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The idea was to basically use minimum blending and use all 4 color channels on the screen to write 4 depths: Nearest frontsurface, nearest backsurface, furthest frontsurface and furthest backsurface. (you can do min and max by inverting the numbers) Rendering the liquid with ZTest Off gives a pretty...

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Mykhailo Moroz

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11,358 görüntüleme • 8 gün önce •via X (Twitter)

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For the last week I've been working on a fast enough way to render realistic light refraction through multiple layers of liquid in my VRChat fluid simulation. Ended up using a multilayer screen space ray marching solution to approximate the path of light.

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Mykhailo Moroz8 gün önce

Also I'm working on other rendering modes, but this one needs better shadow implementation... As you noticed I'm working on a nicer demo world, hopefully I'll release the world and the fluid simulation plugin soon enough.

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cnlohr7 gün önce

Is this world public yet?

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Mykhailo Moroz7 gün önce

not yet 😅

Benzer Videolar

For the last week I've been working on a fast enough way to render realistic light refraction through multiple layers of liquid in my VRChat fluid simulation. Ended up using a multilayer screen space ray marching solution to approximate the path of light.
0:58

For the last week I've been working on a fast enough way to render realistic light refraction through multiple layers of liquid in my VRChat fluid simulation. Ended up using a multilayer screen space ray marching solution to approximate the path of light.

Mykhailo Moroz

28,410 görüntüleme • 8 gün önce

Laske This is pretty much the usual routine :) Turn field of view all the way down, apply depth of field, and always use the lighting! should get you a long way🙂
1:04

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Laske This is pretty much the usual routine :) Turn field of view all the way down, apply depth of field, and always use the lighting! should get you a long way🙂

Snekonic

35,216 görüntüleme • 1 ay önce

Our general understanding of the characteristics of the physical world are largely restricted by the limited range of our senses. The world appears to be comprised of tangible objects positioned within empty space, separate and distinct. Neither of these characterizations are true. Our unaided senses generate a false interpretation of the true state of reality. Space is note empty, it is substantive with a quantifiable and measurable energy density. Space, in terms of quantum vacuum fluctuations, can be considered as a veritable sea of oscillating energy, like a fluid, quantized at the Planck scale (a billion trillion trillion times smaller than a centimeter) as Planck spherical units, and these tiny oscillators make up the fluid medium of space and comprise the "material" stuff as well. Imagine being able to directly perceive this level of reality. Our photodetector proteins in our eyes are sensitive to electromagnetic radiation in the frequency range of 400 to 800 terahertz (trillions of oscillations per second), and we call this "visible light". If, however, we could see light at the Planck scale, were photons oscillate at the Planck frequency— a mass-energy value that makes the electromagnetic component at order of unity with spacetime curvature— then we would theoretically see directly the substantive fluid medium of space and our sight would relay a world that is integrally interconnected and all one substance; objects would not appear as separate and distinct or even fundamentally different than the substance comprising the bulk space. "Material" objects would appear just as patterned vortices of the fluid that is the very substance of space. So, tangible objects are made of the same substance as space, and only seem physical to our limited senses because of electromagnetic repulsive forces. The electromagnetic repulsive forces are generated by how these PSUs circulate and flow within the structured patterns of space that we call particles and atoms. In this way, the coherent phases, circulation, flow, and pressure forces of this Planck plasma fluid are the source of mass, force, and charge. We are now coming to an understanding of these dynamics at a fundamental level, exemplified in the publication The Origin of Mass and the Nature of Gravity 🔗
0:45

Our general understanding of the characteristics of the physical world are largely restricted by the limited range of our senses. The world appears to be comprised of tangible objects positioned within empty space, separate and distinct. Neither of these characterizations are true. Our unaided senses generate a false interpretation of the true state of reality. Space is note empty, it is substantive with a quantifiable and measurable energy density. Space, in terms of quantum vacuum fluctuations, can be considered as a veritable sea of oscillating energy, like a fluid, quantized at the Planck scale (a billion trillion trillion times smaller than a centimeter) as Planck spherical units, and these tiny oscillators make up the fluid medium of space and comprise the "material" stuff as well. Imagine being able to directly perceive this level of reality. Our photodetector proteins in our eyes are sensitive to electromagnetic radiation in the frequency range of 400 to 800 terahertz (trillions of oscillations per second), and we call this "visible light". If, however, we could see light at the Planck scale, were photons oscillate at the Planck frequency— a mass-energy value that makes the electromagnetic component at order of unity with spacetime curvature— then we would theoretically see directly the substantive fluid medium of space and our sight would relay a world that is integrally interconnected and all one substance; objects would not appear as separate and distinct or even fundamentally different than the substance comprising the bulk space. "Material" objects would appear just as patterned vortices of the fluid that is the very substance of space. So, tangible objects are made of the same substance as space, and only seem physical to our limited senses because of electromagnetic repulsive forces. The electromagnetic repulsive forces are generated by how these PSUs circulate and flow within the structured patterns of space that we call particles and atoms. In this way, the coherent phases, circulation, flow, and pressure forces of this Planck plasma fluid are the source of mass, force, and charge. We are now coming to an understanding of these dynamics at a fundamental level, exemplified in the publication The Origin of Mass and the Nature of Gravity 🔗

Nassim Haramein

15,937 görüntüleme • 2 yıl önce

I was just messing around with the animation, then I noticed that the swimming animation would leave the ripple effect behind, and you can change the size of it, too And of course, you can do this even on a land surface (Imagine a scene with you standing on land, but have a water ripple effect, something like that) Also, in this video, I just learn how to use the sky environment It's really helped me a lot to find the perfect cloud and sky color And I'm really proud of what the final picture has turned into #GPOSER #GPOSERS
1:09:07

I was just messing around with the animation, then I noticed that the swimming animation would leave the ripple effect behind, and you can change the size of it, too And of course, you can do this even on a land surface (Imagine a scene with you standing on land, but have a water ripple effect, something like that) Also, in this video, I just learn how to use the sky environment It's really helped me a lot to find the perfect cloud and sky color And I'm really proud of what the final picture has turned into #GPOSER #GPOSERS

Lightny Lightningstorm

12,525 görüntüleme • 7 ay önce

A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.
0:36

A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.

Joseph Mallozzi 🏴‍☠️

42,764 görüntüleme • 9 ay önce

all of this is code Sonnet 5.5 max made this 39s video in 17 hours w/ HyperFrames , prompt below concept: depth is the hierarchy. On a screen you look into, focus picks what matters and going deeper shows more. • One object: a black glass instrument with three windows, all showing the same tide reading, 3.67 m. • Three depths, three levels: the shallowest window shows only the number, the middle one adds range, high water and rate, the deepest adds a trend and twelve readings. • The camera pulls focus from window to window, so focus, not layout, decides what you read. It ends on the engraved line "Depth is the hierarchy". • The design idea: information hierarchy carried by optical depth (glass, refraction, real depth of field) instead of size, weight and position on a flat screen. The starting point was Ferrari Luce's layered display. • Built as one HyperFrames page: three.js glass and metal, live HTML text drawn into the 3D scene through HTML-in-Canvas, thin-lens depth of field, every frame deterministic.
0:39

all of this is code Sonnet 5.5 max made this 39s video in 17 hours w/ HyperFrames , prompt below concept: depth is the hierarchy. On a screen you look into, focus picks what matters and going deeper shows more. • One object: a black glass instrument with three windows, all showing the same tide reading, 3.67 m. • Three depths, three levels: the shallowest window shows only the number, the middle one adds range, high water and rate, the deepest adds a trend and twelve readings. • The camera pulls focus from window to window, so focus, not layout, decides what you read. It ends on the engraved line "Depth is the hierarchy". • The design idea: information hierarchy carried by optical depth (glass, refraction, real depth of field) instead of size, weight and position on a flat screen. The starting point was Ferrari Luce's layered display. • Built as one HyperFrames page: three.js glass and metal, live HTML text drawn into the 3D scene through HTML-in-Canvas, thin-lens depth of field, every frame deterministic.

Miguel Ángel

27,725 görüntüleme • 1 gün önce

.Marjorie Taylor Greene: Welcome To Impeachment Week "The most important thing that Republicans can do is to use the power of impeachment and to use the power of the Holman Rule and to use the power we have in appropriations to end the Reign of Terror that has been brought on by Biden's Department of Justice and FBI."
7:10

.Marjorie Taylor Greene: Welcome To Impeachment Week "The most important thing that Republicans can do is to use the power of impeachment and to use the power of the Holman Rule and to use the power we have in appropriations to end the Reign of Terror that has been brought on by Biden's Department of Justice and FBI."

The Columbia Bugle 🇺🇸

146,878 görüntüleme • 3 yıl önce

All 4 International Border crossings between Canada & the U.S. (Western NY) have now been closed. FBI has warning that the entire area around the explosion has been evacuated, and the ‘situation is fluid.’ This is one of the busiest travel days of the year.
0:29

All 4 International Border crossings between Canada & the U.S. (Western NY) have now been closed. FBI has warning that the entire area around the explosion has been evacuated, and the ‘situation is fluid.’ This is one of the busiest travel days of the year.

🇺🇸ProudArmyBrat

50,043 görüntüleme • 2 yıl önce

The former Jin Bei 4 is getting stripped for parts. Thieves have been at the air con units, the cages are off and you can see them dangling off the side of the building, and fire hoses have been tied together to lower the units to the ground. You can see it all in the videos I took. Imagine how many thousands of dollars are wrapped up in the material sitting in compounds like this. A lot of money to be made.
0:44

The former Jin Bei 4 is getting stripped for parts. Thieves have been at the air con units, the cages are off and you can see them dangling off the side of the building, and fire hoses have been tied together to lower the units to the ground. You can see it all in the videos I took. Imagine how many thousands of dollars are wrapped up in the material sitting in compounds like this. A lot of money to be made.

Jacob in Cambodia 🇺🇸 🇰🇭

14,114 görüntüleme • 3 ay önce

ELON MUSK: “In order to ascend the Kardashev scale, in order to get to any meaningful percentage of the sun's energy harness, you have to go to space. If you want to get to, say, a millionth of the power output of the sun, you would have to increase civilizational energy harness by much more than a millionth. We currently use much less than a trillionth of the power output of the sun. And a trillion is a million times a million. So basically, we're basically practically nowhere on the Kardashev 2 scale.”
0:44

ELON MUSK: “In order to ascend the Kardashev scale, in order to get to any meaningful percentage of the sun's energy harness, you have to go to space. If you want to get to, say, a millionth of the power output of the sun, you would have to increase civilizational energy harness by much more than a millionth. We currently use much less than a trillionth of the power output of the sun. And a trillion is a million times a million. So basically, we're basically practically nowhere on the Kardashev 2 scale.”

Dima Zeniuk

1,244,224 görüntüleme • 1 ay önce

Ray (2004) This is the level of depth Nia Long’s portrayal of Katherine Jackson needed in the Michael film In less than three minutes, the texture of Ray Charles’ mother was pronounced in a way most writers fail to do even with characters given ten times the screen time
2:21

Ray (2004) This is the level of depth Nia Long’s portrayal of Katherine Jackson needed in the Michael film In less than three minutes, the texture of Ray Charles’ mother was pronounced in a way most writers fail to do even with characters given ten times the screen time

Ladé

249,805 görüntüleme • 5 ay önce

With all due respect to my friend Doomer, the reason they didn’t use selective focus on the Rocky stair shot is because they couldn’t. The tech wasn’t there yet. Rocky was the first film the use a Steadicam. This was groundbreaking tech and changed cinematic language forever. That's the reason the stair scene is so iconic--because audiences had never seen anything like it before. If we were doing that shot today, we’d have a focus puller (called a 1st AC in the USA) manually focusing the lens on a wireless follow focus. Because there’s no other way to pull focus with a fast moving steadi cam following a fast moving subject. With a shallow depth of field Rocky would have been running in and out of focus. But back then they had no choice. So they used the largest depth of field they could get away with so that Rocky stayed in focus the entire time. If they’d had the tech to do selective focus they 100% would have used it--because cinema is all about selective focus. Steadicam inventor Garret Brown actually shot a test with his GF running on the same stairs used in Rocky (see video). And again, he was forced to use a deep depth of field because there was no way to accurately focus the camera while he was moving.
0:53

With all due respect to my friend Doomer, the reason they didn’t use selective focus on the Rocky stair shot is because they couldn’t. The tech wasn’t there yet. Rocky was the first film the use a Steadicam. This was groundbreaking tech and changed cinematic language forever. That's the reason the stair scene is so iconic--because audiences had never seen anything like it before. If we were doing that shot today, we’d have a focus puller (called a 1st AC in the USA) manually focusing the lens on a wireless follow focus. Because there’s no other way to pull focus with a fast moving steadi cam following a fast moving subject. With a shallow depth of field Rocky would have been running in and out of focus. But back then they had no choice. So they used the largest depth of field they could get away with so that Rocky stayed in focus the entire time. If they’d had the tech to do selective focus they 100% would have used it--because cinema is all about selective focus. Steadicam inventor Garret Brown actually shot a test with his GF running on the same stairs used in Rocky (see video). And again, he was forced to use a deep depth of field because there was no way to accurately focus the camera while he was moving.

Rambo Van Halen

20,578 görüntüleme • 10 ay önce

Liquid Crystal Displays (LED's) are the "1000 Points of Light" that George Bush referenced in 1988 and 1989. LED FULL Displays came out soon after in the 1990's. Where did he get the term from? A book called the "Rescue Party," Published May 1946. Here is an snippet... "One entire wall of the control room was taken up by the screen, a great black rectangle that gave an impression of almost infinite depth. Three of Rugon's slender control tentacles, useless for heavy work but incredibly swift at all manipulation, flickered over the selector dials and the screen lit up with a thousand points of light."
0:48

Liquid Crystal Displays (LED's) are the "1000 Points of Light" that George Bush referenced in 1988 and 1989. LED FULL Displays came out soon after in the 1990's. Where did he get the term from? A book called the "Rescue Party," Published May 1946. Here is an snippet... "One entire wall of the control room was taken up by the screen, a great black rectangle that gave an impression of almost infinite depth. Three of Rugon's slender control tentacles, useless for heavy work but incredibly swift at all manipulation, flickered over the selector dials and the screen lit up with a thousand points of light."

Vincent Kennedy

155,921 görüntüleme • 1 yıl önce

The difference between de-icing and anti-icing ❄️✈️ Pilots are required to ensure that the wings and all control surfaces are clear of any form of frozen contamination. Even small amounts of ice on the wing can significantly reduce its lift capability as well as the stalling angle of attack. De-icing fluid is used when the aircraft is contaminated with snow or ice which needs to be removed, but no further freezing precipitation is expected before departure. This can be accompanied by spraying heated fluid onto the aircraft to remove the contamination. If protection from further frozen contamination buildup is required, such as when it’s snowing, we then spray a second fluid over the clean wing, which adheres to the wing and prevents the buildup for a period of time. This time of protection is called the ‘holdover time’ Pilots calculate the holdover time for the fluid used by using tables and entering the fluid type, concentration, type of precipitation and temperature. As a general rule, the higher the number of the fluid used, the longer the holdover time. Eg Type 2 fluid offers a shorter holdover time than Type 4. The fluids can also be diluted to offer varying levels of protection. Eg 75/25 - This means that the mixture being used consists of 75% de-icing fluid and 25% water. The longest holdover time is achieved by using 100% fluid but this can be less environmentally friendly and very expensive. So if we can achieve the desired holdover time with a lower dilution, we can enhance the efficiency of the operation. 📸 by ig/airlinepilotperformance , iarild
1:03

The difference between de-icing and anti-icing ❄️✈️ Pilots are required to ensure that the wings and all control surfaces are clear of any form of frozen contamination. Even small amounts of ice on the wing can significantly reduce its lift capability as well as the stalling angle of attack. De-icing fluid is used when the aircraft is contaminated with snow or ice which needs to be removed, but no further freezing precipitation is expected before departure. This can be accompanied by spraying heated fluid onto the aircraft to remove the contamination. If protection from further frozen contamination buildup is required, such as when it’s snowing, we then spray a second fluid over the clean wing, which adheres to the wing and prevents the buildup for a period of time. This time of protection is called the ‘holdover time’ Pilots calculate the holdover time for the fluid used by using tables and entering the fluid type, concentration, type of precipitation and temperature. As a general rule, the higher the number of the fluid used, the longer the holdover time. Eg Type 2 fluid offers a shorter holdover time than Type 4. The fluids can also be diluted to offer varying levels of protection. Eg 75/25 - This means that the mixture being used consists of 75% de-icing fluid and 25% water. The longest holdover time is achieved by using 100% fluid but this can be less environmentally friendly and very expensive. So if we can achieve the desired holdover time with a lower dilution, we can enhance the efficiency of the operation. 📸 by ig/airlinepilotperformance , iarild

aircraftmaintenancengineer

72,064 görüntüleme • 10 ay önce

The flow of water has an interesting reaction to the 25hz frequency. This resonance may have had a great deal of influence on the fluid dynamics of water and how it plays a part of the planet and life.
0:39

The flow of water has an interesting reaction to the 25hz frequency. This resonance may have had a great deal of influence on the fluid dynamics of water and how it plays a part of the planet and life.

Brian Roemmele

236,626 görüntüleme • 1 yıl önce

You and I have a responsibility to ensure the Holy Ghost can always attest to the truth and authenticity of all we say and share. The promise for each of us is that we can learn to use technology appropriately with the guidance, protection, and warnings that come by the power of the Holy Ghost.
2:21

You and I have a responsibility to ensure the Holy Ghost can always attest to the truth and authenticity of all we say and share. The promise for each of us is that we can learn to use technology appropriately with the guidance, protection, and warnings that come by the power of the Holy Ghost.

David A. Bednar

50,875 görüntüleme • 1 yıl önce

The latest project I’ve been working on is the design of Liquid Glass, alongside an army of designers and engineers. We're designing it to bend and shape light while feeling like an elastic, flexible material that can dynamically shape shift, to make apps feel fluid and organic.
0:42

The latest project I’ve been working on is the design of Liquid Glass, alongside an army of designers and engineers. We're designing it to bend and shape light while feeling like an elastic, flexible material that can dynamically shape shift, to make apps feel fluid and organic.

Chan Karunamuni

3,660,650 görüntüleme • 1 yıl önce

🇬🇭A frustrated customer has accused Hisense of selling him a TV with a broken screen. He claims that after returning it four days later, he was informed that the 4-year warranty does not cover screen damage and that he would have to pay 70% of the TV’s original purchase price to have it repaired.
6:06

🇬🇭A frustrated customer has accused Hisense of selling him a TV with a broken screen. He claims that after returning it four days later, he was informed that the 4-year warranty does not cover screen damage and that he would have to pay 70% of the TV’s original purchase price to have it repaired.

we love ghana

139,593 görüntüleme • 3 ay önce

Quick breakdown, with project files, on how to make erosion based liquid animations similar to Sea of Thieves & The Last of Us The gist is you export 255 frames of alpha from LiquiGen then in Illugen use the sheet encode node to accumulate these frames. From there that accumulated erosion map can be thresholded in-game to playback a rough approximation of the liquid animation with far less memory usage. Project Files for LiquiGen and IlluGen: #rtvfx #gamedev
0:30

Quick breakdown, with project files, on how to make erosion based liquid animations similar to Sea of Thieves & The Last of Us The gist is you export 255 frames of alpha from LiquiGen then in Illugen use the sheet encode node to accumulate these frames. From there that accumulated erosion map can be thresholded in-game to playback a rough approximation of the liquid animation with far less memory usage. Project Files for LiquiGen and IlluGen: #rtvfx #gamedev

Nick Seavert

14,822 görüntüleme • 7 ay önce