#MultiEntityConsistency

[deepdreamnights]

Tribute AMV for Dr. Underfang and Mrs. Natalie Nice/Nautilus.

From TyrannoMax and the Warriors of the Core, everyone's favorite Buzby-Spurlock animated series.

After all, who doesn't love a good bad guy, especially when they come in pairs?

Process/Tutorial Under the Fold.

This is, of course, a part of my TyrannoMax unreality project, with most of these video clips coming from vidu, taking advantage of their multi-entity consistency feature (more on that later). This is going to be part of a larger villain showcase video, but this section is going to be its own youtube short, so its an video on its own.

The animation here is intentionally less smooth than the original, as I'm going for a 1980s animated series look, and even in the well-animated episodes you were typically getting 12 FPS (animating 'on twos'), with 8 (on threes) being way more common. As I get access to better animation software to rework these (currently just fuddling along with PS) I'm going to start using this to my advantage by selectively dropping blurry intermediate frames.

I went with 12 since most of these clips are, in the meta-lore, from the opening couple of episodes and the opening credits, where most of the money for a series went back in the day.

Underfang's transformation sequence was my testing for several of my techniques for making larger TyrannoMax videos. Among those was selectively dropping some of the warped frames as I mentioned above, though for a few shots I had to wind up re-painting sections.

Multi-entity consistency can keep difficult dinosaur characters stable on their own, but it wasn't up to the task of keeping the time-temple accurate enough for my use, as you can see here with the all-t-rex- and-some-moving-statues, verses the multi-species effort I had planned:

The answer was simple, chroma-key.

Most of the Underfang transformation shots were done this way. The foot-stomp was too good to leave just because he sprouted some extra toes, so that was worth repainting a few frames of in post.

Vidu kind of over-did the texturing on a few shots (and magenta was a poor choice of key-color) so I had to go in and manually purple-ize the background frame by frame for the spin-shot.

This is on top of the normal cropping, scaling, color-correcting, etc that goes into any editing job of this type.

It's like I say: nearly all AI you see is edited, most of it curated, even the stuff that's awful and obvious (never forget: enragement is engagement)

Multi-Entity Consistency:

Vidu's big advantage is reference-to-video. For those who have been following the blog for awhile, R2V is sort of like Midjourney's --cref character reference feature. A lot of video AIs have start-end frame functionality, but being able to give the robot a model sheet and effectively have it run with it is a darn nice feature for narrative.

Unlike the current version of Midjourney's --cref feature, however, you can reference multiple concepts with multiple images.

It is super-helpful when you need to get multiple characters to interact, because without it, they tend to blend into each other conceptually.

I also use it to add locations, mainly to keep them looking appropriately background-painting rather than a 3d background or something that looks like a modded photo like a lot of modern animation does.

The potential here for using this tech as a force multiplier for small animation projects really shines through, and I really hope I'm just one of several attempting to use it for that purpose.

Music:

The song is "The Boys Have a Second Lead Pipe", one of my Suno creations. I was thinking of using Dinowave (Let's Dance To) but I'm saving that for a music video of live-action dinosovians.

Prompting:

You can tell by the screenshot above that my prompts have gotten... robust. Vidu's prompting system seems to understand things better when given tighter reigns (some AIs have the opposite effect), and takes information with time-codes semi-regularly, so my prompts are now more like:

low-angle shot, closeup, of a green tyrannosaurus-mad-scientist wearing a blue shirt and purple tie with white lab coat and a lavender octopus-woman with tentacles growing from her head, wearing a teal blouse, purple skirt, purple-gray pantyhose. they stand close to each other, arms crossed, laughing evilly. POV shot of them looming over the viewer menacingly. The background is a city, in the style of animation background images. 1986 vintage cel-shaded cartoon clip, a dinosaur-anthro wearing a lab coat, shirt and tie reaches into his coat with his right hand and pulls out a laser gun, he takes aim, points the laser gun at the camera and fires. The laser effect is short streaks of white energy with a purple glow. The whole clip has the look and feel of vintage 1986 action adventure cel-animated cartoons. The animation quality is high, with flawless motion and anatomy. animated by Tokyo Movie Shinsha, studio Ghibli, don bluth. BluRay remaster.

While others approach the scripted with time-code callouts for individual actions.

[deepdreamnights]

A full process breakdown is going to come. I'm just tired.

Lookout Battleship! Hollywood and Texas Instruments say "Get nostalgic... or else!"

The first action blockbuster based on a calculator!

[anylles]

#guitar #rock #cover #aicats #viduchallenge #multientityconsistency #cute #katze #bon kitty