial comment sets the tone. Others—especially the more reserved—hesitate to challenge it. Over time, the discussion drifts toward a quiet consensus, not because everyone agrees, but because fewer people push back. That’s how groupthink begins. And it’s costly. Good ideas go unspoken, while early, confident opinions carry disproportionate weight. A simple fix is to separate idea generation from discussion. Ask people to submit thoughts anonymously or in writing beforehand. This captures a wider range of views and prevents the most assertive voice from dominating early. This ties to a deeper tension: the “wisdom of crowds” versus the “madness of crowds.” The wisdom of crowds shows that aggregating many independent judgments often produces accurate answers. Ask one person the distance between New York and Boston, and they might be wrong. Ask a hundred, and their average will be close. The madness of crowds suggests the opposite. Individuals may be rational alone but less so in groups. Social pressure, conformity, and reputation concerns distort judgment. People stop trying to be right and start trying to look right. Both are true. The key is independence. You only get the wisdom of crowds effect when judgments are made independently—ideally anonymously. Once opinions are public, reputational concerns and fear of disagreement creep in, contaminating the signal. The same group can be wise or mad, depending on how you ask. If you want truth, you have to design for it.

In meetings, there’s a familiar pattern. Someone asks, “What does everyone think?” and the first person to speak is usually the most confident. That initial comment sets the tone. Others—especially the more reserved—hesitate to challenge it. Over time, the discussion drifts toward a quiet consensus, not because everyone agrees, but because fewer people push back. That’s how groupthink begins. And it’s costly. Good ideas go unspoken, while early, confident opinions carry disproportionate weight. A simple fix is to separate idea generation from discussion. Ask people to submit thoughts anonymously or in writing beforehand. This captures a wider range of views and prevents the most assertive voice from dominating early. This ties to a deeper tension: the “wisdom of crowds” versus the “madness of crowds.” The wisdom of crowds shows that aggregating many independent judgments often produces accurate answers. Ask one person the distance between New York and Boston, and they might be wrong. Ask a hundred, and their average will be close. The madness of crowds suggests the opposite. Individuals may be rational alone but less so in groups. Social pressure, conformity, and reputation concerns distort judgment. People stop trying to be right and start trying to look right. Both are true. The key is independence. You only get the wisdom of crowds effect when judgments are made independently—ideally anonymously. Once opinions are public, reputational concerns and fear of disagreement creep in, contaminating the signal. The same group can be wise or mad, depending on how you ask. If you want truth, you have to design for it.

Rob Henderson

24,196 просмотров • 5 месяцев назад

🚨 EXCLUSIVE: Never-Before-Seen Photos from the Day Charlie Kirk Was Assassinated—Salt Lake Tribune Photographer Drops New UVU Photo Set🔎😳 Salt Lake Tribune photographer Trent Nelson has just released a massive, brand new photo set from the ground at the TPUSA event at Utah Valley University on September 10, 2025 where Charlie Kirk was assassinated. These are not the scrubbed, sanitized, tightly-framed images the mainstream media has been feeding you for months. These are raw, high-resolution photos of the TPUSA event leading up to, during, and the aftermath of the big bang that everything changed. Here is why this is absolutely massive for our investigation: Now, we have an entirely new set of visual data to comb through. We are looking at the background. We are looking at the crowd. We are looking for the military guys inj maroon shirts, drones, anomalies, and anyone who looks like they knew exactly what was about to happen. Every time new raw footage or photography drops, the official Deep State narrative falls apart just a little bit more. They wanted to lock this entire crime scene down and tell you to stop asking questions. But they cannot stop independent journalists and awake Americans from analyzing every single pixel of these new images. We are going to match Trent Nelson’s photos with the rest of the evidence we have compiled. The syndicate operates in the shadows, but we are dragging every single detail into the light. Go Max! 🇺🇸 Credit: Trent.Photo FOLLOW Him!

Project Constitution

223,693 просмотров • 6 месяцев назад

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Heartfelt Limited-Time Resonance: Resonate 10 Times, Get 10 Free | Infinity Nikki Version 2.9 Outfit Preview: Florabound Promise It began with a flower awakening in the forest. As the wind rose, blossoms, skirts, and morning light swayed as one. A fairy's legend drifted through the mist, while radiant wishes took root in the shadows, until all the world was drawn into a dream in full bloom. >> Main Attribute: Sweet >> Outfit Ability: Sylvan Glow After using the ability, Nikki channels the life force flowing through the forest and enters the Forest Radiance state. This state remains active until logout or until the ability is manually disabled. After equipping Sylvan Glow, Nikki can consume energy to draw nearby creatures toward her, continuously attracting insects in the surrounding area. Once enabled, the attraction effect remains active until logout or until the ability is manually disabled. Attracted insects manifest as forest butterflies that follow Nikki. Each butterfly can carry 5 insects, and up to 6 butterflies can exist at once. Another outfit ability can then be used to catch those following insects. In Co-op, you cannot see or catch other stylists' forest butterflies. While in the Forest Radiance state, its energy can be used to power regional abilities in Itzaland. When using the outfit abilities Default: Gigantification, Dawn Stroll Sticky Claw, Default: Machine Control, or Skystride Dragon Statue, Forest Radiance energy is automatically consumed once the original energy is depleted, allowing the effect to continue. When in the Forest Radiance state, energy regenerates automatically over time and can also be replenished by collecting Blings. ❖ The ability Sylvan Glow cannot be used in certain stages or in the Mira Crown Merit Arena. >> Decoration: Moondew Blossoms Can be placed in open spaces. Moonlight is woven into the sweetest dreams, and deep within the woods, garlands bloom to the sound of song. If your radiant soul remains untarnished, fear not the figure dancing among the trees, for her gifts ask nothing in return. ❖ Available after reaching 160 Resonances in the Heartfelt Limited-Time Resonance Where Flowers Wake. >> Heartfelt Limited-Time Resonance: Where Flowers Wake During the event, select [×10 Resonate] in "Where Flowers Wake" to immediately trigger one bonus 10-draw Resonance. You can receive up to 100 free Resonances in total! Bonus 10-draw Resonances also count toward both guarantee and cumulative draw counts. ❖ During this Heartfelt Limited-Time Resonance, the bonus 10-draw can only be triggered by selecting [×10 Resonate]. Resonances made through [×1 Resonate] do not count toward triggering the bonus. Please take note. ❖ This bonus can be triggered up to 10 times. Once the limit is reached, further 10-draw Resonances will no longer trigger a bonus. >> Evolution Rewards ◆ Evolving the outfit to Stage 1 unlocks the pose Dawn Butterfly Whisper. ◆ Evolving the outfit to Stage 2 unlocks Sunlit Sway for Framed Moment. You can also use Stamen Heartchime in [Clothing Evolution > Decoration: Radiance] to obtain the decoration Moondew Blossoms: Radiance. ◆ Evolving the outfit to Stage 3 unlocks Sunlit Vow: Makeup, a new idle animation, poses, enhanced special effects, and alternative details for certain pieces. ♾Follow Infinity Nikki and quote this post with your UID, and we'll select 3 stylists to win $20 each. ❖ Winner announcement: We will announce the winners via the Infinity Nikki account by 23:59:59 (UTC-7) on September 7, 2026, and notify them via private message. —— ➤ Infinity Nikki Version 2.9 Bloom Beneath Bright Skies launches globally on August 27 (UTC-7)! ➤ Download Now: ➤ Join us on Discord: #InfinityNikki #BloomBeneathBrightSkies

Infinity Nikki

136,189 просмотров • 1 месяц назад

One of the challenges that makes mapping from Second World War unit war diaries particularly difficult is the mapping system itself, specifically the coordinate grids and map projections used at the time. The British relied on several different map projection systems, each built on geodetic datums that were, by modern standards, imprecise. For northwest Europe, the two most relevant are Lambert Zone I, based on the Nouvelle Triangulation Française (NTF) datum and the Clarke 1880 ellipsoid, and Nord de Guerre, an older WWI-era grid based on the Ancienne Triangulation Française (ATF) datum and the Plessis 1817 ellipsoid. By 1944, Nord de Guerre was technically obsolete, but it still appeared as marginal reference ticks on many British-issued map sheets. These datums were derived from earlier triangulation surveys and predated the computational methods that would later allow for globally consistent, satellite-verified reference systems. Geodesy as a discipline was still maturing, and without computers, producing and correcting large-scale surveys was slow, laborious work, made harder by the fact that a war was actively being fought. The practical consequence for a theatre like Normandy was that available map coverage relied on conical projections, specifically Lambert Conformal Conic, rather than the narrower strip-by-strip Transverse Mercator projection that underpins the modern Military Grid Reference System (MGRS). Transverse Mercator projections perform well over narrow north-south bands but distort rapidly as you move east or west. Lambert Conic projections handle wider east-west extents better, which is why they were preferred for covering broad operational theatres. The tradeoff is that both introduce distortion of different kinds depending on where you are on the sheet, and that distortion was baked into every map issued to every unit. Layer on top of that the generalisation inherent in the most commonly available wartime maps, the GSGS 1:100,000 series. At that scale, features must be simplified: roads straightened, villages approximated, contours smoothed and errors compounded. In practice, positional inaccuracy across these sheets typically falls in the range of 100 to 200 metres, with worse outliers possible depending on the area and the source survey data. By modern standards that is significant. GPS-guided munitions rely on sub-metre accuracy, and calling close artillery fire with that margin of error would be genuinely hazardous to friendly troops. In the Second World War, those errors were real and unavoidable, and commanders and surveyors simply had to account for them operationally. When we mapped Project '44, we manually georeferenced each GSGS map sheet and stitched them together, tying the sheets to known, identifiable features on the ground. Done carefully, this process keeps positional accuracy near the lower end of that 100 to 200 metre range, but it cannot push below it. The original datum and projection errors, the generalisation of the source maps, and the inevitable human error in the georeferencing process all combine in ways that cannot be fully eliminated. There is a floor, and that floor is set by the accuracy of the original surveys. Over the last several days I have been working on a new approach to reduce that residual uncertainty and speed up the mapping workflow. It is a system of systems that brings together three reference layers in one interface. The first is the wartime grid systems, specifically the coordinate grids actually used in the war diaries, enabling direct input and plotting of grid references as they appear in the source documents. The second is the georeferenced GSGS basemaps, the original wartime maps georeferenced to a modern coordinate system, so a plotted grid reference can be visually cross-checked against the map the unit itself would have been reading. The third is a modern accurate basemap, a contemporary mapping layer using current satellite-derived data, for ground truth comparison. The idea is convergence across three independent references. Where all three agree, you have high confidence. Where they diverge, a human mapper can apply contextual judgment, drawing on terrain, road networks, and the unit narrative, to make the call on where the position actually was. The goal is faster, more efficient mapping without sacrificing interpretive rigour. Rather than automating the decision, the tool gives the mapper the best possible information to make an informed judgment about where a unit was and what they were doing.

One of the challenges that makes mapping from Second World War unit war diaries particularly difficult is the mapping system itself, specifically the coordinate grids and map projections used at the time. The British relied on several different map projection systems, each built on geodetic datums that were, by modern standards, imprecise. For northwest Europe, the two most relevant are Lambert Zone I, based on the Nouvelle Triangulation Française (NTF) datum and the Clarke 1880 ellipsoid, and Nord de Guerre, an older WWI-era grid based on the Ancienne Triangulation Française (ATF) datum and the Plessis 1817 ellipsoid. By 1944, Nord de Guerre was technically obsolete, but it still appeared as marginal reference ticks on many British-issued map sheets. These datums were derived from earlier triangulation surveys and predated the computational methods that would later allow for globally consistent, satellite-verified reference systems. Geodesy as a discipline was still maturing, and without computers, producing and correcting large-scale surveys was slow, laborious work, made harder by the fact that a war was actively being fought. The practical consequence for a theatre like Normandy was that available map coverage relied on conical projections, specifically Lambert Conformal Conic, rather than the narrower strip-by-strip Transverse Mercator projection that underpins the modern Military Grid Reference System (MGRS). Transverse Mercator projections perform well over narrow north-south bands but distort rapidly as you move east or west. Lambert Conic projections handle wider east-west extents better, which is why they were preferred for covering broad operational theatres. The tradeoff is that both introduce distortion of different kinds depending on where you are on the sheet, and that distortion was baked into every map issued to every unit. Layer on top of that the generalisation inherent in the most commonly available wartime maps, the GSGS 1:100,000 series. At that scale, features must be simplified: roads straightened, villages approximated, contours smoothed and errors compounded. In practice, positional inaccuracy across these sheets typically falls in the range of 100 to 200 metres, with worse outliers possible depending on the area and the source survey data. By modern standards that is significant. GPS-guided munitions rely on sub-metre accuracy, and calling close artillery fire with that margin of error would be genuinely hazardous to friendly troops. In the Second World War, those errors were real and unavoidable, and commanders and surveyors simply had to account for them operationally. When we mapped Project '44, we manually georeferenced each GSGS map sheet and stitched them together, tying the sheets to known, identifiable features on the ground. Done carefully, this process keeps positional accuracy near the lower end of that 100 to 200 metre range, but it cannot push below it. The original datum and projection errors, the generalisation of the source maps, and the inevitable human error in the georeferencing process all combine in ways that cannot be fully eliminated. There is a floor, and that floor is set by the accuracy of the original surveys. Over the last several days I have been working on a new approach to reduce that residual uncertainty and speed up the mapping workflow. It is a system of systems that brings together three reference layers in one interface. The first is the wartime grid systems, specifically the coordinate grids actually used in the war diaries, enabling direct input and plotting of grid references as they appear in the source documents. The second is the georeferenced GSGS basemaps, the original wartime maps georeferenced to a modern coordinate system, so a plotted grid reference can be visually cross-checked against the map the unit itself would have been reading. The third is a modern accurate basemap, a contemporary mapping layer using current satellite-derived data, for ground truth comparison. The idea is convergence across three independent references. Where all three agree, you have high confidence. Where they diverge, a human mapper can apply contextual judgment, drawing on terrain, road networks, and the unit narrative, to make the call on where the position actually was. The goal is faster, more efficient mapping without sacrificing interpretive rigour. Rather than automating the decision, the tool gives the mapper the best possible information to make an informed judgment about where a unit was and what they were doing.

Project '44

24,974 просмотров • 4 месяцев назад

I have become aware of a segment broadcast on Korean television in which my account was referenced and characterized in a highly misleading and defamatory manner. Let me be absolutely clear. I am not Pro anything except Pro-Palestine. And I am only anti-Zionism. I am an American citizen exercising my right to free expression. My content focuses on global events, humanitarian concerns, and political developments that have real consequences for millions of people worldwide. Attempting to reduce my work to labels or distort my positions is not only inaccurate, but also avoids engaging with the substance of what is being discussed. The issue at hand concerns ongoing international events that have had measurable humanitarian, geopolitical, and economic consequences across multiple regions, including impacts on global stability and energy security. The fact that a broadcaster would distort my position and simultaneously insult their own sitting President raises serious concerns about their intent, their credibility, and their responsibility to the public. For over three years, events have unfolded that have had real consequences on global stability, energy security, and the lives of millions of people. These are not abstract discussions, they are realities that affect entire economies and populations. Instead of addressing the substance of these issues, attention is being redirected toward whether it was “appropriate” for a President to acknowledge a post on social media. That distraction is the real problem. Shifting blame onto those who raise concerns does not change the underlying facts. Attempting to label or dismiss me does not alter reality. I am an American citizen exercising my right to speak on matters that have global consequences. Disagreement with my perspective does not invalidate the issues themselves. This is bigger than one person, one post, or one country. It requires serious, honest engagement from people who are willing to address reality rather than avoid it. Korea has long been seen as a nation of strength, discipline, and leadership. That reputation is built by its people and its institutions acting with integrity and clarity. Undermining that through misrepresentation and deflection does not serve the public, and it does not reflect the standard that people expect. Whether people agree with me or not is irrelevant. What matters is whether we are willing to confront the issues that are shaping the world today. I stand by what I said. I stand by my right to say it. And I remain open to direct, factual, and transparent discussion with anyone willing to engage seriously. Public discourse should remain focused on facts, accountability, and constructive solutions. Redirecting attention toward personal attacks or mischaracterizations undermines serious discussion and does not serve the public interest. The international community benefits when dialogue is grounded in truth rather than rhetoric. And the truth is, Israel’s war crimes are affecting all of us; just as the Nazi’s war crimes did. If we don’t stop it, it will get worse.

I have become aware of a segment broadcast on Korean television in which my account was referenced and characterized in a highly misleading and defamatory manner. Let me be absolutely clear. I am not Pro anything except Pro-Palestine. And I am only anti-Zionism. I am an American citizen exercising my right to free expression. My content focuses on global events, humanitarian concerns, and political developments that have real consequences for millions of people worldwide. Attempting to reduce my work to labels or distort my positions is not only inaccurate, but also avoids engaging with the substance of what is being discussed. The issue at hand concerns ongoing international events that have had measurable humanitarian, geopolitical, and economic consequences across multiple regions, including impacts on global stability and energy security. The fact that a broadcaster would distort my position and simultaneously insult their own sitting President raises serious concerns about their intent, their credibility, and their responsibility to the public. For over three years, events have unfolded that have had real consequences on global stability, energy security, and the lives of millions of people. These are not abstract discussions, they are realities that affect entire economies and populations. Instead of addressing the substance of these issues, attention is being redirected toward whether it was “appropriate” for a President to acknowledge a post on social media. That distraction is the real problem. Shifting blame onto those who raise concerns does not change the underlying facts. Attempting to label or dismiss me does not alter reality. I am an American citizen exercising my right to speak on matters that have global consequences. Disagreement with my perspective does not invalidate the issues themselves. This is bigger than one person, one post, or one country. It requires serious, honest engagement from people who are willing to address reality rather than avoid it. Korea has long been seen as a nation of strength, discipline, and leadership. That reputation is built by its people and its institutions acting with integrity and clarity. Undermining that through misrepresentation and deflection does not serve the public, and it does not reflect the standard that people expect. Whether people agree with me or not is irrelevant. What matters is whether we are willing to confront the issues that are shaping the world today. I stand by what I said. I stand by my right to say it. And I remain open to direct, factual, and transparent discussion with anyone willing to engage seriously. Public discourse should remain focused on facts, accountability, and constructive solutions. Redirecting attention toward personal attacks or mischaracterizations undermines serious discussion and does not serve the public interest. The international community benefits when dialogue is grounded in truth rather than rhetoric. And the truth is, Israel’s war crimes are affecting all of us; just as the Nazi’s war crimes did. If we don’t stop it, it will get worse.

Jvnior

23,333 просмотров • 5 месяцев назад

一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. Angle and attitude (randomized): – Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful. – Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit. – Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person. Lighting and rendering: – Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic. – Maintain realistic shadows and contact points with the ground or floor. – High-resolution, sharp details with clear skin texture, fabric weave, and material highlights. Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. Overall: Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment. Also, below is the prompt for generating the original image. Please use it as a reference. [Prompt for original image] #nanobanana2

一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. Angle and attitude (randomized): – Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful. – Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit. – Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person. Lighting and rendering: – Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic. – Maintain realistic shadows and contact points with the ground or floor. – High-resolution, sharp details with clear skin texture, fabric weave, and material highlights. Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. Overall: Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment. Also, below is the prompt for generating the original image. Please use it as a reference. [Prompt for original image] #nanobanana2

AI Girl's Photo Studio

20,684 просмотров • 9 месяцев назад

Open Letter to the International Community, Human Rights Organizations, and the United Nations Subject: Urgent Appeal to Protect the Pashtun National Jirga and Address State-Sponsored Terrorism in Pakistan To the Global Community, United Nations, and All Human Rights Organizations, We, the Pashtun Tahafuz Movement (PTM) United States, are writing this urgent open letter to bring to your immediate attention the severe state-sponsored repression against the Pashtuns in Pakistan. This grave situation requires global action to stop the escalating violence and ensure the protection of basic human rights. On October 11, 2024, the Pashtun National Jirga, a historic assembly rooted in Pashtun tradition for peaceful decision-making and conflict resolution, is scheduled to take place in Pakhtunkhwa. This gathering will unite Pashtuns from across the region to peacefully advocate for their rights and protest against state violence. However, in an alarming and oppressive move, the Pakistani state forces have confiscated the designated Jirga ground, turning it into a militarized zone. Armed security forces have built posts and established a strong presence in the area to prevent the peaceful assembly from taking place. These aggressive actions reflect the state's intent to violently disrupt the Jirga, intimidate participants, and silence the voices of the Pashtuns. In addition to this, the communication channels with Jirga organizers have been severed, isolating them from the outside world and making them even more vulnerable to state repression. The lives of those planning to attend are at immediate risk, and their fundamental right to peaceful assembly and free speech is being brutally denied. This confiscation of the Jirga ground and militarization of the space is not an isolated act but part of a broader, long-standing pattern of state-sponsored terrorism aimed at erasing Pashtun voices and suppressing their peaceful demands for justice. We urgently call upon the international community, the United Nations, and all human rights organizations to take immediate and decisive action: 1. Condemn the State’s Repressive Actions: Publicly denounce the Pakistani government’s confiscation of the Jirga ground and its use of armed forces to prevent a peaceful assembly. 2. Demand the Immediate End to Militarization: Call for the removal of military posts and security forces from the Jirga site, and ensure that the Pashtun National Jirga can take place without fear of violence. 3. Insist on Protection for Participants: Ensure that the safety and rights of all those attending the Jirga are protected, in accordance with international human rights standards. 4. Investigate Ongoing Abuses: Launch independent investigations into the human rights violations committed by the Pakistani state against the Pashtun people, including the confiscation of public spaces and violent repression of peaceful assemblies. 5. Hold the Pakistani Government Accountable: Urge Pakistan to comply with its international obligations to protect the rights of all citizens, including the Pashtun people, and to cease its discriminatory and violent actions. The silence of the global community in the face of these violations has only emboldened the perpetrators. We must not allow the Pashtun people to be oppressed and brutalized in the shadows. Immediate action is needed to prevent further violence and ensure that the Pashtun voices are heard. We appeal to all defenders of human rights and justice to stand with the Pashtun people in this critical moment. The world cannot turn a blind eye to this state-sponsored terrorism and the assault on fundamental freedoms. Thank you for your immediate attention to this urgent matter. Your action can save lives and uphold justice. Sincerely, Pashtun Tahafuz Movement (PTM) – United States Email: ptmusa20@gmail.com Human Rights Watch Amnesty International USA Amnesty International FIDH UN Human Rights Human Rights Campaign Rapid Response Front Line Defenders World Organisation Against Torture (OMCT) Freedom House The White House Department of State Minority Rights Group United Nations Secretary Antony Blinken António Guterres European Commission Manzoor Pashteen For more information, please refer to the following hashtags trending on social media. #PashtunNationalCourt11October #StateAttackedPashtunJirga #StateDeclaresWarOnPashtuns #په_خیبر_ننګ_وکړی

Open Letter to the International Community, Human Rights Organizations, and the United Nations Subject: Urgent Appeal to Protect the Pashtun National Jirga and Address State-Sponsored Terrorism in Pakistan To the Global Community, United Nations, and All Human Rights Organizations, We, the Pashtun Tahafuz Movement (PTM) United States, are writing this urgent open letter to bring to your immediate attention the severe state-sponsored repression against the Pashtuns in Pakistan. This grave situation requires global action to stop the escalating violence and ensure the protection of basic human rights. On October 11, 2024, the Pashtun National Jirga, a historic assembly rooted in Pashtun tradition for peaceful decision-making and conflict resolution, is scheduled to take place in Pakhtunkhwa. This gathering will unite Pashtuns from across the region to peacefully advocate for their rights and protest against state violence. However, in an alarming and oppressive move, the Pakistani state forces have confiscated the designated Jirga ground, turning it into a militarized zone. Armed security forces have built posts and established a strong presence in the area to prevent the peaceful assembly from taking place. These aggressive actions reflect the state's intent to violently disrupt the Jirga, intimidate participants, and silence the voices of the Pashtuns. In addition to this, the communication channels with Jirga organizers have been severed, isolating them from the outside world and making them even more vulnerable to state repression. The lives of those planning to attend are at immediate risk, and their fundamental right to peaceful assembly and free speech is being brutally denied. This confiscation of the Jirga ground and militarization of the space is not an isolated act but part of a broader, long-standing pattern of state-sponsored terrorism aimed at erasing Pashtun voices and suppressing their peaceful demands for justice. We urgently call upon the international community, the United Nations, and all human rights organizations to take immediate and decisive action: 1. Condemn the State’s Repressive Actions: Publicly denounce the Pakistani government’s confiscation of the Jirga ground and its use of armed forces to prevent a peaceful assembly. 2. Demand the Immediate End to Militarization: Call for the removal of military posts and security forces from the Jirga site, and ensure that the Pashtun National Jirga can take place without fear of violence. 3. Insist on Protection for Participants: Ensure that the safety and rights of all those attending the Jirga are protected, in accordance with international human rights standards. 4. Investigate Ongoing Abuses: Launch independent investigations into the human rights violations committed by the Pakistani state against the Pashtun people, including the confiscation of public spaces and violent repression of peaceful assemblies. 5. Hold the Pakistani Government Accountable: Urge Pakistan to comply with its international obligations to protect the rights of all citizens, including the Pashtun people, and to cease its discriminatory and violent actions. The silence of the global community in the face of these violations has only emboldened the perpetrators. We must not allow the Pashtun people to be oppressed and brutalized in the shadows. Immediate action is needed to prevent further violence and ensure that the Pashtun voices are heard. We appeal to all defenders of human rights and justice to stand with the Pashtun people in this critical moment. The world cannot turn a blind eye to this state-sponsored terrorism and the assault on fundamental freedoms. Thank you for your immediate attention to this urgent matter. Your action can save lives and uphold justice. Sincerely, Pashtun Tahafuz Movement (PTM) – United States Email: [email protected] Human Rights Watch Amnesty International USA Amnesty International FIDH UN Human Rights Human Rights Campaign Rapid Response Front Line Defenders World Organisation Against Torture (OMCT) Freedom House The White House Department of State Minority Rights Group United Nations Secretary Antony Blinken António Guterres European Commission Manzoor Pashteen For more information, please refer to the following hashtags trending on social media. #PashtunNationalCourt11October #StateAttackedPashtunJirga #StateDeclaresWarOnPashtuns #په_خیبر_ننګ_وکړی

PTM-United States

26,010 просмотров • 2 лет назад

Brothers and sisters, the time has come. This is the battle foretold in the pages of history—the battle between good and evil, between freedom and tyranny. For too long, the forces of corruption have lurked in the shadows, bleeding this great nation dry. They poison our economy, our culture, our very way of life. They sow division among us, turning Americans against each other while they tighten their grip on power. But no more. It’s time to rise. It’s time to take back what is ours. We are not just fighting for ourselves—we are fighting for the soul of this nation, for our children, for the generations to come. The Deep State, BlackRock, and their globalist allies have spent decades manipulating our economy, buying our politicians, and enslaving us under mountains of debt. They want us weak. They want us divided. They want us to forget who we are. But they have underestimated the American spirit. We are the sons and daughters of revolutionaries, of pioneers, of warriors who bled for this land and the ideals it stands for. We are the heartbeat of a free people, a nation under God, and we will not go quietly into the night. This is our moment. It is time to break the chains. It is time to root out the corruption that has infested this sacred land. We will fight, not with violence, but with an unbreakable will, with unity, with faith. We will not stop until justice is served, until every enemy of the American people is held accountable, until America is once again the shining city on a hill. This is not just a call to action—this is a call to destiny. Stand up, Patriots. The time is now.

Brothers and sisters, the time has come. This is the battle foretold in the pages of history—the battle between good and evil, between freedom and tyranny. For too long, the forces of corruption have lurked in the shadows, bleeding this great nation dry. They poison our economy, our culture, our very way of life. They sow division among us, turning Americans against each other while they tighten their grip on power. But no more. It’s time to rise. It’s time to take back what is ours. We are not just fighting for ourselves—we are fighting for the soul of this nation, for our children, for the generations to come. The Deep State, BlackRock, and their globalist allies have spent decades manipulating our economy, buying our politicians, and enslaving us under mountains of debt. They want us weak. They want us divided. They want us to forget who we are. But they have underestimated the American spirit. We are the sons and daughters of revolutionaries, of pioneers, of warriors who bled for this land and the ideals it stands for. We are the heartbeat of a free people, a nation under God, and we will not go quietly into the night. This is our moment. It is time to break the chains. It is time to root out the corruption that has infested this sacred land. We will fight, not with violence, but with an unbreakable will, with unity, with faith. We will not stop until justice is served, until every enemy of the American people is held accountable, until America is once again the shining city on a hill. This is not just a call to action—this is a call to destiny. Stand up, Patriots. The time is now.

ⁿᵉʷˢ Barron Trump 🇺🇸

143,219 просмотров • 1 год назад

$Nano Banana Pro can generate 360-degree visuals, so I wanted to test it. I built a small mini-project using Antigravity to test full 360° visuals. Prompt ⤵️, check the video fofr thanks for the prompt super inspired. { "image_meta": { "type": "360-degree Equirectangular Panorama Screenshot", "source_aesthetic": "Google Street View Interface", "platform": "Desktop Browser", "projection": "Full spherical equirectangular", "aspect_ratio": "2:1", "resolution": "Ultra-high resolution panoramic capture" }, "interface_overlay": { "top_left_panel": { "type": "Black info card", "text_content": "Troy (Ilion), Anatolia", "sub_text": "Google Street View - Approx. 12th century BC", "icons": "Back arrow, Location pin, Kebab menu" }, "search_bar": { "position": "Top left floating", "content": "Search Google Maps", "icons": "Hamburger menu, Magnifying glass, Directions arrow" }, "bottom_left": { "element": "Map inset widget", "style": "Ancient parchment-style minimap", "labels": "Troy Citadel, Scaean Gate", "icons": "Landmark pins, yellow humanoid pegman" }, "bottom_right": { "controls": "Zoom (+/-) buttons, Compass widget, Street View navigation arrows" }, "top_right": "Share button and Close (X) button pills" }, "scene_composition": { "location": "City of Troy, moments after the Trojan Horse is pulled inside the city walls", "camera_position": "Fixed at the exact center of the street", "camera_height": "Google Street View vehicle-mounted height (anachronistic)", "field_of_view": "360° horizontal, 180° vertical", "projection_behavior": "Correct equirectangular distortion near poles", "weather": "Clear daylight, calm atmosphere", "depth_of_field": "Infinite focus (deep focus across entire panorama)" }, "visual_elements": { "foreground": { "surface": "Stone-paved Bronze Age street with dirt, wear, and uneven stones", "markings": "No modern road markings", "shadows": "Hard daylight shadows wrapping naturally around the full 360 panorama" }, "midground_subjects": { "central_object": "Massive wooden Trojan Horse, visible from multiple angles across the panorama, detailed wood grain and rope bindings", "pedestrians": [ { "description": "Trojan civilians and soldiers positioned all around the camera", "attire": "Bronze Age tunics, leather sandals, simple armor", "action": "Standing, celebrating, observing the horse", "privacy_effect": "Faces blurred with modern Google Street View-style gaussian blur" } ], "architecture": { "walls": "High stone fortification walls of Troy surrounding the viewer", "buildings": "Ancient stone and mudbrick houses with flat roofs visible in all directions" } }, "environment": { "details": "Discarded shields, spears, ropes, and celebration debris scattered around the street", "sky": "Clear blue sky occupying the upper hemisphere of the panorama", "ground": "Stone street and dirt occupying the lower hemisphere", "atmosphere": "Calm, historically unaware of impending destruction" } }, "rendering_style": { "lighting": "Harsh natural midday sunlight", "color_grading": "Muted earth tones, realistic daylight balance", "texture_quality": { "description": "Digital Street View photography aesthetic", "artifacts": "Slight JPEG compression, mild over-sharpening", "stitching": "Seamless 360-degree panorama stitching, no visible seams" } }, "constraints": { "must_keep": [ "Google Maps UI overlay", "Street View spherical perspective", "Privacy blur on faces", "Trojan Horse clearly visible across multiple angles" ], "avoid": [ "Cinematic lighting", "Fantasy aesthetics", "Modern objects", "Clean UI-less photography", "Single-frame composition" ] }, "negative_prompt": [ "cinematic lighting", "fantasy art", "illustration", "painting", "modern city", "cars", "asphalt", "hdr", "depth blur", "clean photograph", "no ui", "frame", "border", "cropped view", "broken panorama seams" ] }$

Nano Banana Pro can generate 360-degree visuals, so I wanted to test it. I built a small mini-project using Antigravity to test full 360° visuals. Prompt ⤵️, check the video fofr thanks for the prompt super inspired. { "image_meta": { "type": "360-degree Equirectangular Panorama Screenshot", "source_aesthetic": "Google Street View Interface", "platform": "Desktop Browser", "projection": "Full spherical equirectangular", "aspect_ratio": "2:1", "resolution": "Ultra-high resolution panoramic capture" }, "interface_overlay": { "top_left_panel": { "type": "Black info card", "text_content": "Troy (Ilion), Anatolia", "sub_text": "Google Street View - Approx. 12th century BC", "icons": "Back arrow, Location pin, Kebab menu" }, "search_bar": { "position": "Top left floating", "content": "Search Google Maps", "icons": "Hamburger menu, Magnifying glass, Directions arrow" }, "bottom_left": { "element": "Map inset widget", "style": "Ancient parchment-style minimap", "labels": "Troy Citadel, Scaean Gate", "icons": "Landmark pins, yellow humanoid pegman" }, "bottom_right": { "controls": "Zoom (+/-) buttons, Compass widget, Street View navigation arrows" }, "top_right": "Share button and Close (X) button pills" }, "scene_composition": { "location": "City of Troy, moments after the Trojan Horse is pulled inside the city walls", "camera_position": "Fixed at the exact center of the street", "camera_height": "Google Street View vehicle-mounted height (anachronistic)", "field_of_view": "360° horizontal, 180° vertical", "projection_behavior": "Correct equirectangular distortion near poles", "weather": "Clear daylight, calm atmosphere", "depth_of_field": "Infinite focus (deep focus across entire panorama)" }, "visual_elements": { "foreground": { "surface": "Stone-paved Bronze Age street with dirt, wear, and uneven stones", "markings": "No modern road markings", "shadows": "Hard daylight shadows wrapping naturally around the full 360 panorama" }, "midground_subjects": { "central_object": "Massive wooden Trojan Horse, visible from multiple angles across the panorama, detailed wood grain and rope bindings", "pedestrians": [ { "description": "Trojan civilians and soldiers positioned all around the camera", "attire": "Bronze Age tunics, leather sandals, simple armor", "action": "Standing, celebrating, observing the horse", "privacy_effect": "Faces blurred with modern Google Street View-style gaussian blur" } ], "architecture": { "walls": "High stone fortification walls of Troy surrounding the viewer", "buildings": "Ancient stone and mudbrick houses with flat roofs visible in all directions" } }, "environment": { "details": "Discarded shields, spears, ropes, and celebration debris scattered around the street", "sky": "Clear blue sky occupying the upper hemisphere of the panorama", "ground": "Stone street and dirt occupying the lower hemisphere", "atmosphere": "Calm, historically unaware of impending destruction" } }, "rendering_style": { "lighting": "Harsh natural midday sunlight", "color_grading": "Muted earth tones, realistic daylight balance", "texture_quality": { "description": "Digital Street View photography aesthetic", "artifacts": "Slight JPEG compression, mild over-sharpening", "stitching": "Seamless 360-degree panorama stitching, no visible seams" } }, "constraints": { "must_keep": [ "Google Maps UI overlay", "Street View spherical perspective", "Privacy blur on faces", "Trojan Horse clearly visible across multiple angles" ], "avoid": [ "Cinematic lighting", "Fantasy aesthetics", "Modern objects", "Clean UI-less photography", "Single-frame composition" ] }, "negative_prompt": [ "cinematic lighting", "fantasy art", "illustration", "painting", "modern city", "cars", "asphalt", "hdr", "depth blur", "clean photograph", "no ui", "frame", "border", "cropped view", "broken panorama seams" ] }

Kaan

134,448 просмотров • 8 месяцев назад

After more than a decade of the original Widescreen Fix for classic version of GTA III, it has been remade from the ground up. Same drop-in install. Proper aspect ratio, HUD, FOV and cutscenes - plus a pile of quality-of-life improvements. What's in it: • Correct aspect ratio on every rendered element - 16:9, ultrawide, whatever you throw at it • Widescreen HUD: properly scaled, optional 16:9 / 21:9 / custom constraint • FOV that isn't Vert- anymore • Cutscenes that keep their FOV and borders instead of stretching or cropping • Animated cutscene borders, with an in-game Display menu option: off / letterbox / pillarbox / both • Frame limiter in the same menu: off, or 30–240 (does not fix high-FPS gameplay bugs - just the cap) • No Island Loading - Portland, Staunton and Shoreside, no loading screen between them • Zone Cull Fix - objects stop vanishing at the edges of the map • Forced MSAA + a fix for the 1px AA lines • Xbox 360 / GTA IV-style gamma • Transparent blurred pause menu • Speed-sensitive FOV and Vice City Stories camera shake • Better looking text outlines instead of the old drop shadows Download: A visual upgrade that pairs perfectly with this Widescreen Fix: III.Project2DFX - thousands of distant lampposts, extended draw distance, distant car lights, volumetric lights: Further updates for classic games are funded by Fusion Fix sponsors: Patreon: GitHub Sponsors: Ko-fi: Boosty: One-time tips work on those platforms too, or via PayPal: Releases and sponsors list: Thanks to everyone who has backed these projects!

After more than a decade of the original Widescreen Fix for classic version of GTA III, it has been remade from the ground up. Same drop-in install. Proper aspect ratio, HUD, FOV and cutscenes - plus a pile of quality-of-life improvements. What's in it: • Correct aspect ratio on every rendered element - 16:9, ultrawide, whatever you throw at it • Widescreen HUD: properly scaled, optional 16:9 / 21:9 / custom constraint • FOV that isn't Vert- anymore • Cutscenes that keep their FOV and borders instead of stretching or cropping • Animated cutscene borders, with an in-game Display menu option: off / letterbox / pillarbox / both • Frame limiter in the same menu: off, or 30–240 (does not fix high-FPS gameplay bugs - just the cap) • No Island Loading - Portland, Staunton and Shoreside, no loading screen between them • Zone Cull Fix - objects stop vanishing at the edges of the map • Forced MSAA + a fix for the 1px AA lines • Xbox 360 / GTA IV-style gamma • Transparent blurred pause menu • Speed-sensitive FOV and Vice City Stories camera shake • Better looking text outlines instead of the old drop shadows Download: A visual upgrade that pairs perfectly with this Widescreen Fix: III.Project2DFX - thousands of distant lampposts, extended draw distance, distant car lights, volumetric lights: Further updates for classic games are funded by Fusion Fix sponsors: Patreon: GitHub Sponsors: Ko-fi: Boosty: One-time tips work on those platforms too, or via PayPal: Releases and sponsors list: Thanks to everyone who has backed these projects!

Fusion Fix

189,113 просмотров • 25 дней 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.

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 • 8 месяцев назад