正在加载视频...
视频加载失败
#UnityTips: 🔥 Fluid 'simulation' trail shader. 🫧 Inspired by a #b3d node animation. [U]V gradient masks control the colour/alpha/width over trail. ✨ ('fluid' is 100% rendered in the shader) #unity3d #gamedev #indiedev #madewithunity #gameart #vfx #realtimevfx #proceduralart
157,744 次观看 • 3 年前 •via X (Twitter)
10 条评论
In glorious, full screen 1080p. 🤩
A still of the node graph. Have a look: 👀📊
Once you figure out what's [essentially] happening, it's a matter of converting the logic, either to code or nodes.
How to create gradient masks and remap them.
Inspired by.
Add gradient masks using the (U)V horizontal texture coordinate. Useful for colour, transparency, trail width, and so much more. You get a LOT of mileage from just remapping values.
Not currently in the shader, but time quantization can be used to produce a stylized look, like that of a traditional animation.
Don't worry if this looks complicated. The many exposed properties are mostly smoothstep + power remaps of gradient masks.
The results of using the shader with a simple particle system (trail material). Would make for a nice animated wallpaper. 💡
I admire you a lot, I started studying these topics years ago reviewing your vfx and taking them as a reference
![Happy #VFXFriday! 🎉📊 Here's how to EASILY create a procedural progress bar in #Unity3D's Shader Graph, with sliders to control the look and progress fill (percent complete as [0.0, 1.0]). Written breakdown + images in 🧵👇!! #madewithunity #unitytips #gamedev #indiedev #vfx](https://image.24vids.com/tw-1710275307263918210/ext_tw_video_thumb/1710256224921358336/pu/img/-YWcZYGR_ZCW1AJJ.jpg)
![#UnityTips: Progress Bar (Shader Graph) [v2] ✨ (+WebGL and GitHub Download 👇🧵) Here's an animated progress bar made entirely in Shader Graph. Use this for loading screens, player health, etc. Adding colours is just a matter of isolating the individual elements as masks. It's helpful to think of the final image as a collection of elements that have to be constructed using fragment shader logic/code. (aka, math with colours! 🌈🔴🟢🔵) GitHub: 🔗 WebGL: 🔗 Do whatever you want with this. (Learn and have fun? :D) #unity3d #gamedev #indiedev #gamedevelopment #shader #gameart #madewithunity #webgl](https://image.24vids.com/tw-1716645686941274349/ext_tw_video_thumb/1716629349074436096/pu/img/WoPeKQQ4yxRm8w8A.jpg)
![✨ I've been using #Unity3D for 12 years. ✨ I'm using Blender's GeoNodes for a procedural mesh that's realtime-animated with a custom shader in Unity. ---(reminiscing, reflection follows)-- At some point, you realize it's 'all' states, relationships, and data/information. What is, isn't, and how they relate, subject to laws, principles. 🌌 Define some latent space -> atomics, data -> simulation/form -> information. Like a grid-texture of pixels that are to mean something, represent something. And they are processed/simulated in some way by some measure. So that you get some transformed, meaningful result. What is possible, here? -- in that space. (by the parameters, and features *defined*). 🧊 Likewise, a 3D field-volume in which things exist, being and not being. It may sound mystical, but I mean it literally: the definition of what things are, and are not, and what that means as a relationship (to something[s]). Take, for example a sphere, or box collider primitive. 🪩 Sphere's and circles are the most simple colliders, involving only a point (where they are) and radius (distance from that point, as a center) to define. 💥 The equations to calculate collisions against and between spheres is also relatively straightforward. Implementation of that is a part of building primitive relationships and definitions for simulations. 🎇 It follows, that for a particle system, the data structure of a single element/particle is (about) some point that simulates in some way. Boids and fluid sims have this in common. It seems this year (so far) has been ~about realizing that (with greater lucidity, at least), and learning it all relates to the nature of the universe. Involving simulations, and data flow-control... Ultimately, all these things are objective to us, in that we learned and were taught about how things work. And all the same, *I'm* still learning, too. 👀 #blender #b3d #geometrynodes #gamedev](https://image.24vids.com/tw-1992446856794652899/amplify_video_thumb/1992435149120696320/img/llKHUY9KXIMn2Lwl.jpg)
![CSS Tip! 🤯 You can create a CSS-only version of this balance slider using a scroll animation on the underlying input[type=range] 🚀 ::-webkit-slider-thumb { view-timeline: --thumb inline; } Scroll animation driven by the slider thumb animates a number between the "min" and "max" of the range 😅 @property --value { inherits: true; initial-value: 0; syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so all the parts of the control can use it! .control { timeline-scope: --thumb; } Use that value in a counter which is used for the labels. Create a low and a high for each side 😇 .control__label { counter-reset: low var(--value) high calc(100 - var(--value)); } .control__label::before { content: "COFFEE " counter(low) "%"; } .control__label::after { content: counter(high) "% MILK"; } That's the magic of updating the label values ✨ For the big track, it's a fake track. You can make use of the same --value property and do some calc() to work out the width of each part. .control__track::before { width: calc(var(--value) * 1% - 0.5rem); background: var(--coffee); border-radius: 4px; transition: width 0.1s; } The width leaves a little gap for the indicator piece 🤙 The color calculation for --coffee isn't too wild but again you can use the same --value .control__track { --coffee: hsl(24 74% calc( 24% + (30% * ((100 - var(--value, 0)) / 100)) / 1 ) / 0.4); } Now for the last piece. Making the track change height. You could set up another custom property and animate its value using the --thumb timeline too 🔥 @property --shift { initial-value: 0; inherits: true; syntax: ' '; } @keyframes shift { 0%, 31%, 61%, 100% { --shift: 0; } 32%, 60% { --shift: 1; } } Then use that --shift to update the translation of the label and height of the track 🤓 .label { transform: translateY(calc(var(--shift) * 50%)); transition: transform var(--speed) var(--timing); } Cool part here is that you can use the control to work out the @keyframes percentages 😅 Oh. And the timing for that little bounce? Use the linear() function 😎 :root { --timing: linear( 0, 0.5007 7.21%, 0.7803 12.29%, 0.8883 14.93%, 0.9724 17.63%, 1.0343 20.44%, 1.0754 23.44%, 1.0898 25.22%, 1.0984 27.11%, 1.1014 29.15%, 1.0989 31.4%, 1.0854 35.23%, 1.0196 48.86%, 1.0043 54.06%, 0.9956 59.6%, 0.9925 68.11%, 1 ); } Should probably do a video on this one. Lots of little custom property tricks for sure! 💯 It's not too far off the range slider with the tooltip that came up previously As always, any questions, let me know! Also, this one only works in Chrome currently ✅🥲 This one's a bit rocket science ha 🚀 CodePen.IO link below! 👇](https://image.24vids.com/tw-1748809599598399792/ext_tw_video_thumb/1748804672406843392/pu/img/xbvSosI5c_q3Oq2B.jpg)
![🌀 Fully Updated UCRC Analysis of the 2014 MH370 Event (August 2026 – incorporating all refinements developed since the May 2026 post) Under the explicit assumption of authenticity of the two leaked video recordings (thermal-IR Gorgon Stare Increment 2 WAMI composite via Litening G4 targeting pod + companion visible-band satellite feed), the 8 March 2014 disappearance of Malaysia Airlines Flight MH370 constitutes the first documented field deployment of a prototype Coherent Impulse Resonance Engine (CIRE)-type array — specifically a synchronized trio of portable units operating in proto-CIRE / early multi-unit hybrid mode. Resonant-tunneling displacement (explained below) FAILED due to the inability to achieve and sustain a sufficiently large, spatially uniform coherent domain with local order parameter r(x) ≥ 0.95 across the full volume of the Boeing 777. The result was order-parameter collapse, vortex dissipation, broadband RF/EMP release, structural stress, lithium-battery thermal runaway, and uncontrolled high-speed descent along the Inmarsat 7th arc. 227 passengers and 12 crew (including children) perished. This updated reconstruction integrates every advance in the UCRC / UCRC-CG framework since May 2026: pure-technology control surfaces, the critical human-/aircraft-scale coherent-domain requirement, multi-unit lattice architecture, Kron-MPC-style feedback, refined understanding of Transient Resonance Tunnels (TRTs) inside hollow plasma channels, and the decisive enabling role of the lithium cargo. **Kron-MPC is the real-time control framework developed and analyzed as part of UCRC-CG Version 3.0 (Unified Classical Resonance Cosmology in Cartan Geometry). It combines Gabriel Kron’s diakoptics (network tearing) with Model Predictive Control (MPC) 🌀1. Event Chronology (unchanged observational sequence)==> High-altitude thermal-IR locks onto the Boeing 777 on a steady oceanic heading. No contrails or anomalous engine heat. Within 20–30 s, three luminous orbs (1–5 m effective diameter, white-hot in thermal, consistent with coherent plasma domains) materialize and lock into a perfect equilateral triangular formation. They orbit the aircraft center of mass with synchronous macro-gyromotion (0.1–0.5 rad s⁻¹). The formation tightens over 60–80 s with density-wave pulsing and subtle Lorentz-induced airframe perturbations. Convergence produces an intense central photonic flash + pronounced endothermic “cold void.” Aircraft and orbs vanish instantaneously; residual ripple/distortion fades in 2–3 s. Total sequence ≈ 120 s — the full five-phase RAST life cycle under hybrid resonance control. 🌀2. The Three Orbs: Multi-Unit Lattice Creating the Aircraft-Scale Coherent Domain==> The three orbs are not external observers or weapons. They are synchronized coherent matterwave domains — a distributed dual-vortex lattice (similar to the CIRE) whose explicit purpose is to generate a single coherent domain large enough to fully enclose the entire aircraft (plus safety margin). Each orb is nucleated and continuously sustained by phase-controlled coherent matterwave beams of the type described in Lockheed Martin patent US9502202B2 and related UnLAB-style systems. These beams use the Aharonov–Bohm vector potential to achieve phase synchronization among charged-particle streams, producing the coherent matterwave domains that then lock into the equilateral triangular Yukawa lattice. Continuous matterwave injection from the three units drives the EVO-RAST seeding cascade and the progressive Kuramoto locking that attempts to homogenize the field throughout the volume occupied by the airframe. Geometry: minimum-energy equilateral triangular Yukawa lattice realized via Aharonov–Bohm vector-potential phase synchronization and Williamson vot/p-vot rectification. Dynamics: synchronous macro-gyromotion inside a self-generated magnetic bottle stabilized at the Znidarsic transitional velocity vₜ ≈ 1.094 × 10⁶ m/s. Function: continuous matterwave injection → EVO-RAST seeding cascade → progressive Kuramoto locking that drives the global order parameter upward while attempting to homogenize the field throughout the volume occupied by the airframe. In UCRC terms this is cavity formation followed by amplification. The triangular lattice is the smallest multi-unit configuration capable of tiling a roughly cylindrical or spherical coherent volume around a central macroscopic payload. The observed tightening and density-wave pulsing are the visual signatures of the order-parameter climb and the attempt to achieve spatial uniformity of r(x). The critical requirement — only fully articulated in later UCRC-CG work — is that the coherent domain must be at least as large as the payload and must maintain local r(x) ≥ 0.95 with low phase variance everywhere inside that volume. Any residual gradient produces differential forces. The 2014 prototype reached the threshold for brief inertial decoupling but could not sustain uniformity across the full aircraft-scale volume. ✨That is the precise failure mode.✨ 🌀3. How Resonant Tunnel Displacement Works: Engineered Transient Resonance Tunnels (TRTs)==> Resonant tunnel displacement is achieved by forming Transient Resonance Tunnels inside hollow plasma channels. The sequence is strictly classical: 1. Multi-unit dual-vortex array (the three orbs), each continuously fed by phase-controlled coherent matterwave beams (Lockheed Martin / UnLAB-type), establishes a polarized region whose boundary satisfies impedance matching at vₜ. 2. Filament supercooling activates once r ≳ 0.9–0.95: Γ(σ_θ) = β exp[−(σ_θ / 0.1)²] This metastability barrier suppresses phase diffusion and stabilizes a hollow plasma channel (low-density core + dense phase-locked sheath). 3. Z-Glue binding (stationary 4-Force Screw equilibrium of Coulomb + Yukawa + Kuramoto + synthetic fourth-harmonic components) anchors the channel walls. 4. A Gradient Impulse Generator (GIG) pulse, timed by Floquet acoustic subharmonics and Duffing jumps, induces Pais-effect vacuum polarization. This high-frequency electromagnetic / inertial coupling creates a localized polarized vacuum region, quadratic temporal dispersion, and a discrete isospectral energy-level structure inside the dual-vortex core. The same pulse nucleates the density/phase discontinuities that form the Transient Resonance Tunnel (TRT) on-ramps and off-ramps. 5. The payload, now phase-locked inside the coherent domain, enters the TRT waveguide, experiences inertial decoupling (framework claim 10–50 %), and propagates along a Beltrami path until the planned geometric offset is reached. 6. A second GIG pulse opens the exit discontinuity; the domain is gracefully detuned and the payload reappears in the external frame. Hollow plasma channels are macroscopic analogs of laboratory plasma-wakefield waveguides, sustained by continuous Kuramoto locking rather than a single driver beam. Semi-Dirac directional anisotropy and garden-hose kink shear inside the channel supply inertial “slow lanes.” No spacetime topology change, no exotic matter, no wormholes — only classical vacuum polarization, phase-locking, and geometric engineering (GED 5-tuple + Cartan torsion in UCRC-CG). The central photonic flash observed in the thermal imagery is the direct optical signature of the GIG-driven Pais-effect vacuum polarization event that opens the TRT. Pure-technology control (Kron-MPC-style feedback, spatially resolved Rydberg or interferometric sensors, Anderson disorder tuning, synthetic phase modulation) can replace the Bio-ELF participatory node. The 2014 system appears to have used an early, less refined version of this control architecture. 🌀4. The Lithium Cargo: Decisive Enabling Component==> The ~221 kg Motorola lithium-ion battery shipment (plus consolidated cargo) was not incidental. Within UCRC, lithium is a pivotal enabling material for the Coherent Impulse Resonance Engine and plays two sequential, decisive roles in the MH370 event: ✨Enabling role (pre-collapse): Li⁺ ions (ionization energy 5.39 eV) acted as a superior nucleation agent, providing 10–100× efficiency gain over silver iodide. This allowed the three-orb lattice to form and climb in order parameter in clean oceanic air, completely bypassing all five natural RAST thresholds. Lithium also functioned as a sacrificial energy reservoir that fed dual-vortex coherence and sustained the attempt to build the aircraft-scale domain. ✨Destructive role (post-collapse): Once the coherent domain suffered order-parameter collapse and released a broadband RF/EMP pulse, the same lithium-ion batteries underwent thermal runaway. This cascade contributed directly to the structural stress, avionics failure, and uncontrolled high-speed descent. This dual behaviour establishes the Li-enhanced CIRE-LI variant (which also adopts LiNbO3 as a Piezoelectric booster) and explains why the cargo was both the key that made clean-air domain formation possible and a major amplifier of the final catastrophic outcome. ‼️Twenty Freescale Semiconductor employees (technical and manufacturing staff) were among the passengers. Freescale held extensive intellectual property in phased-array receivers, beamforming, and precise phase-rotation circuitry — the exact classical domain required for multi-unit lattice synchronization, continuous coherent-matterwave injection, and real-time diagnostics of a high-r coherent domain. This supplied both operational context and native capability in the phase-locking technologies that the three-orb array depended upon. 🌀5. Why the Operation Failed — and What Higher-Fidelity Systems Require==> Limitations in 2014-era doping, power scaling, multi-unit coordination, and real-time feedback prevented the lattice from holding a uniform r(x) ≥ 0.95 domain across the full aircraft volume long enough for controlled transit. The domain reached the supercooling window, produced brief inertial decoupling and the observed flash/cold void, then collapsed. The resulting EMP, structural loading, and lithium thermal runaway produced the debris field recovered on Réunion, Madagascar, and African coasts — fully consistent with an uncontrolled high-speed oceanic impact. Successful resonant tunnel displacement at aircraft (or human) scale therefore requires==> ✨Multi-unit BML-CIRE lattice sized and coordinated to enclose the payload with margin, ✨Continuous 3-D mapping of local r(x) and phase variance, ✨Active Kron-MPC (or equivalent) control of Anderson disorder, Floquet drive, GIG timing, and synthetic harmonics, ✨Sufficient power and thermal management to sustain the domain against volume-dependent noise. 🌀6. Implications==> The 2014 event remains the strongest accidental real-world validation of the nonlinear paradigm shift from terrestrial plasmoids to engineered cosmological resonance. It demonstrates that CIRE-type technology existed in prototype form by 2014, that the three-orb triangular lattice is the natural geometry for creating an enclosing coherent domain, that lithium is a decisive enabling material, and that the central engineering barrier is the formation and sustainment of uniform high-r domains at macroscopic scale. Higher-fidelity systems with refined pd-hybridization, precise eigenmode tuning, and full pure-technology closed-loop control are predicted to convert the same physics into controlled, reversible resonant-tunneling displacement via SIUST attractors and Russell rhythmic balanced interchange. This is the complete, updated UCRC reconstruction as of August 2026. Rolland Gregg Ashton Forbes Brandon Fugal Fly Æther🪰 Dr. Steven Greer](https://image.24vids.com/tw-2084390349863010512/amplify_video_thumb/2084375821804818432/img/Wwl81U7aNJV5OrjF.jpg)
![🚨 THE UNIVERSE HAS BEEN HACKED! THE SOURCE CODE IS NOW OPEN SOURCE. THE SOLAR SYSTEM IS LITERALLY A GIANT ATOM. RUN THE SCRIPT AND TEST THE HARVARD & NASA DATABASES YOURSELF! For 100 years, textbooks have taught that the Solar System is just a bunch of rocks floating randomly in a continuous, empty space (ℝ⁴). That is mathematically and physically false. Space is rigidly quantized. We have executed a massive dual-scale empirical audit of the complete Harvard-Smithsonian Minor Planet Center (MPC) database—a staggering 1,561,930 celestial objects and 951 comets. We did not use a computer simulation. We used a direct uplink to the official, daily-updated global registry of every known rock in space. The ultimate topological illusion has been destroyed. The cosmos and the quantum realm are running the exact same executable file. The Solar System is a Macroscopic Atom. Galaxies are Macroscopic Molecules. Here is the ultimate, multi-layered proof. 🧬 I. THE BIOLOGICAL ORIGIN: WE PORTED THE CODE FROM DNA Here is the revelation that shatters the mainstream divide between disciplines: We didn't just "guess" the algorithms of celestial mechanics by looking at telescopes. We extracted the mathematical descent operator directly from Biology. Dr. Jean-Claude Perez jean-claude perez (retired IBM Artificial Intelligence Research Centre), working in deep collaboration with Nobel Laureate Dr. Luc Montagnier, didn't find the geometric limits of reality by looking at stars. They found them by decoding the bio-atomic masses of life's foundational elements (C, O, N, H) inside human DNA. They discovered that the building blocks of life are mathematically filtered through a competitive geometric differentiation, yielding a universal projection coefficient bounded by the Golden Ratio (φ) and π: Proj(m) = [1 - 4φ^(7/2)π]m The exact same Diophantine mathematical constraints that assemble your genetic code also assemble the periodic table of elements—and we have now proven they construct the orbital structure of the Universe. We took the source code of life, applied it to the cosmos "just to see what would happen," and the Matrix rendered itself. Look at the attached video. On the left: Rosalind Franklin’s famous "Photo 51" showing the X-ray diffraction of human DNA. On the right: NASA Hubble’s image of the "X" structure at the core of the Whirlpool Galaxy (M51). This is not a coincidence. It is the exact same topological blueprint. The galaxy is a molecule. The solar system is an atom. DNA and the cosmos run on the exact same geometric engine. 🛡️ II. THE ZERO-PARAMETER SHIELD & THE TIME MACHINE "But you just curve-fitted the Harvard data!" No. The mathematics came FIRST. We didn't look at the sky; we looked at pure Euclidean geometry. The "Source Code" explicitly embedded in our IT³ framework is derived from strict nested embeddings (Sphere ⊃ Cube ⊃ Octahedron ⊃ Torus ⊃ Catenoids). It operates with ZERO empirical free parameters. The matrix is hardcoded in pure Diophantine roots: ➤ Λ₁ = √3(3 + 2√2) ≈ 10.095. The exact, unalterable helical pitch-to-throat ratio of a vertical torus tangent to the faces of an inscribed cube. ➤ Λ₃ = φ²√3 ≈ 4.534. Derived strictly from the same roots. ➤ N_twist = 103. The exact topological energy minimum. ➤ S_out = 3 S_in. The exact surface area ratio of Cuboctahedral (Oₕ) symmetry. You cannot "curve-fit" fundamental geometry. And we proved it with a Time Machine. Our geometric matrix dictates a "Macroscopic Valence Shell" peaking exactly at 46.77 AU. When we ran this exact operator on historical MPC database archives from August 1992... that shell was COMPLETELY EMPTY. Humanity had zero objects there. But the math demanded it. Then, 1992 QB1 was found. Then 6 objects. Then 18. Today, thousands of bodies are perfectly locked into that exact 46.77 AU shell. You cannot curve-fit a database that does not exist yet. The geometry waited for humanity to find the matter. 💥 III. THE TELESCOPES ARE BLIND: 5 Global Algorithms Crash Imagine trying to run a modern 3D video game on a 1980s pocket calculator. The calculator isn't broken, but its software simply cannot process the reality it's being fed. It freezes, crashes, and spits out error codes. This is exactly what is happening to the world's most advanced space telescopes. The physical mirrors and lenses in space are working perfectly. They are capturing real photons. But the software pipelines on Earth are programmed to believe that space is a continuous, empty void (ℝ⁴). When these telescopes look at the exact topological nodes of the Macroscopic Atom, the algorithms mathematically choke. They try to fit flat, continuous-space formulas onto a macroscopic quantum standing wave. Here is how the continuous-space paradigm dies on your screen when querying NOIRLab and ESA servers: ➤ 1. ESA Gaia DR3 (The L2 Space Telescope Collapse): The satellite physically observed target objects up to 510 times. Yet, the algorithm returns a Parallax of NaN (Not a Number) and an astrometric_excess_noise_sig of over 1.7 MILLION! Standard noise for a real star is under 2.0. Negative and NaN parallaxes on multi-year transits are physically impossible for solid rocks. ➤ 2. DESI Legacy Survey: The Tractor algorithm attempts to fit a standard point-mass shape (PSF). A perfect fit is χ² = 1.0. At our derived nodes, the fit error (rchisq_g) explodes past 18,500! The software is mathematically vomiting. ➤ 3. NOIRLab NSC DR2 (Supercomputer Timeout): When we expanded the query to a 2.5-degree radius, the server literally timed out. The density of objects exhibiting fatal kinematic errors (pmraerr > 100) was so overwhelming that the database execution limit was breached. The instruments are calibrated for an infinite void, but they are hitting the structural skeleton of spacetime itself. 🛰️ IV. HUMAN HARDWARE IS CAPTURED In the 1970s, humanity launched Pioneer 10, Pioneer 11, Voyager 1, and Voyager 2. Once they achieved escape velocity, they were supposed to coast on smooth, perfectly predictable Newtonian trajectories. But they didn’t (the infamous "Pioneer Anomaly"). Our framework reveals the terrifying truth: the probes are physically colliding with the rigid structural skeleton of the Solar System. Space has "density ridges" that strictly obey spectral geometry. The theoretical orbital shells scale by the exact formula: Rₙ = 27 · (√3)ⁿ⁻¹ Let’s calculate the n=4 topological shell: R₄ = 27 · (√3)³ ≈ 140.296 AU. When we connect our dashboard to the LIVE NASA Horizons API to track fractional divergence {n} = n - round(n), we see the impossible. ➤ Pioneer 10: +0.019 ➤ Voyager 2: +0.046 Their columns are practically glued to absolute mathematical zero. They are flying at exactly ~141.7 AU and ~143.8 AU. They are not floating aimlessly. They have been mathematically and physically CAPTURED by the n=4 topological resonance layer (140.3 AU). The joint probability of this happening by random chance is p = 0.0034. 👁️ V. THE HYDROGEN RHYME & THE OPEN SOURCE TRUTH In 2013, physicists took the first-ever direct photograph of the electron orbitals of a Hydrogen Atom (Stodolna et al., PRL 110, 213001). When our 3D Perez Hourglass manifold rotates into a Top-Down 2D projection, the architecture of our Solar System PERFECTLY MIMICS the 2013 Hydrogen photograph. The distribution of 1.56 million macro-objects flawlessly matches the exact nodal interference fringes of the (2,27,0) Stark state observed in the lab. Furthermore, a live Entropy Test on 951 real comets proves: ➤ Bound comets (e 1) exist in a continuous ionization spectrum (H = 3.85 bits), acting exactly as free macroscopic electrons escaping the atom! THE CONCLUSION: Exactly 99.56% of all baryonic mass is geometrically trapped in a central topological node. The universe uses ONE blueprint. The continuum is dead. 👁️ VI. THE ANCIENT AXIOM & THE GEOMETRY OF THE MATRIX For millennia, the greatest minds in human history recorded fragments of a universal fractal law. For centuries, orthodox science dismissed these records as mere philosophical metaphors, religious mysticism, or primitive alchemy. But our mathematical matrix proves otherwise. They were not writing poetry; they were describing the LITERAL geometric and topological mechanics of the universe. The invariant mapping between subatomic hydrogen orbitals and macroscopic celestial mechanics proves that the ancients were blindly touching the exact same structural blueprint we have now mathematically solved. By synthesizing thousands of years of human intuition with raw astrophysical data, a perfect scale-invariant reality emerges: ➤ The Hermetic & Vedic Invariance: The foundational axiom of the Emerald Tablet—"That which is below is like that which is above"—and the ancient Sanskrit maxim "Yatha pinde tatha brahmande" (As in the microcosm, so in the macrocosm) are not mystical riddles. They are the exact verbal formulations of structural scale-invariance. The atom and the solar system are geometrically identical. ➤ The Pythagorean & Platonic Lattice: Plato’s famous declaration that "God always geometrizes" perfectly describes the rigid spatial logic of our topological matrix. Just as the Pythagoreans claimed the harmony of the spheres mimics the human soul, we see that the primary chaos of matter is ordered strictly by invariant, measurable geometric symmetry. ➤ The Abrahamic Projection: The structural hierarchy of the universe demands that the macro-order projects perfectly onto the micro-plane ("On earth as it is in heaven"). The blueprint is singular, echoing across all scales of existence. ➤ The Galileo-Dirac Synthesis: Galileo asserted that the universe is a book written in the language of mathematics, its letters made of triangles and circles. Centuries later, quantum pioneer Paul Dirac echoed that the Creator used "very complex mathematics." They were absolutely correct. The quantum vacuum is not an empty void; it is a rigid, calculable, and perfectly synchronized geometric framework. Philosophy, ancient mysticism, and advanced theoretical physics have just collapsed into a single, computable truth. The ancients did not invent a myth; they preserved the topological blueprint of the Matrix. The macrocosm and the microcosm are driven by the exact same geometric engine. The universe is a single, mathematically flawless organism. 📜 THE PATH OF PURE SCIENCE & A 5 LTC REWARD We have over 70 preprints behind us on Zenodo. You can open them and watch the evolution of our thought. When we started, we made mistakes, and we publicly corrected ourselves in subsequent papers with the whole world watching. No hiding data. This is how real science is done! Peer-reviewed journals with their editors sipping coffee in offices and protecting their funding grants mean nothing. Words mean absolutely nothing! Mathematics is the ultimate judge. For centuries, mainstream physics has been measuring the universe with the wrong ruler! By completely ignoring the fundamental laws of spectral geometry and topology, they failed to see the true structure of reality. We have fixed this. We are so confident in our math that we are issuing an unprecedented challenge. No academic in the world will offer to pay you to tear their work to shreds. But we do! A reward of 5 LTC (Litecoin)-chosen specifically because it runs like a Swiss watch with 100% uptime-is waiting for anyone who can mathematically refute the IT³ topological engine using real orbital data. 🌍 WHAT WE PROVED (IN SIMPLE TERMS) Imagine you are watching a city from above, trying to understand how trains move. Until now, scientists were only looking at the trains themselves, trying to guess where they would go next. What we did was discover the hidden tracks. In the simplest terms: we proved that the universe is not just empty space where things float randomly. We discovered that the macro and the micro are mirror images of one another-that the Solar System is structured and operates exactly like a giant atom. From the microscopic electrons orbiting a nucleus to the massive planets orbiting our Sun, everything moves along the exact same strict, invisible geometric grid. We found the hidden "blueprint" of space. It means the universe operates like a perfectly tuned instrument, where atomic geometry and celestial mechanics are governed by one beautiful mathematical law. We didn't invent a new theory; we simply uncovered the tracks nature has been using since the beginning of time-proving that the cosmos is just an atom written on a universal scale. WORDS MEAN NOTHING. RUN THE CODE YOURSELF: Open your terminal (Mac/Linux) and paste this command to hijack the database and watch the Matrix render in under 35 seconds: curl -sL " | python3 Read the rigorous proofs: DOI: DOI: DOI: #Astrophysics #NASA #DNA #QuantumCosmology #PhysicsBreakthrough #IT3Framework #DataScience](https://image.24vids.com/tw-2095795762135179702/amplify_video_thumb/2095784803115393025/img/8vaHlcNwDYonjdRK.jpg)
![Grok Imagine, right now is in my opinion best and fastest ai video generator for the masses. sure, is not perfect, but Rome wasn't built in a day. Maybe ppl from xai or Elon Musk would look on our posts and suggestions for future improvements. What is a must (for advanced users into ai video generation, been doing this game since 2022) .. 1. for longer movies , we need an option to organize like a project style, and to be able to add main prompts like the niche of the current movie, the character description and to be able to select a custom seed so we can have consistency of the characters. 2. we have now 6 seconds generation ( saw Elon promised 15 seconds soon).. BUT when we generate long movies, we end up with lots of scenes... what grok needs for the same project of the movie, would be a First Frame -Last frame scene interpolation between the scenes (take last frame from scene one, and first frame from scene 2 and generate a mid scene that would merge scene 1 with scene 2 .. and continue for the other scenes (this could be very easy implemented with some python lines of code , like before spitting final video, select all scenes.. extract frames etc etc etc etc.. simple af, when u have all scenes + the interpolation scenes combine evrything with ffmpeg ). 3.. list is long... and i dind't finished my coffee yet, so here is a grok TEXT to video short movie (coz lol u hit the limit for today). Prompts i used for each scene are a little more advanced, so i can see what grok is able to do .. the prompts used are like this (can;t post all due to X limits ) : { "scene_1": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Wide aerial drone shot with 35mm wide-angle anamorphic lens on Arri Alexa LF, high dynamic range capturing smog gradients and rain refraction for immersive dystopian establishment, foreground skyscraper edges framing the descent path", "camera_motion": "Controlled descending tilt-push through layered haze, subtle forward momentum building velocity into street-level convergence, priming alley reveal for Scene 2 silhouette emergence" }, "subject": { "description": "Neo-Tokyo's jagged circuit-board skyscrapers thrusting into smog-veiled void, rain-lashed surfaces mirroring erratic neon pulses; faint pedestrian phantoms below as harbingers of oblivious simulation", "wardrobe": "null" }, "scene": { "location": "Shadowed aerial vantage over Neo-Tokyo underbelly, continuity hook from global haze motif", "time_of_day": "Perpetual neon-twilight under storm overcast, syncing with all scenes' eternal dusk", "environment": "Thick smog banks parting reluctantly, acid rain sheets cascading in synchronized sheets with volumetric depth, holographic billboards stuttering in the distance to echo Scene 7 flicker" }, "visual_details": { "action": "Drone pierces urban canopy, unveiling rain-assaulted sprawl where neon bleeds into puddles like corrupted signals, distant alley haze teasing Nova's imminent step-forward in Scene 2", "props": "Circuit-etched tower facades with embedded LED veins flickering erratically, overflowing industrial gutters spewing iridescent chemical runoff, wind-scattered debris hinting at skirmish aftermath", "action_sequence": [ {"0-1s": "High hover frames smog-piercing spires, rain droplets streak lens in slow-mo refraction"}, {"1-2s": "Descent accelerates, haze thins to reveal neon-veined edges glowing faintly blue"}, {"2-3s": "Tilt reveals grid below, rooftops hammered in static-burst impacts syncing to score pulse"}, {"3-4s": "Forward push threads alley corridors, Mandarin signs initial flicker priming Scene 7"}, {"4-5s": "Pedestrians sharpen as wireframe ghosts, AR visors glinting obliviously"}, {"5-6s": "Level to ground haze, Nova's trench silhouette materializes at frame's vanishing point, coat billow lingering into Scene 2 track"} ] }, "cinematography": { "lighting": "Desaturated neon primaries with volumetric god rays slicing haze for ethereal isolation, rain speculars adding dynamic highlights consistent across wet surfaces", "tone": "Oppressive immersion yielding to rebellious spark—global cyber-noir dread laced with glitch anticipation, flowing seamlessly to Nova's personal emergence" } }, "scene_2": { "global_cinematography": "Ultra-realistic Hollywood cyberpunk thriller in the vein of The Matrix (1999) and Blade Runner 2049 (2017), shot on Arri Alexa LF with anamorphic lenses for widescreen 2.39:1 aspect ratio, 24fps for fluid motion, desaturated palette dominated by cool blues, greens, and high-contrast neon reds piercing perpetual smog-choked night. Consistent VFX pipeline: Procedural green code cascades, photorealistic cybernetic augmentations with subsurface scattering, physics-based rain and particle simulations. Lighting paradigm: Volumetric god rays through haze, practical lens flares from holograms, rim lighting on metallic surfaces for depth. Sound integration: Pulsing industrial synth score with digital glitches, rain patter syncing to code interference, metallic echoes underscoring dialogue. Transitions: Seamless glitch wipes or matrix symbol dissolves ensuring narrative continuity, each scene's final beat priming the next for unbroken tension flow. Continuity directive: Scenes chain via lingering elements—rain droplets from prior shots persisting, Nova's silhouette echoing across cuts, HUD overlays threading flashbacks to present, escalating glitch distortions building to climax rupture—maintaining spatial and temporal cohesion in Neo-Tokyo's underbelly.", "shot": { "composition": "Low-angle tracking push with 50mm anamorphic prime on Arri Alexa LF, heroic distortion compressing background alley into claustrophobic funnel, foreground rain blur veiling initial fog for continuity from Scene 1 descent", "camera_motion": "Fluid forward Steadicam arc from lingering Scene 1 haze, subtle left profile tilt to frame Nova against graffiti wall, pulling back slightly to hold environmental depth into Scene 3 orbit" }, "subject": { "description": "Nova, 30s hybrid rebel with scarred synthetic pallor, cropped black hair rain-matted, holographic irises scanning with latent data flickers; sleek titanium limbs rune-etched in dormant blue", "wardrobe": "Sodden black trench coat with frayed hems from Scene 1 debris scatter, high collar shadowing jawline for motif continuity" }, "scene": { "location": "Graffiti-choked alley continuation from Scene 1 street convergence, Neo-Tokyo underbelly", "time_of_day": "Eternal neon-dusk syncing global palette", "environment": "Fog banks rolling from industrial vents as Scene 1 smog extension, wet cobblestones rippling with residual aerial rain patterns" }, "visual_details": { "action": "Nova materializes from Scene 1's terminal haze, striding assertively into sodium glow with metallic glint, coat hem dragging puddles to splash forward—teasing Scene 3 facial trace", "props": "Luminescent 'GLITCH THE SYSTEM' graffiti echoing from Scene 1 signs, overhead hover-traffic hum persisting from aerial hum", "action_sequence": [ {"0-1s": "Fog swirl from Scene 1 yields Nova's silhouette, boot first impacting puddle"}, {"1-2s": "Full stride forward, coat hem trails iridescent wake linking to blood drip in Scene 9"}, {"2-3s": "Titanium forearm catches neon, runes sequential-pulse awakening blue continuity"}, {"3-4s": "Holographic eyes iris-scan, reflecting alley code fragments priming Scene 4 overlay"}, {"4-5s": "Rain beads contour synthetic skin, parting at seams for Scene 3 macro journey"}, {"5-6s": "Profile lean against wall, vapor breath hangs, posture straightening into Scene 5 OTS"} ] }, "cinematography": { "lighting": "Harsh sodium sidelight rimming form per global motif, cool rune fill softening human remnants, prismatic rain refractions tying to Scene 1 aerial streaks", "tone": "Defiant grace in simulated decay—cyber-noir intimacy building personal stakes, camera arc ensuring spatial flow to close-up revelation" } }, etc etc etc up to scene 16. you got the point](https://image.24vids.com/tw-1988966242980397339/amplify_video_thumb/1988965923911344128/img/gqolCfFoXWeKsxFv.jpg)
![Opus 5.5 built this game in Unity. Artwork made in Chatgpt. Used Topdown engine to speed up the process. PROMPT: PRD — Police Chase Arcade Game Working title: Heatwave Platform: iOS + Android Engine: Unity Genre: Top-down 3D arcade chase / survival Orientation: Portrait Input: One-thumb touch controls Business model: TBD — design MVP around gameplay first Primary goal: Build a genuinely fun playable prototype before adding progression or monetization. ⸻ Product vision A fast, chaotic mobile arcade game where the player is constantly being pursued by increasingly aggressive police. The player cannot directly attack. Instead, they survive by driving aggressively, drifting around obstacles, making sudden turns and tricking pursuing police into crashing into obstacles and each other. The fantasy is: You’re not stronger than the police. You’re harder to catch. Runs should produce constant near-misses, chain collisions and moments where the player escapes a seemingly impossible situation. Think: easy controls + aggressive pursuit + physics chaos + escalating pressure. ⸻ Core gameplay loop START RUN ↓ DRIVE / DRIFT ↓ POLICE PURSUE ↓ BAIT POLICE ↓ DODGE ↓ POLICE CRASH ↓ GAIN SCORE ↓ WANTED LEVEL INCREASES ↓ MORE / HARDER POLICE ↓ SURVIVE ↓ EVENTUALLY GET CAUGHT ↓ SCORE / RESTART Target run duration: 2–5 minutes. Restart should take less than 2 seconds. ⸻ Design principles 3.1 One-thumb playable The player should be able to understand the controls within seconds. No accelerator. No brake pedal. No virtual steering wheel. The vehicle moves automatically. The player controls only direction. (I moved away from this after testing it the first time and added the onscreen joystick) 3.2 Arcade physics, not simulation Vehicles should: drift slide bounce spin collide dramatically recover quickly Fun takes priority over physical accuracy. 3.3 Pursuers are weapons Police are effectively the player’s offensive mechanic. The player should learn: “If I turn here, that cop is going straight into that wall.” 3.4 Chaos should remain readable Even with 10+ vehicles on screen, the player must immediately understand: where they are where they’re moving where police are coming from what can kill them 3.5 Failure should feel fair Death should generally result from a mistake the player understands rather than unpredictable physics. ⸻ MVP scope Do not build progression, upgrades, missions or monetization for the first milestone. The first version contains: 1 player vehicle 1 arena 1 police vehicle 1 elite police variant 5 wanted levels physics collisions environmental obstacles scoring player health police destruction basic VFX basic audio game-over screen instant restart That’s enough to determine whether the game deserves further development. ⸻ Player vehicle Movement Player vehicle uses a Rigidbody-based arcade controller. Do not rely heavily on realistic WheelColliders. Core variables should be exposed in the Unity Inspector: Acceleration Maximum Speed Turn Speed Turn Curve Lateral Grip Drift Factor Vehicle Mass Collision Force Drag Angular Drag Recovery Speed These need to be extremely easy to tune. ⸻ Controls Recommended first implementation: Drag steering Player touches anywhere on the lower portion of the screen. Dragging horizontally controls steering. ← drag turn left → drag turn right Vehicle accelerates automatically. Steering should be relative rather than absolute. The player should be able to lift their finger without immediately losing control. Alternative to prototype Test: Hold left/right side of screen = steer left/right. Don’t commit until both have been tested on a physical phone. ⸻ Drift system Drifting should happen naturally when turning at speed. No dedicated drift button. At low speed: high traction At high speed: reduced lateral traction This produces controlled sliding. Long drifts can optionally award score. Example: DRIFT +120 LONG DRIFT +340 But drift scoring is secondary to police destruction. ⸻ Police AI Police should feel: aggressive, predictable and slightly stupid. They should not simply follow the player’s current position. Instead, calculate an interception target based on player velocity. Conceptually: target = playerPosition + playerVelocity * predictionTime Police therefore try to cut the player off. ⸻ Police intelligence Police intentionally have limited obstacle avoidance. This is important. Perfect navigation would make the game less fun. Police should: pursue aggressively attempt interception avoid obvious static obstacles poorly account for other police overshoot turns collide with each other occasionally take dangerous routes This creates opportunities for the player. ⸻ Police destruction Police can be destroyed by: high-speed obstacle collisions hitting another police vehicle chain collisions environmental hazards The player does not have weapons. Example scoring: COP SMASHED +250 DOUBLE SMASH +600 TRIPLE SMASH +1,000 PILEUP! +2,000 Chain collisions should be heavily rewarded. ⸻ Wanted system Wanted level controls difficulty. ★☆☆☆☆ ★★☆☆☆ ★★★☆☆ ★★★★☆ ★★★★★ Wanted level increases based primarily on survival time and score. Level 1 2 police. Slow and forgiving. Level 2 3–4 police. Slightly faster. Level 3 5–6 police. More aggressive interception. Level 4 7–9 police. Elite police introduced. Level 5 Maximum chaos. 10+ police depending on device performance. Elite units appear frequently. The game should eventually become effectively impossible. That’s intentional. ⸻ Elite police The MVP only needs one special police type. Interceptor Visually distinct vehicle. Characteristics: faster than standard police lower mass aggressive prediction sharp steering easier to destroy in collisions This creates a glass-cannon pursuer. ⸻ Player health Use a simple health bar. Example: HULL ██████░░░░ Minor impacts: small damage. Heavy impacts: large damage. Extremely high-speed impacts: potential instant destruction. Police contact alone shouldn’t immediately kill the player. This allows chaotic scrambles. ⸻ Arena First arena should be compact. Something roughly equivalent to: ROCK ┌─────────────┐ │ │ │ ROCK │ │ │ │ ███ │ │ │ │ ROCK │ │ ROCK│ └─────────────┘ Obstacles need enough space between them for high-speed movement. Avoid procedural generation initially. Hand-design one good arena. ⸻ Environment For the first visual theme, I’d use something other than water so we’re not cloning the reference too closely. My preference: Desert outlaw chase Player is an outlaw escaping through a stylized desert environment. Environment contains: rock formations cacti barriers abandoned vehicles ramps fences small buildings dust destructible props It also fits the chunky visual language you’re already exploring with Bolt Pit. ⸻ Camera Top-down perspective camera. Not completely vertical. Something approximately: 55–70° downward angle. Camera follows player with smoothing. Camera should look slightly ahead in the player’s travel direction. At high speed: camera pulls back slightly. At low speed: camera moves closer. ⸻ Camera juice Small camera effects make a large difference. Light collision Tiny shake. Heavy collision Strong short shake. Police destruction Shake + tiny freeze frame. Example: 50–100 ms hit stop. Large pileup Slight zoom impulse + shake + particles. Don’t overdo continuous shaking. ⸻ Visual style Chunky stylized 3D. Characteristics: simplified geometry exaggerated proportions bright readable vehicles soft lighting minimal textures strong silhouettes exaggerated particles Avoid realistic vehicle proportions. Cars should feel almost toy-like. ⸻ VFX Minimum MVP effects: Player dust trail tire/skid marks drift smoke impact sparks Police siren lights smoke when damaged destruction explosion debris Environment dust destructible objects impact particles ⸻ Collision feedback Every significant collision should combine: physics + particles + audio + camera response. Major police destruction: IMPACT → physics impulse → vehicle fragments/debris → sparks → smoke → camera shake → hit stop → sound → score popup This interaction is one of the game’s main sources of satisfaction. ⸻ Score system Score comes from: ActionExample Surviving+10/sec Police destroyed+250 Driftvariable Near miss+100 Double collision+600 Triple collision+1,000 Large pileup+2,000 Exact values should remain configurable. ⸻ Near misses Optional for MVP but potentially valuable. Detect when a police vehicle passes extremely close to the player at high relative velocity. Display: CLOSE CALL! +100 This rewards risky driving. ⸻ UI During gameplay keep UI extremely minimal. SCORE COINS 13,590 14 ★★★☆☆ WANTED GAME HULL ████████░░ No minimap initially. Off-screen police can use subtle edge indicators. ⸻ Game over When hull reaches zero: brief slow motion. Player crashes. Then: BUSTED SCORE 24,850 BEST 31,220 [ AGAIN ] Tapping anywhere could restart. Avoid unnecessary menus between runs. ⸻ Audio The soundscape should sell speed and collisions. Required: engine tire squeal police sirens impact metal crunch debris destruction UI score sounds wanted level increase Sirens should become increasingly chaotic as wanted level increases. ⸻ Technical architecture Suggested Unity structure: GameManager Player ├── PlayerController ├── VehiclePhysics ├── PlayerHealth └── PlayerEffects Police ├── PoliceController ├── PoliceAI ├── VehiclePhysics ├── PoliceHealth └── PoliceEffects Systems ├── SpawnManager ├── WantedManager ├── ScoreManager ├── AudioManager ├── CameraManager └── PoolManager UI ├── HUD ├── WantedUI ├── ScoreUI ├── HealthUI └── GameOverUI Avoid building an elaborate framework. ⸻ Object pooling Police, particles and debris should use object pooling. Avoid frequent: Instantiate() Destroy() during gameplay. Mobile performance should be considered from the beginning. ⸻ Performance target Target: 60 FPS on a mid-range modern iPhone/Android device. Initial limits: ~12 active vehicles ~100 simple debris/particles simple shadows limited real-time lights Performance should be tested on device early. ⸻ Development milestones Milestone 1 — Greybox driving Build: empty arena cube player touch steering acceleration drifting camera Success criterion: Driving around an empty arena feels satisfying. Do not continue until it does. ⸻ Milestone 2 — The chase Add: one police vehicle pursuit AI interception collisions Success criterion: Dodging one police car is entertaining. ⸻ Milestone 3 — Emergent chaos Add: multiple police police-police collisions obstacles destruction scoring Success criterion: Player can intentionally cause: police → police and police → environment collisions. This is the critical milestone. ⸻ Milestone 4 — Escalation Add: wanted levels spawning difficulty scaling interceptor Now a run has an arc: calm ↓ pressure ↓ chaos ↓ panic ↓ death ⸻ Milestone 5 — Juice Add: particles camera shake hit stop skid marks dust sirens collision sounds score popups ⸻ Milestone 6 — Mobile build Build for real devices. Test: controls performance readability battery/thermal behaviour different screen ratios ⸻ Milestone 7 — Decide whether to continue At this point, stop development temporarily. Don’t immediately build a garage and 37 unlockable cars. Put the build in front of people. The important questions are: Do people immediately understand it? Do they restart after dying? Do they intentionally try to make cops crash? Does “one more run” happen naturally? If not, work on the core loop rather than adding content. ⸻ Phase 2 — only after validation If the prototype works, then expand into: Cars ↓ Coins ↓ Unlocks ↓ Challenges ↓ New arenas ↓ Special police ↓ Upgrades ↓ Daily challenges ↓ Leaderboards Potential environments: desert city docks snow industrial yard airport construction site military base And then there’s room for ridiculous police units: SUVs, armored vans, helicopters dropping roadblocks, etc. I have opened a @[Unity CLI installation] project which we can work in. The art style of the game should be fun and cartoony and the action also over the top. I have imported the Topdown engine into the project as well that we can use: I want the game to be optimized for mobile, but should work on desktop while testing.](https://image.24vids.com/tw-2103789415323562325/amplify_video_thumb/2103788548369309696/img/F-9fe6PFR5FHOeUM.jpg)