正在加载视频...

视频加载失败

加载此视频时出现问题。这可能是由于临时网络问题，或视频可能不可用。

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

5,420 subscribers

26,874 次观看 • 8 天前 •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

0 条评论

暂无评论

原始帖子的评论将显示在这里

相关视频

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.

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.

Moonvalley

18,807 次观看 • 1 年前

Camera control is no longer in the prompt Meet 3D Motion Control → Set the camera path in 3D → Your scene becomes the video reference the model follows → Same move, every take, exactly where you set it Available now in Magnific

Camera control is no longer in the prompt Meet 3D Motion Control → Set the camera path in 3D → Your scene becomes the video reference the model follows → Same move, every take, exactly where you set it Available now in Magnific

Magnific

610,355 次观看 • 1 个月前

Get any camera move you want, using just your phone. Frame the shot, hit record, and move your camera exactly how you want it - a simple pan, a push-in and swirl, whatever. Load that clip into Agent One and tell it what you want in the shot. Your recorded video drives the camera move, Agent One runs it through Seedance, and you sit back and watch. Pro tip - match your phone frame to your first generated frame. The closer it lines up, the better it lands. Watch the video to see exactly how we did it.

Get any camera move you want, using just your phone. Frame the shot, hit record, and move your camera exactly how you want it - a simple pan, a push-in and swirl, whatever. Load that clip into Agent One and tell it what you want in the shot. Your recorded video drives the camera move, Agent One runs it through Seedance, and you sit back and watch. Pro tip - match your phone frame to your first generated frame. The closer it lines up, the better it lands. Watch the video to see exactly how we did it.

Invideo

30,820 次观看 • 2 个月前

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.”

Sensitive content

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.”

Lin

722,613 次观看 • 1 个月前

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

neilson

57,431 次观看 • 9 天前

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

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

Made by Google

44,608 次观看 • 1 年前

The bike, the ruins, the ramps, the Highlands sky. All of it started as one sentence typed into Atlas. Concept art, 3D assets, a staging pass in Blender, an Unreal scene you can ride through. One canvas, so the world keeps one look from first image to engine. Try Atlas today.

The bike, the ruins, the ramps, the Highlands sky. All of it started as one sentence typed into Atlas. Concept art, 3D assets, a staging pass in Blender, an Unreal scene you can ride through. One canvas, so the world keeps one look from first image to engine. Try Atlas today.

Atlas

6,745,312 次观看 • 27 天前

Two of us filmed this on a couple phones, and we used Atlas to turn it into a short film. This is just a clip from the World Labs tech blog Atlas is able to generate the parts of the scene that none of the cameras actually filmed. It can freeze time, allowing you to reframe shots to positions never filmed, then resume. View events from impossible angles because Atlas knows what was there.

Two of us filmed this on a couple phones, and we used Atlas to turn it into a short film. This is just a clip from the World Labs tech blog Atlas is able to generate the parts of the scene that none of the cameras actually filmed. It can freeze time, allowing you to reframe shots to positions never filmed, then resume. View events from impossible angles because Atlas knows what was there.

David Pantera

929,097 次观看 • 9 天前

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!

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!

Mehul Agarwal

74,497 次观看 • 5 个月前

In The Dark Knight, Heath Ledger was so intimidating that Maggie Gyllenhaal couldn’t believe what she saw “I remember coming into work and seeing him. That scene where The Joker throws me off the roof was the first time I really saw him, and I remember thinking, ‘Whoa. Oh, OK. You’re on a whole other level.’” “It is a very scary scene, and full of tension and anxiety. It also has – when I watch it anyway – this kind of thrilling feeling.” “We shot the scene all night long, and at four o’clock in the morning it was still fun to do. He inspired me.” “The camera shot us – it was just one camera going around us in a circle. So, often if you shoot a scene you have to shoot it in many angles.” “But, if you’re just shooting it over and over again moving around two people, you don’t really have to match anything. So, yeah, things were different in every take and it was really exciting working with him.”

In The Dark Knight, Heath Ledger was so intimidating that Maggie Gyllenhaal couldn’t believe what she saw “I remember coming into work and seeing him. That scene where The Joker throws me off the roof was the first time I really saw him, and I remember thinking, ‘Whoa. Oh, OK. You’re on a whole other level.’” “It is a very scary scene, and full of tension and anxiety. It also has – when I watch it anyway – this kind of thrilling feeling.” “We shot the scene all night long, and at four o’clock in the morning it was still fun to do. He inspired me.” “The camera shot us – it was just one camera going around us in a circle. So, often if you shoot a scene you have to shoot it in many angles.” “But, if you’re just shooting it over and over again moving around two people, you don’t really have to match anything. So, yeah, things were different in every take and it was really exciting working with him.”

Emir Han

30,928 次观看 • 28 天前

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!'"

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!'"

Garaa

14,459 次观看 • 4 天前

Tom Holland reveals he watched Matt Damon and Anne Hathaway stay in character for entire afternoons during a highly emotional 9-minute scene filmed with 3-minute camera limits "I remember a scene between Matt Damon and Anne Hathaway. It's about a 9-minute scene, and the camera can only run for 3 minutes at a time because it runs out of film. They would run it, take it out the blimp, reload it, put it back in, and then the two actors would just carry on from where they left off." "This is the most emotional scene in the movie. It's so fantastic. To see both of them stay in character, stay in that emotion, never waver, and never come out of it. They would call cut, they would reload the camera, and Matt and Anne just stayed there in the moment for 3 minutes before the camera would roll again." "It was just a masterclass in patience, professionalism, and confidence in themselves. It was awesome."

Tom Holland reveals he watched Matt Damon and Anne Hathaway stay in character for entire afternoons during a highly emotional 9-minute scene filmed with 3-minute camera limits "I remember a scene between Matt Damon and Anne Hathaway. It's about a 9-minute scene, and the camera can only run for 3 minutes at a time because it runs out of film. They would run it, take it out the blimp, reload it, put it back in, and then the two actors would just carry on from where they left off." "This is the most emotional scene in the movie. It's so fantastic. To see both of them stay in character, stay in that emotion, never waver, and never come out of it. They would call cut, they would reload the camera, and Matt and Anne just stayed there in the moment for 3 minutes before the camera would roll again." "It was just a masterclass in patience, professionalism, and confidence in themselves. It was awesome."

Moyhin 🤍

1,174,698 次观看 • 1 个月前

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!

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!

Dee 🍉

261,373 次观看 • 1 年前

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

197,922 次观看 • 5 个月前

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

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

Dilum Sanjaya

51,091 次观看 • 22 天前

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.

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.

Zentrix⌚️

72,877 次观看 • 1 个月前