# extract one frame at the end of a video ffmpeg -sseof -0.1 -i intro_1.mp4 -frames:v 1 -q:v 1 intro_end.jpg
-sseof -0.1: This option tells FFmpeg to seek to 0.1 seconds before the end of the file. This approach is often more reliable for extracting the last frame, especially if the video’s duration isn’t an exact multiple of the frame interval. Super User -frames:v 1: Extracts a single frame. -q:v 1: Sets the quality of the output image; 1 is the highest quality.
# extract one frame at the beginning of a video ffmpeg -i speaking_4.mp4 -frames:v 1 speaking_beginning.jpg
# check video length ffmpeg -i C:\myvideo.mp4 -f null –
# Convert mov/mp4 to animated gifEdit ffmpeg -i input.mp4 -pix_fmt rgb24 output.gif Other useful ffmpeg commandsEdit
There’s been no statements as to when Midjourney’s technology will start showing up in Meta’s products, or to what degree it will be baked into the company’s AI strategy.
Tired of having iTunes messing up your mp3 library? … Time to try MiniTunes!
– Arrange your library by Genre, Artists or Albums. – Change UI colors at will. – Edit tags and create playlists. – Consolidate your library once for all. – Windows 64 only
Qwen-Image-Edit is the image editing version of Qwen-Image. It is further trained based on the 20B Qwen-Image model, successfully extending Qwen-Image’s unique text rendering capabilities to editing tasks, enabling precise text editing. In addition, Qwen-Image-Edit feeds the input image into both Qwen2.5-VL (for visual semantic control) and the VAE Encoder (for visual appearance control), thus achieving dual semantic and appearance editing capabilities.
PixiEditor is a universal 2D editor that was made to provide you with tools and features for all your 2D needs. Create beautiful sprites for your games, animations, edit images, create logos. All packed up in an intuitive and familiar interface.
The goal was ambitious: to generate a hyper-detailed 3DGS scan from a massive dataset—20,000 drone photos at full resolution (5280x3956px). All of this on a single machine with just one RTX 4090 GPU.
What was the problem? Most existing tools simply can’t handle this volume of data. For instance, Postshot, which is excellent for many tasks, confidently processed up to 7,000 photos but choked on 20,000—it ran for two days without even starting the model training. The Breakthrough Solution. The real discovery was the software from GreenValley International
Their approach is brilliant: instead of trying to swallow the entire dataset at once, the program intelligently divides it into smaller, manageable chunks, trains each one individually, and then seamlessly merges them into one giant, detailed scene. After 40 hours of rendering, we got this stunning 103 million splats PLY result:
Temporary Use: AI-generated material can be used for ideation, visualization, and exploration—but is currently considered temporary and not part of final deliverables.
Ownership & Rights: All outputs must be carefully reviewed to ensure rights, copyright, and usage are properly cleared before integrating into production.
Transparency: Productions are expected to document and disclose how generative AI is used.
Human Oversight: AI tools are meant to support creative teams, not replace them—final decision-making rests with human creators.
Security & Compliance: Any use of AI tools must align with Netflix’s security protocols and protect confidential production material.
Matrix-3D utilizes panoramic representation for wide-coverage omnidirectional explorable 3D world generation that combines conditional video generation and panoramic 3D reconstruction.
Large-Scale Scene Generation : Compared to existing scene generation approaches, Matrix-3D supports the generation of broader, more expansive scenes that allow for complete 360-degree free exploration.
High Controllability : Matrix-3D supports both text and image inputs, with customizable trajectories and infinite extensibility.
Strong Generalization Capability : Built upon self-developed 3D data and video model priors, Matrix-3D enables the generation of diverse and high-quality 3D scenes.
Speed-Quality Balance: Two types of panoramic 3D reconstruction methods are proposed to achieve rapid and detailed 3D reconstruction respectively.
There are three models, two are available now, and a third open-weight version is coming soon:
FLUX.1 Kontext [pro]: State-of-the-art performance for image editing. High-quality outputs, great prompt following, and consistent results.
FLUX.1 Kontext [max]: A premium model that brings maximum performance, improved prompt adherence, and high-quality typography generation without compromise on speed.
Coming soon: FLUX.1 Kontext [dev]: An open-weight, guidance-distilled version of Kontext.
We’re so excited with what Kontext can do, we’ve created a collection of models on Replicate to give you ideas:
Petroleum jelly
This crude but reasonably effective technique involves smearing petroleum jelly (“Vaseline”) on a plate of glass in front of the camera lens, also known as vaselensing, then cleaning and reapplying it after each shot — a time-consuming process, but one which creates a blur around the model. This technique was used for the endoskeleton in The Terminator. This process was also employed by Jim Danforth to blur the pterodactyl’s wings in Hammer Films’ When Dinosaurs Ruled the Earth, and by Randal William Cook on the terror dogs sequence in Ghostbusters.[citation needed]
Bumping the puppet
Gently bumping or flicking the puppet before taking the frame will produce a slight blur; however, care must be taken when doing this that the puppet does not move too much or that one does not bump or move props or set pieces.
Moving the table
Moving the table on which the model is standing while the film is being exposed creates a slight, realistic blur. This technique was developed by Ladislas Starevich: when the characters ran, he moved the set in the opposite direction. This is seen in The Little Parade when the ballerina is chased by the devil. Starevich also used this technique on his films The Eyes of the Dragon, The Magical Clock and The Mascot. Aardman Animations used this for the train chase in The Wrong Trousers and again during the lorry chase in A Close Shave. In both cases the cameras were moved physically during a 1-2 second exposure. The technique was revived for the full-length Wallace & Gromit: The Curse of the Were-Rabbit.
Go motion
The most sophisticated technique was originally developed for the film The Empire Strikes Back and used for some shots of the tauntauns and was later used on films like Dragonslayer and is quite different from traditional stop motion. The model is essentially a rod puppet. The rods are attached to motors which are linked to a computer that can record the movements as the model is traditionally animated. When enough movements have been made, the model is reset to its original position, the camera rolls and the model is moved across the table. Because the model is moving during shots, motion blur is created.
A variation of go motion was used in E.T. the Extra-Terrestrial to partially animate the children on their bicycles.
