BREAKING NEWS
LATEST POSTS
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Gaussian Splatting OFX plugin for Nuke
https://radiancefields.com/gaussian-splatting-in-nuke
https://aescripts.com/gaussian-splatting-for-nuke
Features
- Import .ply files in Nuke.
- Support Compressed .ply files from SuperSplat
- Crop with Spherical or Box shape.
- Crop with Y Plane.
- Combine up to 10 models in the scene.
- Colorize with Ramp using Spherical or Box shape.
- Reveal model with Opacity Ramp.
- Animate Splat Scale with Spherical or Box shape.
- Each model can be distorted with Noise.
- Render Depth Pass for 3D compose.
- Color correction for each model.
- Real-time with GPU
- Export scene
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ComfyUI + InstaID SDXL – Face and body swap tutorials
https://github.com/cubiq/ComfyUI_InstantID
https://github.com/cubiq/ComfyUI_InstantID/tree/main/examples
https://github.com/deepinsight/insightface
Unofficial version https://github.com/ZHO-ZHO-ZHO/ComfyUI-InstantID
Installation details under the post
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ComfyUI Tutorial Series Ep 25 – LTX Video – Fast AI Video Generator Model
https://comfyanonymous.github.io/ComfyUI_examples/ltxv
LTX-Video 2B v0.9.1 Checkpoint model
https://huggingface.co/Lightricks/LTX-Video/tree/main
More details under the post
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AI and the Law – The AI-Copyright Trap document by Carys Craig
https://papers.ssrn.com/sol3/papers.cfm?abstract_id=4905118
“There are many good reasons to be concerned about the rise of generative AI(…). Unfortunately, there are also many good reasons to be concerned about copyright’s growing prevalence in the policy discourse around AI’s regulation. Insisting that copyright protects an exclusive right to use materials for text and data mining practices (whether for informational analysis or machine learning to train generative AI models) is likely to do more harm than good. As many others have explained, imposing copyright constraints will certainly limit competition in the AI industry, creating cost-prohibitive barriers to quality data and ensuring that only the most powerful players have the means to build the best AI tools (provoking all of the usual monopoly concerns that accompany this kind of market reality but arguably on a greater scale than ever before). It will not, however, prevent the continued development and widespread use of generative AI.”
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“(…) As Michal Shur-Ofry has explained, the technical traits of generative AI already mean that its outputs will tend towards the dominant, likely reflecting ‘a relatively narrow, mainstream view, prioritizing the popular and conventional over diverse contents and narratives.’ Perhaps, then, if the political goal is to push for equality, participation, and representation in the AI age, critics’ demands should focus not on exclusivity but inclusivity. If we want to encourage the development of ethical and responsible AI, maybe we should be asking what kind of material and training data must be included in the inputs and outputs of AI to advance that goal. Certainly, relying on copyright and the market to dictate what is in and what is out is unlikely to advance a public interest or equality-oriented agenda.”
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“If copyright is not the solution, however, it might reasonably be asked: what is? The first step to answering that question—to producing a purposively sound prescription and evidence-based prognosis, is to correctly diagnose the problem. If, as I have argued, the problem is not that AI models are being trained on copyright works without their owners’ consent, then requiring copyright owners’ consent and/or compensation for the use of their work in AI-training datasets is not the appropriate solution. (…)If the only real copyright problem is that the outputs of generative AI may be substantially similar to specific human-authored and copyright-protected works, then copyright law as we know it already provides the solution.” -
Newton’s Cradle – An AI Film By Jeff Synthesized
Narrative voice via Artlistai, News Reporter PlayAI, All other voices are V2V in Elevenlabs.
Powered by (in order of amount) ‘HailuoAI’, ‘KlingAI’ and of course some of our special source. Performance capture by ‘Runway’s Act-One’.
Edited and color graded in ‘DaVinci Resolve’. Composited with ‘After Effects’.
In this film, the ‘Newton’s Cradle’ isn’t just a symbolic object—it represents the fragile balance between control and freedom in a world where time itself is being manipulated. The oscillation of the cradle reflects the constant push and pull of power in this dystopian society. By the end of the film, we discover that this seemingly innocuous object holds the potential to disrupt the system, offering a glimmer of hope that time can be reset and balance restored. -
xinsir – controlnet-union-sdxl-1.0 examples
https://huggingface.co/xinsir/controlnet-union-sdxl-1.0
deblur
inpainting
outpainting
upscale
openpose
depthmap
canny
lineart
anime lineart
mlsd
scribble
hed
softedge
ted
segmentation
normals
openpose + canny
FEATURED POSTS
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xinsir – controlnet-union-sdxl-1.0 examples
https://huggingface.co/xinsir/controlnet-union-sdxl-1.0
deblur
inpainting
outpainting
upscale
openpose
depthmap
canny
lineart
anime lineart
mlsd
scribble
hed
softedge
ted
segmentation
normals
openpose + canny
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The Public Domain Is Working Again — No Thanks To Disney
www.cartoonbrew.com/law/the-public-domain-is-working-again-no-thanks-to-disney-169658.html
The law protects new works from unauthorized copying while allowing artists free rein on older works.
The Copyright Act of 1909 used to govern copyrights. Under that law, a creator had a copyright on his creation for 28 years from “publication,” which could then be renewed for another 28 years. Thus, after 56 years, a work would enter the public domain.
However, the Congress passed the Copyright Act of 1976, extending copyright protection for works made for hire to 75 years from publication.
Then again, in 1998, Congress passed the Sonny Bono Copyright Term Extension Act (derided as the “Mickey Mouse Protection Act” by some observers due to the Walt Disney Company’s intensive lobbying efforts), which added another twenty years to the term of copyright.
it is because Snow White was in the public domain that it was chosen to be Disney’s first animated feature.
Ironically, much of Disney’s legislative lobbying over the last several decades has been focused on preventing this same opportunity to other artists and filmmakers.The battle in the coming years will be to prevent further extensions to copyright law that benefit corporations at the expense of creators and society as a whole.
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Scientists claim to have discovered ‘new colour’ no one has seen before: Olo
https://www.bbc.com/news/articles/clyq0n3em41o
By stimulating specific cells in the retina, the participants claim to have witnessed a blue-green colour that scientists have called “olo”, but some experts have said the existence of a new colour is “open to argument”.
The findings, published in the journal Science Advances on Friday, have been described by the study’s co-author, Prof Ren Ng from the University of California, as “remarkable”.
(A) System inputs. (i) Retina map of 103 cone cells preclassified by spectral type (7). (ii) Target visual percept (here, a video of a child, see movie S1 at 1:04). (iii) Infrared cellular-scale imaging of the retina with 60-frames-per-second rolling shutter. Fixational eye movement is visible over the three frames shown.
(B) System outputs. (iv) Real-time per-cone target activation levels to reproduce the target percept, computed by: extracting eye motion from the input video relative to the retina map; identifying the spectral type of every cone in the field of view; computing the per-cone activation the target percept would have produced. (v) Intensities of visible-wavelength 488-nm laser microdoses at each cone required to achieve its target activation level.
(C) Infrared imaging and visible-wavelength stimulation are physically accomplished in a raster scan across the retinal region using AOSLO. By modulating the visible-wavelength beam’s intensity, the laser microdoses shown in (v) are delivered. Drawing adapted with permission [Harmening and Sincich (54)].
(D) Examples of target percepts with corresponding cone activations and laser microdoses, ranging from colored squares to complex imagery. Teal-striped regions represent the color “olo” of stimulating only M cones.
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Romain Chauliac – LightIt a lighting script for Maya and Arnold
LightIt is a script for Maya and Arnold that will help you and improve your lighting workflow.
Thanks to preset studio lighting components (lights, backdrop…), high quality studio scenes and HDRI library manager.https://www.artstation.com/artwork/393emJ