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With Atlas, you can literally make films. And it also basically solves first-frame-last-frame transitions. Reconstruct a 3D scene from images, then position the camera exactly where you want it, and let Atlas fill in what the camera would see along that path. You’re in the director's chair, staging the... show more

David Pantera

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26,874 просмотров • 6 дней назад •via X (Twitter)

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Bring your stories to life with a 3D camera. Start with a single frame and turn it into a 3D scene you can move through, shot by shot. Control the camera. Set the pace. Shape the story.

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Jon Bernthal says his sex scene with Laurie Holden in The Walking Dead was so graphic that most of it was cut “We filmed a sex scene in a green Hyundai with Laurie Holden.” “What we did in that scene was so graphic.” “They ended up using only a wide shot of the car.” “I worked with the camera operator to make the scene feel as real and gritty as possible.” “You couldn’t actually see anything in the final scene, but I wanted it to feel authentic.”

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Jon Bernthal says his sex scene with Laurie Holden in The Walking Dead was so graphic that most of it was cut “We filmed a sex scene in a green Hyundai with Laurie Holden.” “What we did in that scene was so graphic.” “They ended up using only a wide shot of the car.” “I worked with the camera operator to make the scene feel as real and gritty as possible.” “You couldn’t actually see anything in the final scene, but I wanted it to feel authentic.”

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whats interesting is you can "trick" Atlas into becoming a 3D modeling tool by placing input images in 3D space the model then creates a coherent world this is how this scene was made – all the model sees is camera pose + RGB

whats interesting is you can "trick" Atlas into becoming a 3D modeling tool by placing input images in 3D space the model then creates a coherent world this is how this scene was made – all the model sees is camera pose + RGB

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The AI video content being made with the Google Gemini is blowing our minds¹ 🤯 With our latest #PixelDrop, you can now upload images directly from your camera roll, enter a prompt to describe a scene, and let Gemini bring it all to life:²

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926,678 просмотров • 8 дней назад

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Hollywood isn't dead. It's evolving. And we're leading that evolution. We just shipped Koyal v2.5: The best Agentic AI filmmaking platform. It goes from your script or music to full video with consistent characters, settings & storylines. Large Production houses, music labels & ad agencies use koyal.ai (YC F25) for storyboarding & pre-viz. Smaller studios use it for making content they never had the time, budget or resources to create. Write a scene. Direct the camera. Build a world. koyal.ai (YC F25) brings it to life. Here's what's new: - Go from script to video: Write a scene with dialogue, pacing, emotion. Koyal fully realizes it. Using the best voice models on the planet. - Direct the camera: Push in. Pull back. Drift through a scene. Real 3D camera blocking. Shape the shot the way you see it in your head. - Build a world that stays:Lock in a location and return to it. Your scenes stay consistent from the first frame to the last. Plus: dialogue, SFX, annotations for editing, and more control over every shot. Under the hood, we benchmark 40+ models weekly with real humans so Koyal always uses the best available (more on that next week!) Our agents pick the best models for each scene in run-time so you focus on the story, we handle the complexity. You don't need to prompt a film, you can direct it. With Koyal, we're looking to replace the camera, not the filmmaker behind it. Try it now at beta [dot] koyal [dot] ai DM me for credits!

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Aubrey Plaza explains how a simple script line turned into an unexpectedly awkward masturbation scene on set. "I thought I was doing one thing, and then when I showed up, it was a whole different thing." "In my head I envisioned a nice scene where you just see my hand slowly go out of frame... left to the imagination." "The camera was mounted on the ceiling, I was in my underwear and a Clinton t-shirt, and there were a bunch of old men... crew guys." "I asked the director 'what should I do?' and she said: 'Masturbate, like it says in the script.'" "What a kind directorial note... 'Do it like it says in the script!'"

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Kiss scene lecture from our Master of Kissing as we are waiting for his mukbang in #WhenThePhoneRings 👩‍❤️‍💋‍👨 - if actors are too into the scene when they kiss, it doesnt look so great in camera. Instead, treat the kiss scene just like action scene like its choreographed 🔥 - plan the angles ahead of time - plan the big pictures so they wont struggle and will be able to focus so it looks nicer - he personally likes to bring wine to the set, have a drink🍷 and talk💬 with the actress to set the mood Kiseu Jang-in Yoo Yeonseok, i’m looking forward to your move with soobin!

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Here is a game that looks like it was made with 2D sprites on a tilemap But it’s actually a three.js scene Also, no external assets. It’s all code and a bit of shader magic The player can switch between the pixel view and the 3D scene Made with Opus 5

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In Carlito’s Way, when Benny Blanco confronts Carlito, De Palma doesn’t cut back and forth like most directors would in a normal dialogue scene. Instead, he keeps the camera at a distance and pans between the two actors, capturing the rising tension between them. And as the scene becomes more chaotic, so does the camera's movements, amplifying the intensity of their performances until the scene finally erupts. This is a perfect example of the type of stylish visual storytelling Brian De Palma is known for, something he learned from studying masters like Billy Wilder -as he’s stated before… “Great directors like William Wilder, when he's staging a scene - just gets the camera in one position and lets the actors act through the emotion of the scene. And you can see the transference of feelings between them... This idea of cutting to close-ups back and forth, I think, shatters the sort of emotion going between the actors - the whole idea of catching lightning in the bottle. Something happens uniquely between the actors as they're playing a scene with each other, and it changes from take to take to take to take.”

In Carlito’s Way, when Benny Blanco confronts Carlito, De Palma doesn’t cut back and forth like most directors would in a normal dialogue scene. Instead, he keeps the camera at a distance and pans between the two actors, capturing the rising tension between them. And as the scene becomes more chaotic, so does the camera's movements, amplifying the intensity of their performances until the scene finally erupts. This is a perfect example of the type of stylish visual storytelling Brian De Palma is known for, something he learned from studying masters like Billy Wilder -as he’s stated before… “Great directors like William Wilder, when he's staging a scene - just gets the camera in one position and lets the actors act through the emotion of the scene. And you can see the transference of feelings between them... This idea of cutting to close-ups back and forth, I think, shatters the sort of emotion going between the actors - the whole idea of catching lightning in the bottle. Something happens uniquely between the actors as they're playing a scene with each other, and it changes from take to take to take to take.”

Gangster Cinema Central

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The biggest mistake people make with Seedance 2.0 is writing prompts at all. Sounds strange, but the model wasn't built for describing things in words - it was built for multimodal direction: up to 12 references at once, combining images, video, and audio. Each reference type controls a different layer: the image sets the style, the video defines the camera movement, the audio sets the rhythm of the scene. When you combine all three instead of typing "camera slowly pushes in, tense atmosphere" - the model understands it directly, with no interpretation and no guessing involved. Text is the weakest control tool available here. And most users are stuck using exactly that.

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