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Working on Zero 2.0 prototype - 30% better FoV utilizing larger combiners - Camera for hand tracking, SLAM, and AI recognition - Dual batteries for 2h runtime - Better optical clarity with new projector lens - Microphone - Tinted glass outside lens + bonus subway clip from V1.2
10 条评论
jess ᯅ1 年前
love AR glasses that lean into the futurist aesthetic - excited about the progress!
AckerDev 🇷🇪1 年前
Already said, but your work is awesome 🙏
Miroslav Kotalík1 年前
Thank you. It really means a lot. Every such interaction helps the project!
AltVRat VRC: R¥uS4a1 年前
Consider a red tinted (blue blocking) but not UV prescription option please for inside use.
Sky'1 年前
THE NUMBERS MASON ! WHAT DO THEY MEAN?!
lktl.1 年前
It's incredible. Would it be possible to add a recording function through software, so you could record the 'screen,' so to speak? That way, whenever you want to show progress, it would be more perceptible. Or would it require an increase in size?
Miroslav Kotalík1 年前
Yes, it's very important to help show others what I see. I'm waiting to implement the camera first, then I will mix the camera feed with the rendering to show what I see through software recording.
Misanthopia1 年前
Transparent optics ew nvm
Roushan⚡1 年前
Keep doing the hard work! Next wave if going to be of XR's 💯
ぽいロード@音技術者1 年前
Improvement plan: Attach a chip and a battery to your upper arm and leave everything to that part. The weight is much lighter, and the 10,000mAh battery runs for more than 14 hours🦾😎🦾
相关视频
 is the only person. She remains identical in every frame: 1960s Korean mini dress with [sleeve and neckline classic 1960s makeup with winged liner and pale pink lips, white heels. Dress, hair, makeup and shoes never change . SETTING LOCK: an enormous 1960s dining table seen from her scale; she is the size of a salt shaker. White tablecloth hanging from the edge to the floor in long vertical folds. On the tabletop from left to right: a tall glass of milk with condensation beads, a giant slice of chocolate layer cake with thick frosting and a single lit birthday candle, a large silver spoon and fork crossed beside it, a bowl of vanilla ice cream with one huge cherry on top, a folded white napkin. Warm wooden tabletop. Pale yellow wall in the background. Props are practical scale with slightly soft edges. 0–4 seconds: Static wide from floor level. The tiny woman climbs the hanging tablecloth, gripping the folds with both hands, one heel finding a fold below her. The cloth sways slightly under her weight. She looks up toward the table edge. 4–7 seconds: Slow zoom in as she pulls herself over the edge, kneels, then stands upright on the tabletop. Her eyes widen and her mouth opens, gaze drawn toward the flickering candle flame on the cake. Her hands stay half raised. 7–11 seconds: Static wide from behind her at her eye level. The dessert spread stretches across the table like a city skyline: the cake slice looms like a frosted mountain, the candle flame taller than she is, the milk glass glowing like a white tower, the spoon lying across the foreground like a bridge. 11–15 seconds: She walks toward the cake, heels tapping the tabletop. Thick ridges of frosting drip down its side. The lit candle flickers above, casting warm moving light across her face. She touches the frosting edge with one hand and looks up along the flame. 15–19 seconds: She climbs onto the cake's bottom layer, sits, scoops a bit of frosting with both hands, smiles, tastes it, licks her fingers, and looks left and right. Medium shot, slow zoom in to her face, candlelight flickering warmly on her skin. 19–23 seconds: She stands and walks farther across the tabletop, stepping around the giant cherry from the ice cream bowl, passing between the spoon and the napkin. Static wide, then a slow pan following her. 23–26 seconds: She stops beside the milk glass, looks up along the tall glass, and laughs with one hand resting on it. Condensation beads glisten and catch the light on her face. 26–28 seconds: A massive shadow sweeps across the tabletop from the right and covers the milk glass and the cake. Her laugh stops. She lowers her hand and turns to face the right side of frame. 28–30 seconds: HOLD. Camera fully static medium-wide shot. She stands facing screen right, feet together, right hand half raised at chest height, left hand at her side. The milk glass directly at her left, the cake slice behind her, the shadow across the whole tabletop. Her face is turned to the right, not yet tilted upward. Nothing moves for two full seconds. Audio Cheerful 1960s adventure television music, playful brass and strings. At 26 seconds the music thins to one held string note that continues to the end, with a faint fading birthday-music-box](https://image.24vids.com/tw-2100474286599500015/amplify_video_thumb/2100474249207271425/img/ptuuxnCOUFD7ZmI7.jpg)
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I like this. You gotta watch it with the sound on. ---prompt--- 9:16 vertical, 30-second ultra-photorealistic live-action cinematic portrait film, ancient Chinese aesthetic, intimate historical portrait photography / classical Chinese beauty MV. Strictly preserve the same clearly adult woman from the reference image, maintaining consistent facial identity, facial features, proportions, long black hair, skin tone, and her soft, cool, subtly alluring presence throughout the entire video. She is the only character in the film. No other people appear. The setting is a quiet traditional Chinese boudoir at night, filled with carved wooden lattice windows, an antique bronze mirror and vanity, a silk-covered bed, layers of translucent gauze curtains, folding screens, and warm candlelight. Pale blue moonlight enters through the window and blends naturally with the warm amber candlelight. She wears a flowing ancient Chinese dress in muted rouge pink and moonlight white, layered with delicate translucent fabrics and a long lightweight silk shawl draped loosely around her arms. Her long black hair is loosely pinned up, with several fine strands falling naturally across her cheeks and neck. Shot 1 — First Glimpse Through the Gauze The camera is hidden behind layers of translucent gauze curtains, creating large areas of soft, dreamy foreground blur. She initially sits on the edge of the bed with her back toward the camera, quietly adjusting the loose sleeve and silk shawl resting around her arms. A gentle breeze moves the strands of hair beside her face. As if she suddenly senses someone watching her, her hands pause first. Her shoulders slowly begin to turn, and only afterward does her head follow. She looks back over her shoulder. Her eyes briefly pass across the camera before finally meeting the lens. The camera slowly moves closer during the entire motion, ending on an intimate close-up of her face framed naturally by loose hair and translucent gauze. Shot 2 — Walking Through the Curtains Continuing naturally from the previous eye contact, she slowly looks away, places one hand on the bed, and rises naturally to her feet. Her long dress gradually slips from the edge of the bed and unfolds toward the floor, while the silk shawl gently trails across the bedding. She turns sideways and begins walking through several layers of hanging gauze. With one hand, she gently pushes aside the curtain in front of her. The camera moves backward on the opposite side of the gauze, continuously following her movement as translucent fabric repeatedly drifts across the lens. As she approaches the camera, she briefly turns her face toward the lens. She then naturally walks past the camera. The camera smoothly pivots and follows her from behind, allowing the entire movement to finish before the next cut. Shot 3 — At the Bronze Mirror She arrives at the antique bronze vanity and sits down naturally. Her silk shawl softly slips beside the chair. She quietly studies her reflection, gently tucking a loose strand of hair beside her temple. She picks up a wooden comb and slowly brushes her hair from beside the ear toward the ends. The camera gradually moves laterally from behind her shoulder, allowing both her real silhouette and her reflected face to exist within the same composition. After finishing, she gently places the comb back onto the vanity. She does not turn around. Instead, her eyes slowly lift inside the bronze mirror until she is looking directly toward the camera through her reflection. She holds the gaze for a moment. A barely noticeable, almost ambiguous smile appears at the corner of her lips. Shot 4 — Moonlight by the Window She leaves the vanity and slowly walks toward the wooden lattice window while the camera follows from slightly behind her. She reaches forward and gently pushes open one side of the window. Cool pale-blue moonlight immediately enters the room. A soft night breeze moves through her long hair, silk shawl, and the gauze curtains behind her. One hand remains resting naturally against the wooden window frame as she quietly looks outside. She slowly closes her eyes and allows the breeze to pass across her face. After a moment, she opens them again. Without fully turning around, she slightly tilts her head and glances toward the camera from the corner of her eyes. The camera gradually arcs from behind her toward her profile, moving from a medium shot into a soft close-up. Moonlight gently traces the bridge of her nose, lips, cheekbones, and loose strands of hair. Shot 5 — Turning in Candlelight She leaves the window and walks toward the center of the room. When she reaches the warm candlelight, she naturally stops. As if hearing something behind her, she turns again. Her torso begins the movement first, while her long hair and lightweight silk shawl follow a fraction of a second later, creating a soft natural arc through the air. The camera performs a restrained half-orbit around her. She naturally follows the movement of the camera with her body. The silk shawl begins slipping from her shoulder. She gently catches it between her fingers for a moment, then allows the fabric to slowly fall again. This is not a choreographed dance. It should feel like an unconscious, graceful private gesture captured by chance. Shot 6 — Final Gaze She slowly walks back toward the bed. The complete action is visible: approaching the bed, turning her body, gathering part of her dress, and naturally sitting sideways on the edge. One hand rests loosely behind her for support while the other casually adjusts the long hair falling over her shoulder. At first, her eyes remain lowered. The camera slowly approaches from behind another translucent foreground curtain. Only when the camera reaches an intimate close-up does she slowly raise her eyes and look directly into the lens. Her expression remains quiet, languid, slightly distant, and subtly mysterious. She holds the gaze. A gentle breeze gradually pushes the foreground gauze across the camera. The translucent white fabric slowly covers more and more of the frame until her face becomes barely visible through the soft blur. The image naturally fades into the moving gauze and ends. Visual Language & Cinematography Soft-light CCD, 1990s Asian photobook aesthetic, intimate ancient Chinese portrait photography. 35–50mm lens language, subtle handheld movement, shallow depth of field, soft diffusion filter, blooming highlights, gentle halation, low contrast, slightly muted saturation, warm pink skin tones against cool blue-gray shadows, delicate film grain, subtle CCD digital noise, occasional natural focus breathing and slight imperfect focus. Frequently use translucent gauze as foreground obstruction, bronze-mirror reflections, over-the-shoulder framing, slow push-ins, gentle tracking shots, restrained camera orbits, and subtle handheld drifting. Do not divide the film into equal-duration shots. Every action must be allowed to fully develop and naturally finish before cutting. A turn completes before the edit. She fully reaches and settles at the vanity before transitioning. The window-opening gesture finishes naturally before the next movement begins. Connect shots organically through gauze passing across the lens, her body walking past the camera, flowing silk briefly obscuring the frame, turning movements, and mirror reflections, creating natural visual match cuts. The final result should feel like a continuous collection of intimate moments captured from the same night rather than six separately staged poses. No dialogue, no subtitles, no text, no modern objects, no additional characters, no rigid posing, no fixed five-second cuts, no rapid montage, no exaggerated visual effects. Keep her identity and facial features stable throughout. All movements are slow, complete, natural, and physically coherent. Hair, silk fabric, sleeves, shawl, and gauze curtains respond realistically to movement and wind.
BubbleBrain
58,934 次观看 • 6 天前
