正在加载视频...

视频加载失败

返回首页

Unreal Engine vs. real-life: 3D Animator Peter Monga presents an incredibly lifelike CG recreation of New Zealand's Little Barrier Island. Learn how it was made: #3danimation #3dcg #unrealengine #unrealengine5 #ue5 #megascans #speedtree #pcg #realistic

80Level's profile picture

80 LEVEL

262,793 subscribers

74,425 次观看 • 1 年前 •via X (Twitter)

艺术游戏科学技术#3danimation#3dcg#unrealengine#unrealengine5#ue5#megascans#speedtree#pcg#realistic
LIVE

Anya Rossi• Live Now

Private livecam show

9 条评论

Ron R G 的头像
Ron R G1 年前

@petemonga Real life is going to have to knock it out of the park with its next version.

xArthurMasterz 的头像
xArthurMasterz1 年前

@petemonga UE still seem too perfect and precise. Enough for me to notice at least.

BQR.Dev 的头像
BQR.Dev1 年前

@petemonga UN5 win

Timon 💀 的头像
Timon 💀1 年前

@petemonga Sick 🥵

TangraFx 的头像
TangraFx1 年前

@petemonga Wow

Novruz Gurbanov 的头像
Novruz Gurbanov1 年前

@petemonga If only the water could be made to look more real, it would have fooled

Unreal Tutorials Pro 的头像
Unreal Tutorials Pro1 年前

@petemonga The power of Unreal Engine

AmyM🇺🇸😳 的头像
AmyM🇺🇸😳1 年前

@petemonga I’d love to know where you can get consistently good topo data. Beautiful work.

Mr. Moo 的头像
Mr. Moo1 年前

@petemonga Good lord.

相关视频

Testing new update with Sky Creator plugin with my forest scene New features have wind myst and blizzard settings Unreal Engine 5.2 #Lumen #Nanite #Quixel The terrain and path was created inside Unreal using sculp tool and insert Quixel megascans assets and brushed trees from Mawi Running on RTX4090 More details of project on Artstation 👇 Gameplay 4k Youtube 👇 #ue5 #ingame #realism #photoreal #forest #UnrealEngine5 #UnrealEngine #quixel #environment #forest #village #realtime #pbl #3d #ingame #videogames #videogame #megascans #forestpath #sky #cloudy #rtx4090 #nvidia #skycreator #WINTER #snow #blizzard #cold Unreal Engine Quixel 80 LEVEL ArtStation.com
2:46

Testing new update with Sky Creator plugin with my forest scene New features have wind myst and blizzard settings Unreal Engine 5.2 #Lumen #Nanite #Quixel The terrain and path was created inside Unreal using sculp tool and insert Quixel megascans assets and brushed trees from Mawi Running on RTX4090 More details of project on Artstation 👇 Gameplay 4k Youtube 👇 #ue5 #ingame #realism #photoreal #forest #UnrealEngine5 #UnrealEngine #quixel #environment #forest #village #realtime #pbl #3d #ingame #videogames #videogame #megascans #forestpath #sky #cloudy #rtx4090 #nvidia #skycreator #WINTER #snow #blizzard #cold Unreal Engine Quixel 80 LEVEL ArtStation.com

Pasquale Scionti

29,783 次观看 • 2 年前

South Korea is bringing home cultural assets stored in foreign museums with an innovative project to digitize them for use in real-time 3D environments with a pipeline built upon Unreal Engine and RealityScan. Learn how it was made: #photogrammetry
0:36

South Korea is bringing home cultural assets stored in foreign museums with an innovative project to digitize them for use in real-time 3D environments with a pipeline built upon Unreal Engine and RealityScan. Learn how it was made: #photogrammetry

80 LEVEL

22,475 次观看 • 2 年前

Creating fantastical environments from scratch is no longer just the domain of large game or movie studios, Emperia’s new Creator Tools allow 3D artists, studios and enterprises to create vast landscapes, using Procedural Content Generation (PCG) tools, achieving unparalleled visual fidelity with cinematic 3D graphics, straight from Unreal Engine with little to no optimization. Start using Creator Tools today and discover the capabilities of our PCG tools, creating a paradise world, turning your 3D designs into fully-functional immersive virtual experiences, in minutes. Sign up today: #3ddesign #studios #emperia #unrealengine #ue5 #360panorama #ProceduralContentGeneration #3DExperience #VirtualWorld #GameDevelopment #VirtualReality #VirtualStore #RetailTech #web3 #RetailInnovation #metaverse #virtualexperience #virtualstore #creatortools #3Dartists #unrealengine5 #3dartwork
2:07

Creating fantastical environments from scratch is no longer just the domain of large game or movie studios, Emperia’s new Creator Tools allow 3D artists, studios and enterprises to create vast landscapes, using Procedural Content Generation (PCG) tools, achieving unparalleled visual fidelity with cinematic 3D graphics, straight from Unreal Engine with little to no optimization. Start using Creator Tools today and discover the capabilities of our PCG tools, creating a paradise world, turning your 3D designs into fully-functional immersive virtual experiences, in minutes. Sign up today: #3ddesign #studios #emperia #unrealengine #ue5 #360panorama #ProceduralContentGeneration #3DExperience #VirtualWorld #GameDevelopment #VirtualReality #VirtualStore #RetailTech #web3 #RetailInnovation #metaverse #virtualexperience #virtualstore #creatortools #3Dartists #unrealengine5 #3dartwork

Emperia

264,746 次观看 • 2 年前

Meet Concho, Bad Bunny’s real-time co-star. For his Puerto Rico residency and world tour, All of it Now used real-time facial mocap and Unreal Engine to bring him to life on stage every night. Watch for a quick look behind the scenes at how Concho was made. You can catch him live on the Debí Tirar Más Fotos World Tour!
0:57

Meet Concho, Bad Bunny’s real-time co-star. For his Puerto Rico residency and world tour, All of it Now used real-time facial mocap and Unreal Engine to bring him to life on stage every night. Watch for a quick look behind the scenes at how Concho was made. You can catch him live on the Debí Tirar Más Fotos World Tour!

Unreal Engine

12,515 次观看 • 4 个月前

Revisit a little piece of NAB 2026 in our interview with Immersive Enterprise Laboratories, an independent animation studio leveraging bleeding edge tech for real-time animation. Co-Founders & Co-CEOs Daniel Urbarch and Blake Baxter shared insights on how Unreal Engine allows the team to create a virtual sound stage with cameras that can be manipulated exactly how they want. Check it out and learn about the flexibility UE has provided for their projects.
2:19

Revisit a little piece of NAB 2026 in our interview with Immersive Enterprise Laboratories, an independent animation studio leveraging bleeding edge tech for real-time animation. Co-Founders & Co-CEOs Daniel Urbarch and Blake Baxter shared insights on how Unreal Engine allows the team to create a virtual sound stage with cameras that can be manipulated exactly how they want. Check it out and learn about the flexibility UE has provided for their projects.

Unreal Engine

14,296 次观看 • 2 个月前

🚨🚨Can agents earn money, run a business, or even self-organize a society in the physical social world? 🤖🤖 Can agents learn continually to survive and thrive in embodied environments, like how human babies grow? 👶 Super excited to introduce SimWorld, an open-ended simulator of LLM agents in infinite, realistic embodied worlds. SimWorld features 3 key designs: 1⃣Open-ended realistic world simulation - built on Unreal Engine 5, with accurate physical social dynamics - 100+ built-in environments (city, island, wilderness ...) - language-controllable procedural generation - text-to-3D asset generation 2⃣Native interface for LLM/VLM agents - Gym-like agent-environment interaction APIs - plug in any LLMs/VLMs (GPTs, Gemini, Qwen ...) - rich multi-modal perception - open-vocabulary natural-language action outputs 3⃣Diverse physical and social reasoning scenarios - long-horizon embodied reasoning - multi-agent collaboration / competition - easily customizable for any reasoning tasks SimWorld is fully open-sourced, with a hope to become a foundational infrastructure for real-world agent research across disciplines: robotics, economy, public health, education, etc. Project website + more details in the thread👇 ...1/
1:10

🚨🚨Can agents earn money, run a business, or even self-organize a society in the physical social world? 🤖🤖 Can agents learn continually to survive and thrive in embodied environments, like how human babies grow? 👶 Super excited to introduce SimWorld, an open-ended simulator of LLM agents in infinite, realistic embodied worlds. SimWorld features 3 key designs: 1⃣Open-ended realistic world simulation - built on Unreal Engine 5, with accurate physical social dynamics - 100+ built-in environments (city, island, wilderness ...) - language-controllable procedural generation - text-to-3D asset generation 2⃣Native interface for LLM/VLM agents - Gym-like agent-environment interaction APIs - plug in any LLMs/VLMs (GPTs, Gemini, Qwen ...) - rich multi-modal perception - open-vocabulary natural-language action outputs 3⃣Diverse physical and social reasoning scenarios - long-horizon embodied reasoning - multi-agent collaboration / competition - easily customizable for any reasoning tasks SimWorld is fully open-sourced, with a hope to become a foundational infrastructure for real-world agent research across disciplines: robotics, economy, public health, education, etc. Project website + more details in the thread👇 ...1/

Lianhui Qin

65,156 次观看 • 9 个月前

BREAKING: Inside Rocket Lab's ( $RKLB ) Engine Development Center How Archimedes & Rutherford are made FACTORY TOUR (Part III) Sir Peter Beck walks us through Rocket Lab's engine factory in Long Beach, CA. It used to be Sir Richard Branson's $1.2B Virgin Orbit's facility. When it went bankrupt, Rocket Lab bought the building & every machine in it for $16M against over $100M of assets. I asked if he keeps a list of which companies might d*e next.. he said yes. Roughly 10 people now run one of the largest 3D print shops in the industry, turning out a Rutherford engine every day and an Archimedes every 8 days. We cover: › Buying a competitor's factory for 16 cents on the dollar › Why space companies are almost impossible to k*ll › Why Archimedes was designed to be the most boring engine possible › Why it qualifies on 1 hour of runtime & Rutherford on 5 minutes › The hot fire that ate its own injector and kept running Plus: whether investors are any good at space diligence, methane vs kerosene & the soot problem, the machine arriving next year that prints a whole engine in one go, & Beck's hot take on where the industry actually is. Rocket Lab Week: › Part I: Full interview w/ Sir Peter Beck › Part II / Tour 01: Rocket Lab HQ, Mission Control & Satellite Manufacturing › Part III / Tour 02: Rocket Lab’s Engine Development Center, Rutherford & Archimedes 𝐓𝐈𝐌𝐄𝐒𝐓𝐀𝐌𝐏𝐒 (00:00) Sir Peter Beck, Founder & CEO at Rocket Lab (00:48) Buying a $100M building for $16M (02:30) Why Space companies never die (04:15) Where Rocket Lab's engines actually get built (06:55) Biggest differences: Archimedes & Rutherford (07:56) This is where Rocket Lab actually tests its Engines (10:01) How 12 lasers print a Rocket engine part (15:04) A full walkthrough of the Electron Rocket (16:29) Why Iridium was just the beginning (18:35) Methane vs. Kerosene: why it matters (19:28) Why Reusability creates its own set of problems (24:17) What makes a Vacuum Engine different (26:39) The future of Space
28:02

BREAKING: Inside Rocket Lab's ( $RKLB ) Engine Development Center How Archimedes & Rutherford are made FACTORY TOUR (Part III) Sir Peter Beck walks us through Rocket Lab's engine factory in Long Beach, CA. It used to be Sir Richard Branson's $1.2B Virgin Orbit's facility. When it went bankrupt, Rocket Lab bought the building & every machine in it for $16M against over $100M of assets. I asked if he keeps a list of which companies might d*e next.. he said yes. Roughly 10 people now run one of the largest 3D print shops in the industry, turning out a Rutherford engine every day and an Archimedes every 8 days. We cover: › Buying a competitor's factory for 16 cents on the dollar › Why space companies are almost impossible to k*ll › Why Archimedes was designed to be the most boring engine possible › Why it qualifies on 1 hour of runtime & Rutherford on 5 minutes › The hot fire that ate its own injector and kept running Plus: whether investors are any good at space diligence, methane vs kerosene & the soot problem, the machine arriving next year that prints a whole engine in one go, & Beck's hot take on where the industry actually is. Rocket Lab Week: › Part I: Full interview w/ Sir Peter Beck › Part II / Tour 01: Rocket Lab HQ, Mission Control & Satellite Manufacturing › Part III / Tour 02: Rocket Lab’s Engine Development Center, Rutherford & Archimedes 𝐓𝐈𝐌𝐄𝐒𝐓𝐀𝐌𝐏𝐒 (00:00) Sir Peter Beck, Founder & CEO at Rocket Lab (00:48) Buying a $100M building for $16M (02:30) Why Space companies never die (04:15) Where Rocket Lab's engines actually get built (06:55) Biggest differences: Archimedes & Rutherford (07:56) This is where Rocket Lab actually tests its Engines (10:01) How 12 lasers print a Rocket engine part (15:04) A full walkthrough of the Electron Rocket (16:29) Why Iridium was just the beginning (18:35) Methane vs. Kerosene: why it matters (19:28) Why Reusability creates its own set of problems (24:17) What makes a Vacuum Engine different (26:39) The future of Space

Molly O’Shea

162,457 次观看 • 23 小时前

On this day, 52 years ago, John Cassavetes' "The Ki!!ing of a Chinese Bookie" (1974) was released in the USA. John Cassavetes explaining why he made the movie: "'A Woman Under the Influence' (1974) was the first picture I’ve had anything to do with that wasn’t made out of plain, simple feeling, but rather out of a real desire to do something in my profession. It was extremely frightening for me not to come to work out of enthusiasm and instead put myself up as something of a craftsman. Earlier films such as 'Shadows' (1958) and 'Husbands' (1970) grew out of personal experiences reaching all the way back to my childhood days. They were expressions of my innermost feelings, and now that I’ve dealt with all that, I feel obligated to view life in other terms. I want to explore other areas of human and artistic experience. I made 'The Ki!!ing of a Chinese Bookie' (1976) as an intellectual experiment– not because I am in love with it. I enjoy a more intellectual and less emotionally demanding view than in my previous work. If I can make, out of certain intellectual ideas, films that are complex in their nature, then I’m entering into new ground. And that is certainly something I look forward to. It is a film that has little to do with me and with how I feel about life. It’s interesting to me to see how other people live in our society, to look at them and ask myself, ‘Why do they do it? And how do they do it?’ Without trying to explain. The fun and challenge of the film was to imagine a self-contained world different from the one I live in: to move into it and live in it." ("Cassavetes on Cassavetes", edited by Ray Carney, 2001)
1:52

On this day, 52 years ago, John Cassavetes' "The Ki!!ing of a Chinese Bookie" (1974) was released in the USA. John Cassavetes explaining why he made the movie: "'A Woman Under the Influence' (1974) was the first picture I’ve had anything to do with that wasn’t made out of plain, simple feeling, but rather out of a real desire to do something in my profession. It was extremely frightening for me not to come to work out of enthusiasm and instead put myself up as something of a craftsman. Earlier films such as 'Shadows' (1958) and 'Husbands' (1970) grew out of personal experiences reaching all the way back to my childhood days. They were expressions of my innermost feelings, and now that I’ve dealt with all that, I feel obligated to view life in other terms. I want to explore other areas of human and artistic experience. I made 'The Ki!!ing of a Chinese Bookie' (1976) as an intellectual experiment– not because I am in love with it. I enjoy a more intellectual and less emotionally demanding view than in my previous work. If I can make, out of certain intellectual ideas, films that are complex in their nature, then I’m entering into new ground. And that is certainly something I look forward to. It is a film that has little to do with me and with how I feel about life. It’s interesting to me to see how other people live in our society, to look at them and ask myself, ‘Why do they do it? And how do they do it?’ Without trying to explain. The fun and challenge of the film was to imagine a self-contained world different from the one I live in: to move into it and live in it." ("Cassavetes on Cassavetes", edited by Ray Carney, 2001)

DepressedBergman

86,531 次观看 • 6 个月前

Just finished creating my 1st Japanese romantic action film using FlovaAI 1.0 Skill "𝗦𝗰𝗿𝗶𝗽𝘁 𝘁𝗼 𝗩𝗶𝗱𝗲𝗼" and I'm genuinely impressed by how seamless the entire process felt. Starting from a simple script, I was able to bring an entire cinematic story to life blending romance, suspense, emotional storytelling and realistic action into a film-style experience. From cherry blossom school scenes to neon-lit Tokyo streets, every sequence felt incredibly natural and visually consistent. What stood out most was Flova AI 1.0's real-time co-creation workflow. While I refined shots, pacing and story structure, the AI continued handling production tasks in parallel, keeping me fully immersed in the creative process. I also used the new Skill System to guide the AI exactly how I wanted. Instead of just following prompts, it adapted to my storytelling style, visual preferences and creative workflow, making the final result feel uniquely mine. #FlovaAIChallenge
0:58

Just finished creating my 1st Japanese romantic action film using FlovaAI 1.0 Skill "𝗦𝗰𝗿𝗶𝗽𝘁 𝘁𝗼 𝗩𝗶𝗱𝗲𝗼" and I'm genuinely impressed by how seamless the entire process felt. Starting from a simple script, I was able to bring an entire cinematic story to life blending romance, suspense, emotional storytelling and realistic action into a film-style experience. From cherry blossom school scenes to neon-lit Tokyo streets, every sequence felt incredibly natural and visually consistent. What stood out most was Flova AI 1.0's real-time co-creation workflow. While I refined shots, pacing and story structure, the AI continued handling production tasks in parallel, keeping me fully immersed in the creative process. I also used the new Skill System to guide the AI exactly how I wanted. Instead of just following prompts, it adapted to my storytelling style, visual preferences and creative workflow, making the final result feel uniquely mine. #FlovaAIChallenge

Ai Arainz

86,650 次观看 • 2 个月前

🔴 Finally! NVIDIA has finally made the code for Neuralangelo public! It has the ability to transform any video into a highly detailed 3D environment, and it's a technology related to but DIFFERENT from NeRF. 💡 Here's how it works: It takes a 2D video as input, showing an object, monument, building, landscape, etc., from various perspectives and analyzes details such as depth, size, and the shapes of objects. From this, the AI sketches an initial 3D model, similar to how an artist molds a figure. This representation is then refined to highlight more details, just as an artist would make the final touches when sculpting. The result is a 3D environment/model, perfect for use in any environment. Imagine the applications it will have for video games, cinema, virtual environments, VR, and more! 📽️🎮 💡 More details: A year ago, an article was presented on a groundbreaking technique called NVIDIA's Instant NeRF. This technique turns images into stunning 3D scenes in a short time, ideal for creating realistic models for video games and other applications. Although Instant NeRF had a lot of potential, the generated models were not perfect and often lacked detailed structures, appearing somewhat cartoonish. A year on, NVIDIA releases a new technique based on Instant NeRF, named Neuralangelo. This enhances the fidelity of surface structures. While NeRF reconstructs real objects in virtual environments from images or videos, Instant NeRF speeds up this process, and Neuralangelo further improves the quality, making the generated objects appear even more realistic when examined up close. Neuralangelo improves Instant NeRF's approach in two key ways related to the hash grid encoding technique: 1⃣ Numerical gradients have been used to compute higher-order derivatives as a smoothing operation. This optimizes the "hash grid" encoding using numerical rather than analytical gradients, providing a smoother input to the network that produces the 3D model. 2⃣ A "coarse-to-fine" optimization has been implemented in the hash grids to control different levels of detail. That is, they first focus on a smoothed version of the scene, and then refine it with more detailed updates. Well, as Arthur C. Clarke said, "Any sufficiently advanced technology is indistinguishable from magic."
0:50

🔴 Finally! NVIDIA has finally made the code for Neuralangelo public! It has the ability to transform any video into a highly detailed 3D environment, and it's a technology related to but DIFFERENT from NeRF. 💡 Here's how it works: It takes a 2D video as input, showing an object, monument, building, landscape, etc., from various perspectives and analyzes details such as depth, size, and the shapes of objects. From this, the AI sketches an initial 3D model, similar to how an artist molds a figure. This representation is then refined to highlight more details, just as an artist would make the final touches when sculpting. The result is a 3D environment/model, perfect for use in any environment. Imagine the applications it will have for video games, cinema, virtual environments, VR, and more! 📽️🎮 💡 More details: A year ago, an article was presented on a groundbreaking technique called NVIDIA's Instant NeRF. This technique turns images into stunning 3D scenes in a short time, ideal for creating realistic models for video games and other applications. Although Instant NeRF had a lot of potential, the generated models were not perfect and often lacked detailed structures, appearing somewhat cartoonish. A year on, NVIDIA releases a new technique based on Instant NeRF, named Neuralangelo. This enhances the fidelity of surface structures. While NeRF reconstructs real objects in virtual environments from images or videos, Instant NeRF speeds up this process, and Neuralangelo further improves the quality, making the generated objects appear even more realistic when examined up close. Neuralangelo improves Instant NeRF's approach in two key ways related to the hash grid encoding technique: 1⃣ Numerical gradients have been used to compute higher-order derivatives as a smoothing operation. This optimizes the "hash grid" encoding using numerical rather than analytical gradients, providing a smoother input to the network that produces the 3D model. 2⃣ A "coarse-to-fine" optimization has been implemented in the hash grids to control different levels of detail. That is, they first focus on a smoothed version of the scene, and then refine it with more detailed updates. Well, as Arthur C. Clarke said, "Any sufficiently advanced technology is indistinguishable from magic."

Javi Lopez ⛩️

689,180 次观看 • 3 年前

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

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

Cohen Brawley

46,070 次观看 • 2 年前

China unveils humanoid robot with lifelike skin and blinking eyes built for daily life | Prabhat Ranjan Mishra, Interesting Engineering Large Language Models (LLMs) and Vision-Language Models (VLMs) help process and interpret complex data from human interactions. A Shanghai-based company has developed humanoid robots that appear as real as humans. The advanced bionic humanoid robot is integrated with self-supervised AI algorithms. Named Elf V1, the robot can perceive the world, communicate, learn, and interact intelligently with its surroundings. Developed by AheadForm Technology, the robot offers up to 30 degrees of freedom, powered by a precise control system and an advanced AI learning algorithm. Robot offers expressive facial features The robot offers expressive facial features, moving eyes, and synchronized speech. It can also convey emotions and understand human non-verbal cues, making interactions more natural and engaging. The robot has highly interactive capabilities and lifelike appearances. AheadForm expects that its robots could soon seamlessly integrate into daily life, providing assistance, companionship, and support across various industries. “We believe that by developing realistic and expressive robot heads, we can bridge the gap between humans and machines, fostering a new era of interactive and intelligent robotics,” said the company in a statement. Reports revealed that to avoid the “uncanny valley” effect and be able to interact with us, they are given lifelike skin and capabilities to read our emotions and respond appropriately using dynamic expression simulation and emotion generation tech. Bionic skin and high-precision control system The Elf V1 series of humanoids features 30 facial muscles animated by brushless micro-motors and managed by a high-precision control system. Paired with an ability to detect their users’ emotions with low latency and bionic skin, their facial expressions are nearly identical to those of humans, reported CGTN. The company claims it’s pioneering the development of realistic humanoid robots designed to revolutionize human-robot interaction. It’s enhancing sophisticated humanoid robot heads that can express emotions, perceive their environment, and interact seamlessly with humans. By combining cutting-edge AI and advanced robotics, AheadForm aims to bring life to machines and transform how humans engage with technology. AI models boost robots’ responsiveness Seamless integration of Large Language Models (LLMs) and Vision-Language Models (VLMs) into the humanoid robots can help them process and interpret complex data from human interactions, enabling the robot to learn and adapt in real-time, achieving human-level understanding and responsiveness. AheadForm uses Brushless Motors that deliver ultra-quiet operation and high responsiveness, specifically designed for precision facial movements in humanoid robots. With its compact size, lightweight design, and energy efficiency, this motor is the ideal choice for next-generation robots that require precise, subtle facial control to create a truly human-like experience. Previously, the company unveiled the Lan Series that features realistic humanoid robots with soft skin and 10 degrees of freedom, offering a lifelike appearance and intuitive movements. This series is designed for cost-efficiency, for applications prioritizing mobility and manipulation.
1:06

China unveils humanoid robot with lifelike skin and blinking eyes built for daily life | Prabhat Ranjan Mishra, Interesting Engineering Large Language Models (LLMs) and Vision-Language Models (VLMs) help process and interpret complex data from human interactions. A Shanghai-based company has developed humanoid robots that appear as real as humans. The advanced bionic humanoid robot is integrated with self-supervised AI algorithms. Named Elf V1, the robot can perceive the world, communicate, learn, and interact intelligently with its surroundings. Developed by AheadForm Technology, the robot offers up to 30 degrees of freedom, powered by a precise control system and an advanced AI learning algorithm. Robot offers expressive facial features The robot offers expressive facial features, moving eyes, and synchronized speech. It can also convey emotions and understand human non-verbal cues, making interactions more natural and engaging. The robot has highly interactive capabilities and lifelike appearances. AheadForm expects that its robots could soon seamlessly integrate into daily life, providing assistance, companionship, and support across various industries. “We believe that by developing realistic and expressive robot heads, we can bridge the gap between humans and machines, fostering a new era of interactive and intelligent robotics,” said the company in a statement. Reports revealed that to avoid the “uncanny valley” effect and be able to interact with us, they are given lifelike skin and capabilities to read our emotions and respond appropriately using dynamic expression simulation and emotion generation tech. Bionic skin and high-precision control system The Elf V1 series of humanoids features 30 facial muscles animated by brushless micro-motors and managed by a high-precision control system. Paired with an ability to detect their users’ emotions with low latency and bionic skin, their facial expressions are nearly identical to those of humans, reported CGTN. The company claims it’s pioneering the development of realistic humanoid robots designed to revolutionize human-robot interaction. It’s enhancing sophisticated humanoid robot heads that can express emotions, perceive their environment, and interact seamlessly with humans. By combining cutting-edge AI and advanced robotics, AheadForm aims to bring life to machines and transform how humans engage with technology. AI models boost robots’ responsiveness Seamless integration of Large Language Models (LLMs) and Vision-Language Models (VLMs) into the humanoid robots can help them process and interpret complex data from human interactions, enabling the robot to learn and adapt in real-time, achieving human-level understanding and responsiveness. AheadForm uses Brushless Motors that deliver ultra-quiet operation and high responsiveness, specifically designed for precision facial movements in humanoid robots. With its compact size, lightweight design, and energy efficiency, this motor is the ideal choice for next-generation robots that require precise, subtle facial control to create a truly human-like experience. Previously, the company unveiled the Lan Series that features realistic humanoid robots with soft skin and 10 degrees of freedom, offering a lifelike appearance and intuitive movements. This series is designed for cost-efficiency, for applications prioritizing mobility and manipulation.

Owen Gregorian

179,005 次观看 • 10 个月前

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.
2:59

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.

Gangster Cinema Central

27,798 次观看 • 29 天前

Xgame is now available to download for free on Mac, Windows, and Linux. 🌌 This started a week ago, when Unity launched the Unity CLI. I plugged in Grok Build and Grok 4.5 and asked for a 3D world. Then I thought, can it make a beautiful ocean and sky? Then it evolved further into a simple island game, just to see what was possible. No design doc. No pipeline plan. Every answer came back better than the last one, and somewhere in that loop the experiment stopped feeling like a demo and started feeling like a game. So I changed the question. Instead of an island, I asked for space. Dogfights. Capital ships. Missions with weight. The pipeline that formed around it wasn’t something I designed on a whiteboard. First it grew out of what I needed next. Combat that punched. Enemies that pushed back. Ships that existed as code, not downloads. Tools to manage the clips and the assets because the game was growing faster than any manual process could keep up. That’s the discovery that stuck with me. I wasn’t “using AI to help me code a game.” I was building the game by talking to the system that was writing it, running it, and shipping builds for it over and over, until it felt right. Then something I didn’t plan for happened. People saw it. A lot of people.The early footage traveled farther than expected. Elon Musk shared it. And then a few days later Unity’s CEO reached out. Not a cold form letter, a real “we’ll have people contact you.” A week earlier I was poking the new Unity CLI with Grok. Suddenly the company behind the engine was looking at what came out of that experiment. I didn’t set out to prove a thesis. I set out to see if one person, with the right harness, could go from a blank project to something you’d actually want to play. The answer turned out to be YES and the shocking part isn’t any single feature. It’s that the whole thing was vibe-coded end to end. The game, the polish passes, even the little systems that made the next pass possible. Xgame is free because that was always the point. No launcher. No account. No store page. Download it, open it, and play. If you’ve been waiting for permission to try building something like this yourself this is it. The tools are here. The game is live and this is only the beginning.
4:02

Xgame is now available to download for free on Mac, Windows, and Linux. 🌌 This started a week ago, when Unity launched the Unity CLI. I plugged in Grok Build and Grok 4.5 and asked for a 3D world. Then I thought, can it make a beautiful ocean and sky? Then it evolved further into a simple island game, just to see what was possible. No design doc. No pipeline plan. Every answer came back better than the last one, and somewhere in that loop the experiment stopped feeling like a demo and started feeling like a game. So I changed the question. Instead of an island, I asked for space. Dogfights. Capital ships. Missions with weight. The pipeline that formed around it wasn’t something I designed on a whiteboard. First it grew out of what I needed next. Combat that punched. Enemies that pushed back. Ships that existed as code, not downloads. Tools to manage the clips and the assets because the game was growing faster than any manual process could keep up. That’s the discovery that stuck with me. I wasn’t “using AI to help me code a game.” I was building the game by talking to the system that was writing it, running it, and shipping builds for it over and over, until it felt right. Then something I didn’t plan for happened. People saw it. A lot of people.The early footage traveled farther than expected. Elon Musk shared it. And then a few days later Unity’s CEO reached out. Not a cold form letter, a real “we’ll have people contact you.” A week earlier I was poking the new Unity CLI with Grok. Suddenly the company behind the engine was looking at what came out of that experiment. I didn’t set out to prove a thesis. I set out to see if one person, with the right harness, could go from a blank project to something you’d actually want to play. The answer turned out to be YES and the shocking part isn’t any single feature. It’s that the whole thing was vibe-coded end to end. The game, the polish passes, even the little systems that made the next pass possible. Xgame is free because that was always the point. No launcher. No account. No store page. Download it, open it, and play. If you’ve been waiting for permission to try building something like this yourself this is it. The tools are here. The game is live and this is only the beginning.

Dan

15,057 次观看 • 29 天前

I think this is one of those things I always knew was going to happen, but still needs to be said: #Fayemily in Brazil is here for Faye and for the people SHE loves and chooses to have by her side. What a beautiful thing happened. What a lovely, peaceful thing, an incredible energy... 🥹 And for anyone outside Brazil who thought there was even the slightest chance someone would ruin it: NO WAY. We would never allow that. The fanbenefits are at the end, so I won't get into details, but I can guarantee this: it was nothing but love FOR FAYE. No drama. No noise. No worries. Just something incredibly beautiful, fun, light, emotional, and again FUN. Ps:. my God, her voice live is AMAZING. So incredibly on pitch! Singer Faye Peraya, what A ARTIST YOU ARE! 😍 ps. 2: To the ppl who aren't brazilian and decided to write essays on social media without knowing our country or our ppl: don't ever presume to explain Brazil or brazilian again. Get off social media for a second and learn how we're actually known in real life. We do not tolerate disrespect toward the ppl we love. We do not tolerate awful ppl in safe spaces. Learn this: we solve our own problems at home. Quietly, we win. Widows screaming on social media are still just widows screaming on social media. And yes, a special kiss to those currently crying rivers over it. I'll be back later to tell u that I told Atom she's been one of the best things to happen to Fayemily in a very long time. Fayemily, we've made it. ❤️🌻 FAYE PROMISE IN BRAZIL #Faye1stFMinSaoPaulo
2:47

I think this is one of those things I always knew was going to happen, but still needs to be said: #Fayemily in Brazil is here for Faye and for the people SHE loves and chooses to have by her side. What a beautiful thing happened. What a lovely, peaceful thing, an incredible energy... 🥹 And for anyone outside Brazil who thought there was even the slightest chance someone would ruin it: NO WAY. We would never allow that. The fanbenefits are at the end, so I won't get into details, but I can guarantee this: it was nothing but love FOR FAYE. No drama. No noise. No worries. Just something incredibly beautiful, fun, light, emotional, and again FUN. Ps:. my God, her voice live is AMAZING. So incredibly on pitch! Singer Faye Peraya, what A ARTIST YOU ARE! 😍 ps. 2: To the ppl who aren't brazilian and decided to write essays on social media without knowing our country or our ppl: don't ever presume to explain Brazil or brazilian again. Get off social media for a second and learn how we're actually known in real life. We do not tolerate disrespect toward the ppl we love. We do not tolerate awful ppl in safe spaces. Learn this: we solve our own problems at home. Quietly, we win. Widows screaming on social media are still just widows screaming on social media. And yes, a special kiss to those currently crying rivers over it. I'll be back later to tell u that I told Atom she's been one of the best things to happen to Fayemily in a very long time. Fayemily, we've made it. ❤️🌻 FAYE PROMISE IN BRAZIL #Faye1stFMinSaoPaulo

Carol C

16,926 次观看 • 2 个月前

Watching Starship Flight 13 yesterday made me incredibly proud to be an American. 🇺🇸 Love him or hate him, there has only been one Steve Jobs. There has only been one Henry Ford. There has only been one Thomas Edison. And there is only one Elon Musk. America has always been the place where people with impossible ideas come to build them. That’s what has made this country so special and the leader of entrepreneurship for generations. Yesterday was another reminder of that for me. SpaceX launched Starship Flight 13, successfully deployed 20 next-generation Starlink V3 satellites, restarted a Raptor engine in space, and brought Starship back through one of its BEST reentries yet before making its softest, most controlled splashdown ever in the Indian Ocean. The ship remained intact after landing, giving SpaceX another huge amount of real-world data to improve reusability. However, the Super Heavy booster didn’t complete its planned landing bc not enough engines relit for the final burn, but that’s exactly why these are called TEST flights… every flight teaches the team something new. Starship’s landing was so controlled that it makes me confident we’re getting closer to seeing the first catch of the ship by the launch tower. Whether that’s the very next flight or one after that, the progress is what’s is impossible to ignore. This is why I love America. It’s still the country where people are willing to bet everything on ideas that most of the world says can’t be done. The rest of the world watches these launches because they know history is being written in real time right now. We don’t have to agree on everything to appreciate what we’re witnessing. Starship is humanity building the transportation system that could one day make life multiplanetary. Right now is the best time to be alive, especially an American.
0:57

Watching Starship Flight 13 yesterday made me incredibly proud to be an American. 🇺🇸 Love him or hate him, there has only been one Steve Jobs. There has only been one Henry Ford. There has only been one Thomas Edison. And there is only one Elon Musk. America has always been the place where people with impossible ideas come to build them. That’s what has made this country so special and the leader of entrepreneurship for generations. Yesterday was another reminder of that for me. SpaceX launched Starship Flight 13, successfully deployed 20 next-generation Starlink V3 satellites, restarted a Raptor engine in space, and brought Starship back through one of its BEST reentries yet before making its softest, most controlled splashdown ever in the Indian Ocean. The ship remained intact after landing, giving SpaceX another huge amount of real-world data to improve reusability. However, the Super Heavy booster didn’t complete its planned landing bc not enough engines relit for the final burn, but that’s exactly why these are called TEST flights… every flight teaches the team something new. Starship’s landing was so controlled that it makes me confident we’re getting closer to seeing the first catch of the ship by the launch tower. Whether that’s the very next flight or one after that, the progress is what’s is impossible to ignore. This is why I love America. It’s still the country where people are willing to bet everything on ideas that most of the world says can’t be done. The rest of the world watches these launches because they know history is being written in real time right now. We don’t have to agree on everything to appreciate what we’re witnessing. Starship is humanity building the transportation system that could one day make life multiplanetary. Right now is the best time to be alive, especially an American.

Teslaconomics

88,115 次观看 • 1 个月前