Finn Jäger has spent some time in making a sleeker tool for all you VFX nerds out there, it takes a HEIC iPhone still and exports a Multichannel EXR – the cool thing is it also converts it to acesCG and it merges the SDR base image with the gain map according to apples math hdr_rgb = sdr_rgb * (1.0 + (headroom – 1.0) * gainmap)
Brandolini’s law (or the bullshit asymmetry principle) is an internet adage coined in 2013 by Italian programmer Alberto Brandolini. It compares the considerable effort of debunking misinformation to the relative ease of creating it in the first place.
The law states: “The amount of energy needed to refute bullshit is an order of magnitude bigger than to produce it.”
This is why every time you kill a lie, it feels like nothing changed. It’s why no matter how many facts you post, how many sources you cite, how many receipts you show—the swarm just keeps coming. Because while you’re out in the open doing surgery, the machine is behind the curtain spraying aerosol deceit into every vent.
The lie takes ten seconds. The truth takes ten paragraphs. And by the time you’ve written the tenth, the people you’re trying to reach have already scrolled past.
Every viral deception—the fake quote, the rigged video, the synthetic outrage—takes almost nothing to create. And once it’s out there, you’re not just correcting a fact—you’re prying it out of someone’s identity. Because people don’t adopt lies just for information. They adopt them for belonging. The lie becomes part of who they are, and your correction becomes an attack.
And still—you must correct it. Still, you must fight.
Because even if truth doesn’t spread as fast, it roots deeper. Even if it doesn’t go viral, it endures. And eventually, it makes people bulletproof to the next wave of narrative sewage.
You’re not here to win a one-day war. You’re here to outlast a never-ending invasion.
The lies are roaches. You kill one, and a hundred more scramble behind the drywall.The lies are Hydra heads. You cut one off, and two grow back. But you keep swinging anyway.
Because this isn’t about instant wins. It’s about making the cost of lying higher. It’s about being the resistance that doesn’t fold. You don’t fight because it’s easy. You fight because it’s right.
GenUE brings prompt-driven 3D asset creation directly into Unreal Engine using ComfyUI as a flexible backend. • Generate high-quality images from text prompts. • Choose from a catalog of batch-generated images – no style limitations. • Convert the selected image to a fully textured 3D mesh. • Automatically import and place the model into your Unreal Engine scene. This modular pipeline gives you full control over the image and 3D generation stages, with support for any ComfyUI workflow or model. Full generation (image + mesh + import) completes in under 2 minutes on a high-end consumer GPU.
What it offers: • Base rigs for multiple character types • Automatic weight application • Built-in facial rigging system • Bone generators with FK and IK options • Streamlined constraint panel
• Prompt GPT-Image-1 directly in ComfyUI using text or image inputs • Set resolution and quality • Supports image editing + transparent backgrounds • Seamlessly mix with local workflows like WAN 2.1, FLUX Tools, and more
What makes it special? • Massive 10B parameter geometric model with 10x more mesh faces. • High-quality textures with industry-first multi-view PBR generation. • Optimized skeletal rigging for streamlined animation workflows. • Flexible pipeline for text-to-3D and image-to-3D generation.
They’re making it accessible to everyone: • Open-source code and pre-trained models. • Easy-to-use API and intuitive web interface. • Free daily quota doubled to 20 generations!
Video try-on replaces clothing in videos with target garments. Existing methods struggle to generate high-quality and temporally consistent results when handling complex clothing patterns and diverse body poses. We present 3DV-TON, a novel diffusion-based framework for generating high-fidelity and temporally consistent video try-on results. Our approach employs generated animatable textured 3D meshes as explicit frame-level guidance, alleviating the issue of models over-focusing on appearance fidelity at the expanse of motion coherence. This is achieved by enabling direct reference to consistent garment texture movements throughout video sequences. The proposed method features an adaptive pipeline for generating dynamic 3D guidance: (1) selecting a keyframe for initial 2D image try-on, followed by (2) reconstructing and animating a textured 3D mesh synchronized with original video poses. We further introduce a robust rectangular masking strategy that successfully mitigates artifact propagation caused by leaking clothing information during dynamic human and garment movements. To advance video try-on research, we introduce HR-VVT, a high-resolution benchmark dataset containing 130 videos with diverse clothing types and scenarios. Quantitative and qualitative results demonstrate our superior performance over existing methods.
🔸 Gaussian Splats: imagine throwing thousands of tiny ellipsoidal paint drops. They overlap, blend, and create a smooth, photorealistic look. Fast, great for visualization, but less structured for measurements.
🔸 Point Clouds: every dot is a measured hit. LiDAR or photogrammetry gives us millions of them forming a constellation of reality. Amazing for accuracy, but they don’t connect the dots out of the box.
🔸 Meshes: take those points, connect them into triangles, and you get very realistic surfaces. Strong for 3D analysis, simulation as continues watertight models.
In color technology, color depth also known as bit depth, is either the number of bits used to indicate the color of a single pixel, OR the number of bits used for each color component of a single pixel.
When referring to a pixel, the concept can be defined as bits per pixel (bpp).
When referring to a color component, the concept can be defined as bits per component, bits per channel, bits per color (all three abbreviated bpc), and also bits per pixel component, bits per color channel or bits per sample (bps). Modern standards tend to use bits per component, but historical lower-depth systems used bits per pixel more often.
Color depth is only one aspect of color representation, expressing the precision with which the amount of each primary can be expressed; the other aspect is how broad a range of colors can be expressed (the gamut). The definition of both color precision and gamut is accomplished with a color encoding specification which assigns a digital code value to a location in a color space.
