BREAKING NEWS
LATEST POSTS
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Agentic n8n Bigfoot VLOG – Meet my ALIEN friend ZORP
▶︎ You send your idea (from WhatsApp, Telegram, or Slack or manual click)
▶︎ The AI agent (powered by Gemini or any LLM) turns it into a structured video prompt
▶︎ It calls Replicate or Fal.ai to generate the video
▶︎ The final video is saved to your Google Sheet -
Feed Your OWN Documents to a Local Large Language Model AI engine
RAG (retrieval augmented generation)
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memerwala_londa – Ghibli like Midjourney and Kling video
https://www.reddit.com/r/midjourney/comments/1lbblfq/ghibli_style_game_guide_included/
Made everything on Edits App
Image Generation on Midjourney
Video Generation on Kling 2.1I used Joystick png to add buttons,then some asmr video sounds to make it look more lively,I used text as Buttons,
Prompts:
All Prompts are in order just like in video
First-person POV video game screenshot, playing as a young anime protagonist in a slightly oversized white t-shirt and knee-length blue shorts. Visible hands pushing open a sun-faded wooden door, forearms resting on the frame. In a dusty hallway mirror reflection: character’s soft Ghibli-style face with windblown hair. Inside a cozy coastal cottage: slanted sunlight through lace curtains, pastel walls with watercolor seascapes, overstuffed bookshelf spilling seashells. Foreground: ‘E: Rest’ prompt over a quilted sofa. Background: steaming teacup on a driftwood table, open window revealing distant lighthouse and Miyazaki fluffy clouds. Soft painterly textures, slight fisheye lens, identical HUD (minimap corner, health bar)
First-person POV video game screenshot, playing as a young anime protagonist in a slightly oversized white t-shirt and knee-length blue shorts. View includes visible hands gripping a steering wheel, sunlit arms resting on car door, and rearview mirror showing character’s soft Ghibli-style face with windblown hair. Driving through a vibrant coastal town: cobblestone streets, pastel houses with flower boxes, distant lighthouse. Soft painterly textures, Miyazaki skies with fluffy clouds, slight fisheye lens effect, HUD elements (minimap corner, health bar).
First-person POV video game screenshot, playing as a young protagonist in a loose white t-shirt and faded denim shorts. Visible arms holding a woven basket, sneakers stepping on rain-damp cobblestones. Walking through a chaotic Ghibli street market: cramped stalls selling glowing mushrooms, floating lanterns, and spiral-cut fruits. Fishmonger shouts while soot sprites dart between crates. Foreground: vendor handing you a peach (interactive ‘E’ prompt). Background: yakuza thugs lurking near a steaming noodle cart. Soft painterly lighting, depth of field, subtle HUD (minimap corner, health bar). Studio Ghibli meets Grand Theft Auto
First-person POV video game screenshot, playing as a young anime protagonist in a slightly oversized white t-shirt (salt-stained sleeves) and knee-length blue shorts, visible hands gripping a bamboo fishing rod. Kneeling on a mossy dock pier at sunset, arms resting on knees. Foreground: ‘E: Reel In’ prompt as line pulls taut. Background: pastel fishing boats, distant lighthouse under Miyazaki’s fluffy clouds. Glowing koi fish breaching turquoise water, soot sprites stealing bait from a tin. Identical soft painterly textures, fisheye lens effect, HUD (minimap corner, health bar).
Video Prompts :
All Prompts are in order just like in video
The black-haired boy strides from the rustic house toward the ocean, the camera tracking his movement in a GTA-style third-person perspective as coastal winds flutter white curtains and sunlight glimmers on distant sailboats, blending warm interior details with expanding seaside horizons under a tranquil sky.
The brown-haired boy drives a vintage blue convertible along the coastal cobblestone street, colorful flower-adorned buildings passing by as the camera follows the car’s journey toward the sunlit ocean horizon, sea breeze gently tousling his hair under a serene sky.
The young boy navigates the bustling cobblestone market, basket of oranges in arm, as vibrant stalls and fluttering awnings frame his journey, the camera tracking his focused stride through chattering crowds under swaying traditional lanterns.
A school of fish swims gracefully through crystal-clear water, sunlight filtering through the surface, coral reefs swaying gently, creating a serene underwater scene with the camera stationary.
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Free or Open Source VFX Asset Management Systems
There are several free or open-source VFX asset management systems available that can be used in production environments. These tools vary in scope—from lightweight tools to full-fledged pipeline frameworks. Below is a breakdown of the most notable ones and what makes them stand out.
1. Free & Open-Source VFX Asset Management Systems
1.1 OpenPype (formerly Pype)
License: Open source (Apache 2.0)
– Asset management and project structure setup
– Integrates with Maya, Houdini, Nuke, Blender, and others
– Includes publishing, versioning, and task tracking
– Web interface (OpenPype Studio) for overview and managementStrengths: Actively developed, modular and extendable, production-proven in real studios
URL: https://openpype.io/
1.2 Kitsu
License: GNU GPL v3
– Production tracking, shot management
– Web-based interface with intuitive UX
– Built-in review and feedback system
– API for integration into pipelinesStrengths: Great for team collaboration, focuses on communication between departments
URL: https://www.cg-wire.com/kitsu
https://github.com/cgwire/kitsu
1.3 ftrack Community Edition
License: Proprietary (older versions may be available for small studios/educational users)
– Project management, review, and pipeline integration
– Strength: Industry-proven
Note: Current versions are commercial; older community editions may still be used.
1.4 Tactic
License: Open source (EPL 1.0)
– General-purpose asset and workflow management
– Web-based, highly configurableStrengths: Adaptable to VFX pipelines, powerful templating/scripting
Drawbacks: Steep learning curve, not VFX-specific out of the box
URL: https://www.southpawtech.com/
2. Most Powerful Open Source Option
Best Overall: OpenPype
Why:
– Specifically built for VFX and animation pipelines
– Extensively integrates with key DCCs
– Actively maintained with a large community
– Includes both asset and task management
– Works out-of-the-box but is customizable -
Tencent Hunyuan3D 2.1 goes Open Source and adds MV (Multi-view) and MV Mini
https://huggingface.co/tencent/Hunyuan3D-2mv
https://huggingface.co/tencent/Hunyuan3D-2mini
https://github.com/Tencent/Hunyuan3D-2
Tencent just made Hunyuan3D 2.1 open-source.
This is the first fully open-source, production-ready PBR 3D generative model with cinema-grade quality.
https://github.com/Tencent-Hunyuan/Hunyuan3D-2.1
What makes it special?
• Advanced PBR material synthesis brings realistic materials like leather, bronze, and more to life with stunning light interactions.
• Complete access to model weights, training/inference code, data pipelines.
• Optimized to run on accessible hardware.
• Built for real-world applications with professional-grade output quality.
They’re making it accessible to everyone:
• Complete open-source ecosystem with full documentation.
• Ready-to-use model weights and training infrastructure.
• Live demo available for instant testing.
• Comprehensive GitHub repository with implementation details.
FEATURED POSTS
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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.”
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Ethan Roffler interviews CG Supervisor Daniele Tosti
Ethan Roffler
I recently had the honor of interviewing this VFX genius and gained great insight into what it takes to work in the entertainment industry. Keep in mind, these questions are coming from an artist’s perspective but can be applied to any creative individual looking for some wisdom from a professional. So grab a drink, sit back, and enjoy this fun and insightful conversation.
Ethan
To start, I just wanted to say thank you so much for taking the time for this interview!Daniele
My pleasure.
When I started my career I struggled to find help. Even people in the industry at the time were not that helpful. Because of that, I decided very early on that I was going to do exactly the opposite. I spend most of my weekends talking or helping students. ;)Ethan
(more…)
That’s awesome! I have also come across the same struggle! Just a heads up, this will probably be the most informal interview you’ll ever have haha! Okay, so let’s start with a small introduction!
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Photography basics: Solid Angle measures
http://www.calculator.org/property.aspx?name=solid+angle
A measure of how large the object appears to an observer looking from that point. Thus. A measure for objects in the sky. Useful to retuen the size of the sun and moon… and in perspective, how much of their contribution to lighting. Solid angle can be represented in ‘angular diameter’ as well.
http://en.wikipedia.org/wiki/Solid_angle
http://www.mathsisfun.com/geometry/steradian.html
A solid angle is expressed in a dimensionless unit called a steradian (symbol: sr). By default in terms of the total celestial sphere and before atmospheric’s scattering, the Sun and the Moon subtend fractional areas of 0.000546% (Sun) and 0.000531% (Moon).
http://en.wikipedia.org/wiki/Solid_angle#Sun_and_Moon
On earth the sun is likely closer to 0.00011 solid angle after athmospheric scattering. The sun as perceived from earth has a diameter of 0.53 degrees. This is about 0.000064 solid angle.
http://www.numericana.com/answer/angles.htm
The mean angular diameter of the full moon is 2q = 0.52° (it varies with time around that average, by about 0.009°). This translates into a solid angle of 0.0000647 sr, which means that the whole night sky covers a solid angle roughly one hundred thousand times greater than the full moon.
More info
http://lcogt.net/spacebook/using-angles-describe-positions-and-apparent-sizes-objects
http://amazing-space.stsci.edu/glossary/def.php.s=topic_astronomy
Angular Size
The apparent size of an object as seen by an observer; expressed in units of degrees (of arc), arc minutes, or arc seconds. The moon, as viewed from the Earth, has an angular diameter of one-half a degree.
The angle covered by the diameter of the full moon is about 31 arcmin or 1/2°, so astronomers would say the Moon’s angular diameter is 31 arcmin, or the Moon subtends an angle of 31 arcmin.