#mathematic (vfx)

[tangibletechnomancy]

The AI Boom and the Mechanical Turk

A hidden, overworked man operating a painting, chess-playing robot, generated with the model Dreamlike Diffusion on Simple Stable, ~4 hours Created under the Code of Ethics of Are We Art Yet?

In 1770, an inventor named Wolfgang von Kempelen created a machine that astounded the world, a device that prompted all new understanding of what human engineering could produce: the Automaton Chess Player, also known as the Mechanical Turk. Not only could it play a strong game of chess against a human opponent, playing against and defeating many challengers including statesmen such as Benjamin Franklin and Napoleon Bonaparte, it could also complete a knight's tour, a puzzle where one must use a knight to visit each square on the board exactly once. It was a marvel of mechanical engineering, able to not only choose its moves, but move the pieces itself with its mechanical hands.

It was also a giant hoax.

What it was: genuinely a marvel of mechanical engineering, an impressively designed puppet that was able to manipulate pieces on a chessboard.

What it wasn't: an automaton of any kind, let alone one that could understand chess well enough to play at a human grandmaster's level. Instead, the puppet was manipulated by a human chess grandmaster hidden inside the stage setup.

So, here and now, in 2023, we have writers and actors on a drawn-out and much needed strike, in part because production companies are trying to "replace their labor with AI".

How is this relevant to the Mechanical Turk, you ask?

Because just like back then, what's being proposed is, at best, a massive exaggeration of how the proposed labor shift could feasibly work. Just as we had the technology then to create an elaborate puppet to move chess pieces, but not to make it choose its moves for itself or move autonomously, we have the technology now to help people flesh out their ideas faster than ever before, using different skill sets - but we DON'T have the ability to make the basic idea generation, the coherent outlining, nor the editing nearly as autonomous as the companies promising this future claim.

What AI models can do: Various things from expanding upon ideas given to them using various mathematical parameters and descriptions, keywords, and/or guide images of various kinds, to operating semi-autonomously as fictional characters, when properly directed and maintained (e.g., Neuro-sama).

What they can't do: Conceive an entire coherent movie or TV show and write a passable script - let alone scripts for an entire show - from start to finish without human involvement, generate images with a true complete lack of human involvement, act fully autonomously as characters, or...do MOST of the things such companies are trying to attribute to "AI (+unimportant nameless human we GUESS)", for that matter.

The distinction may sound small, but it is a critical one: the point behind this modern Mechanical Turk scam, after all, is that it allegedly eliminates human involvement, and thus the need to pay human employees, right...?

But it doesn't. It only enables companies to shift the labor to a hidden, even more underpaid sector, and even argue that they DESERVE to be paid so little once found out because "okay okay so it's not TOTALLY autonomous but the robot IS the one REALLY doing all the important work we swear!!"

It's all smoke and mirrors. A lie. A Mechanical Turk. Wrangling these algorithms into creating something truly professionally presentable - not just as a cash-grab gimmick that will be forgotten as soon as the novelty wears off - DOES require creativity and skill. It IS a time-consuming labor. It, like so many other uses of digital tools in creative spaces (e.g., VFX), needs to be recognized as such, for the protection of all parties involved, whether their role in the creative process is manual or tool-assisted.

So please, DO pay attention to the men behind the curtain.

[sirfrogsworth]

In this one I tried to blend my LED light panels with the outdoor light.

And then I thought I'd try to explore the world of LUTs a bit more.

A "look up table" is a special mathematical model that emulates a certain color profile. In the early days of digital effects you had to scan film into the computer, do your VFX wizardry, and then print back onto film. They would use a film emulation LUT to make sure the output looked the same as the original developed film.

Now LUTs are often used to make digital photos and video footage look like various film stock. They are different than color grading because they can create a consistent look throughout every scene. Color grading can require tweaks every time there is a lighting change, but LUTs are much more adaptable. LUTs aren't a substitute for color grading, as both are usually necessary. But they can be a great shortcut to get you a certain look and they can also help you get consistency even when you use different cameras with different color science.

The LUT I used for the second photo was for Kodak 5205 film stock. Which is the same film stock they used on the Taken movies.

Did I look like I had a very particular set of skills?

[abbas6355]

Drake - First Person Shooter ft. J. Cole

Director - Gibson Hazard EP/Producer - Liam Akiva EP - Christian Tyler Executive Producer /Creative Direction- Drake, qJamil "Big Juice" 'Davis Creative Direction - Jack Bannon & Reduciano  Production Company - House of Hazard x Denim Line Producer - Cam Frengopoulos & Alex Dall’Orso Associate Producer - Jackie De Niverville Production Manager - Trevor Evoy Production Coordinator - Amber Warus Cinematographer - Bobby Shore 1st AC - Dave Stuart B-Unit Director - Nick Dean Production Designer - Electa Porado Gaffer - Jordan Heguy Key Grip - Todd N Thompson Editors - Gibson Hazard & Jack Bannon Sound Design - Chris Smith & Jack Bannon 3D Animation Lead - Reduciano VFX - Mathematic  VFX - Karen Arakelian VFX - Pendulum VFX - Scissor Films VFX - Black Hat VFX - Aid6n.edits Colourist - Dante Pasquinelli Graphic Design - Alessandro Comotti Special thanks to Scotiabank Arena, House of Hazard, OVO, Dreamville and Vanessa Hoffer

full video

[maacsatara]

Understanding Dynamics: Cloth, Hair, and Fluid Simulations

The field of animation and visual effects (VFX) has seen significant advancements over the years, with dynamics simulations being one of the most critical aspects. Dynamics refer to the realistic simulation of movement and interactions of objects that behave according to the laws of physics. Aspiring artists can gain expertise in this area by enrolling in the best animation institute in Pune, which offers comprehensive training in dynamics. Among these, cloth, hair, and fluid simulations stand out due to their complexity and relevance in creating lifelike animations. Whether it’s the fluttering of a character’s cape, the natural bounce of hair, or the mesmerizing flow of water, these simulations are pivotal in delivering immersive experiences in movies, games, and commercials.  

Cloth Simulation

Cloth simulation focuses on recreating the behavior of fabrics in various scenarios, such as movement, stretching, and interaction with other objects. This involves complex mathematical models and algorithms to ensure realism.  

1. Core Principles  

Cloth behaves based on its material properties like weight, elasticity, and friction. Simulating it accurately involves solving equations related to physics and geometry. Systems like mass-spring models and finite element methods (FEM) are commonly used to calculate cloth dynamics.  

2. Applications in Media

In animated movies and games, cloth simulation is critical for creating realistic costumes. For example, in Disney's *Frozen*, Elsa’s dress moves naturally as she walks, thanks to detailed cloth simulations.  

3. Challenges

One of the biggest hurdles in cloth simulation is balancing realism with computational efficiency. Realistic fabric behavior requires heavy calculations, especially in complex scenes with multiple garments interacting with wind, water, or other forces.  

4. Software for Cloth Simulation

Tools like Marvelous Designer, Houdini, and Maya’s nCloth are widely used for cloth simulation. These programs offer parameters to control fabric types, gravity, and collisions.  

Hair Simulation

Hair simulation is another intricate aspect of dynamics, involving thousands of individual strands that must move cohesively while responding to environmental forces like wind and gravity.  

1. Understanding Hair Dynamics

Hair simulations are governed by principles such as strand stiffness, weight, and drag. To achieve realism, animators simulate each strand or clump as a physical object that interacts with forces around it.  

2. Techniques Used

Simulating hair often relies on particle-based systems or curve dynamics. Particle systems simulate hair as individual particles connected by constraints, while curve dynamics model hair as curves with defined physics properties.  

3. Iconic Examples  

Disney’s *Tangled* revolutionized hair simulation with Rapunzel’s 70 feet of flowing, interactive hair. The studio used a unique software called Medusa to simulate hair that could interact with the environment and character movements seamlessly.  

4. Challenges in Hair Simulation

Hair simulations can be computationally expensive due to the sheer number of strands and their complex interactions. Animators must also ensure that simulated hair blends seamlessly with the character’s movements and emotions.  

5. Tools for Hair Simulation

Programs like Blender, Houdini, and Maya’s XGen are popular for hair simulations. These tools allow artists to design, groom, and animate hair with customizable properties.  

Fluid Simulation  

Fluid simulation is one of the most visually stunning aspects of dynamics, focusing on recreating the behavior of liquids, gases, and fire.  

1. Key Properties of Fluids

Fluids are defined by properties like viscosity, density, and surface tension. Simulations must account for these variables to replicate natural behaviors such as water ripples, splashes, or fire flickering.  

2. Methods of Simulation

Fluid simulations often use grid-based methods like Eulerian grids or particle-based approaches such as Smoothed Particle Hydrodynamics (SPH). These techniques allow animators to calculate fluid behavior in three-dimensional space.  

3. Applications in Media

From raging ocean waves in *Moana* to the fiery explosions in action movies, fluid simulations bring realism to scenes that would otherwise be impossible to film practically.  

4. Challenges in Fluid Simulation

Simulating fluids requires high computational power, especially for large-scale effects like oceans or floods. The interaction of fluids with other objects, such as characters or terrain, adds another layer of complexity.  

5. Popular Tools

Houdini, RealFlow, and Blender’s Mantaflow are leading software for fluid simulations. These tools enable artists to design everything from realistic water splashes to intricate smoke patterns.  

Integrating Dynamics in Production

1. Collaboration with Other Departments  

Simulations often require close collaboration with animators, riggers, and lighting artists. For instance, cloth simulations must match the character's movements, while hair dynamics need to respond to wind or environmental changes.  

2. Optimization Techniques

To balance realism and efficiency, studios use techniques like level of detail (LOD), where simulations are more detailed in close-up shots and simplified for distant ones.  

3. The Role of AI in Dynamics  

Recent advancements in AI and machine learning are transforming dynamics simulations. AI-powered tools can predict fabric or hair behavior faster, reducing computational load and enhancing accuracy.  

Future Trends in Dynamics Simulations

1. Real-Time Simulations

With the rise of virtual production and gaming, real-time dynamics are becoming essential. Technologies like Unreal Engine enable real-time cloth and fluid simulations, revolutionizing interactive media.  

2. Integration with AR/VR

In augmented and virtual reality, dynamics simulations enhance user immersion by providing lifelike interactions with virtual environments.  

3. Sustainability in Rendering

As simulations become more advanced, optimizing computational resources is critical to reduce the environmental impact of rendering processes.  

Conclusion

Cloth, hair, and fluid simulations are at the heart of modern visual storytelling, pushing the boundaries of what is possible in animation and VFX. Aspiring artists looking to master these skills can benefit greatly from training at an animation institute in Pune, where they can learn the latest techniques and tools. As technology advances, these dynamics will continue to evolve, enabling artists to create even more breathtaking and realistic worlds. By mastering these simulations, creators not only enhance visual appeal but also bring authenticity to their stories, bridging the gap between reality and imagination.

[vfxexpress]

The Walking Dead – Daryl Dixon: VFX Breakdown by Mathematic Film

The first season of The Walking Dead: Daryl Dixon showcases stunning visual effects crafted by Mathematic Film. Witness the chaos as the undead meet their doom, and dive into the intricate process behind these spectacular scenes.

[raisedbyelectronics]

"Just pick up a pencil."

I honestly disagree with this sentiment.

Let's start with the collateral damage.

There is generative art out there that isn't made through GANs or other similar methods. Reddit's r/generative is home to this kind, made without either lifted training data or a prompt-based workflow. Just math, computer wizardry, and human ingenuity. You can make beautiful fractals, flowing shapes, etc., and you can take as many liberties as you want. Yet this unrelated art form happens to share the name "generative."

Then there's procedural effects in 3D digital art, animation, VFX, and CAD. I see that form of randomness as no worse than the natural imperfections that result from a pencil or paintbrush.

Even stabilization tools on apps like ProCreate have come under fire.

People hear about "Photoshop's plagiarism algorithms" and think the whole app uses them, or that Gaussian blur algorithms use content from Google Images.

I think a lot of the "pick up a pencil" crowd are missing the point and vilifying all computer-aided art forms as soulless, or making points tangential to the overall AI debate.

I can follow the logic behind a lot of arguments over the collection of training data for "true" AI art made with GAN and stable diffusion-based models, or the skill level of prompt engineering. (But I don't agree with banning or shaming it at all, or even with the idea that it's wrong, as enforcing the copyright of images from a Google Search would inadvertently ban many memes, and stable diffusion is way more complicated than a simple collage)

But mathematical or random models, liberties left to the computer, and digital art in general, are unfairly vilified in the process.

It's okay to pick up a pencil. But you can pick up a stylus, pick up your finger and put it on whatever control is in reach, etc., or pick up your technical intuition in one way or another.

And I also would love to see more ML-based AI that gives an artist even more liberties, and that discloses, for example, what it was trained on (perhaps consensual algorithms or mass libraries of stock photography).

Hypothetically, not all "true" AI has to be based on prompt engineering, or use it as the sole means of calling up images – and prompt engineering can also be used for finer details, etc. Perhaps as a way of generating the textures of 3D polygon animation.

But the goalposts keep moving.

This AI was trained on images in the public domain/that the company has permission to use!

Well, did the artists know at the time?

Well, this AI was trained on images expressly submitted to us!

But still, you're enabling non-artists to make fake art!

How?

Well, all you're doing is typing in a paragraph!

But this system has more areas to type in what you want, not just a single box!

But still, writing isn't making art!

Okay, this system more closely resembles a drawing program that turns your basic sketches or lasso fills into whatever you want them to be – the composition is yours!

But that's too easy!

Okay, this system just uses a really good ML algo to imitate brush strokes of a paintbrush!

Well....

"Why can't we use computers to simplify the boring stuff instead of simplifying the fun stuff?"

I've heard this so many times... implying that making art with a computer isn't fun, or that using a computer to automate or randomize anything is an insult to those who "took the time."

A few people speaking about AI music seem to also criticize things like random LFOs, random note generators, etc., that influence the sound design or composition of a production in a random way, though still ultimately on the terms of the producer. It's still a craft of love, and a great way to make cool R2D2 sounds or glitchy percussion.

Or speak of live musicians as the victims of AI music – something that as an electronic musician, I've heard about my hobby in general. That quantizing and pitch correction, or any kind of post-modification of any performance, is dishonest or disrespectful to those who "took the time" to learn to "properly" play. As if music were a sport, not an artform with many ways of practice. That gridding things in or arranging stock samples (a term that has two meanings: either arranging single notes or adding stock loops, or even bits of other songs) is dishonest. A lot of people don't even know that you can program in original melodies in electronic music, or skip samples entirely and use geometric or electronically-generated waveforms.

As if we don't take the time to develop our sounds and mix and match a variety of nonstandard, yet technical, areas, even if we leave some stuff to the computer and/or a stock loop library (or not... I tend not to use the latter).

As if people making any kind of procedural medium on a computer are only doing it because they're inartistic.

As if someone's personal opinion that 3D art with procedural FX, generative mathematical art, the music of Trovarsi, or anything with some randomization is soulless... makes it so.

As if they could do better just sitting down at the tools of the "talentless hacks'" trade.

As if anyone can sit down and make anything on r/generative, or even use Photoshop's Generative Fill, effectively on the first go.

One friend of mine thought electronic music was talentless and unoriginal, and that it was all "soulless and sterile and made from stolen loops"... I offered her 10 minutes of time with my laptop and a pair of headphones... she didn't want to try it out...

Speaking of that, when GarageBand was first announced to the general public, Steve Jobs mostly focused on the stock loops, even though you could make your own loops, record performances all the way through, or just grid things in... or use third party plugins.

I can see a similar trend happening with ML-based AI.

People will take the time to make it, and people will find it worth their time to consume it.

The opposite of "electronic" isn't "real". This is the force of thunder, thought, magnetism, chemistry, and emotion itself.

The opposite of "computer" (adj.) isn't "human." Humans designed computers.

And a lot of more "computery" art and music is very appealing to me. Am I a robot? No, but I'm of the species that designed them, and can tell you first-hand that creativity is very... complicated. Not that I don't think we should have it, but that it's ultimately in the eye of the beholder.

You didn't plan out each imperfection of your pencil line.

Nor each variation in harmonic overtone content or waveform each time you slap your bass.

Nor were you the first to draw a person, photograph the LA River, or tap out a clave rhythm.

Nor do comic book artists generally spend the same time on a single frame as a realist painter does on a whole painting... but that just lets them make more and create a whole new art form. And some comic book artists do slave away on each detail – or draw stick figures and still make effective comics. Or just take pictures for a photo comic. Or use stabilization. Or generative (mathematical) backgrounds.

Not too long ago, calculators were controversial in STEM classrooms. Now, many classes outright require them.

Not too long ago, spell check was lamented by English teachers. Now, many will outright encourage its use in typed essays, or have students do assignments on Canvas with it turned on.

The general attitude for using Wikipedia for research has evolved from "never use" to "use with skepticism and don't cite directly for school, but it's a great 'springboard' to find more info".

And typing has pretty much replaced cursive's role in high schools.

It's all how you look at it.

I will not be convinced that my computer is evil or unhealthy.

[chipped-chimera]

Ok sorry but hold on a sec while I get real neuroscience/social psychology-ey about this.

So I have been a good 'drawer' since I was very young, but I also have a keen interest in psychology for mental health (and honestly autism) reasons. I think one of the most formative things I've ever done in my young life with regards to my perspectives with art, was read Drawing on the Right Side of the Brain by Betty Edwards. At like, 13 (see what I mean about the autism? lol).

Did I need this book considering I'd gotten into my high-school with a literal art scholarship with my demonstrated skill? No. But I was interested in the neuroscience perspective of art + if there was anything I could draw from it that would help my own art improve.

I don't remember the specifics, but my main takeaways were this:

Absolutely no one pops out of the womb with innate art skill. Like language and reading, it is a developed skill, not born out of biological necessity. Natural talent doesn't exist.

Because skill in art tends to be devalued in western society across the board ('starving artist' mentality, how shittily VFX artists have been treated for years, OpenAI already knowing how to ask for permission to make an AI ethical because they were scared of the music industry but threw that out the window crawling for training data for stable-diffusion, how art is constantly stolen and reposted with 'credit to the artist!' without actually linking or crediting said artist - LITERALLY TAKE YOUR PICK) being artistic is not encouraged. As children we all draw (to make art is human, I sincerely believe this), but there will be a point where it goes from being an encouraged part of child development to 'this is a childish waste of time' and actively discouraged as a poor career choice. If you wondered why most people's artistic skill level is 'frozen' and can only draw like an 8 year old - this is why.

The reason people remain stuck in this frozen state is lack of education, because our societal structure doesn't emphasize the use of art. It's considered 'optional' or a 'hobby'. It's not a critical part of the curriculum like math or english. Reading and mathematics are not innate skills either, they have to be trained. The difference here is you straight up just did not get any education to make progress.

As an adult, we tend to get discouraged when we can't draw well at all for all the aforementioned reasons and give up (or if you're extra scummy, make AI art and claim artists are 'gatekeeping' as your excuse) but the only difference between you and someone who can draw, like me, is I grew up in an environment where drawing was encouraged, not torn down as a 'childish activity'. So I've literally spent most of my childhood practicing, that's the only reason I draw better. I just have more years of practice under my belt.

There's no such thing as talent in art. You might be able to pick colours well instinctively, heck you might be a tetrachromat (like I suspect I am) giving you an advantage that is innate and biological. But beyond that I honestly believe the only talent you can have is being stubborn and doggedly aiming for and perusing your goals, even when you feel discouraged. You will always see what is wrong in your own art, no matter if you started drawing seriously yesterday or 30 years ago. It's what I call 'the curse of the artist's eye' - but it is a good thing, because it means you still have room for improvement! You still have things to learn! If you think something about your art is shit, use that as motivation. Learn from the experience. Go find drawing books about the thing you're weak at drawing. Come at it from a different angle, utilize references. Keenly observe what you're looking at.

Also lastly, the most important one: the biggest barrier to improvement for most people is having to wind back years of ingrained symbology and actually start seeing. What do I mean by this? When you draw a portrait of yourself, ears, eyes, nose, etc. you aren't drawing your face at all - you're drawing a collection of learned symbols, the representation of an eye, a nose, a mouth, that you may have learned at 8 years old - then never progressed further. To break out of this you have to stop seeing 'eyes' and 'noses' you have to start seeing shapes and lines. One of the activities to demonstrate this in the book was to take a picture of a still life scene or something and do your best to draw it. Then take that picture, flip it upside-down and draw it again but upside-down. Generally comparing the two pictures, the upside-down version always had a drastic improvement - because you basically forced your brain out of using recognized, ingrained symbols and had to rely on shapes and structure instead.

Also as a side note: Having ingrained symbols isn't a bad thing - it's the backbone of artist style. But this is why most professional artists, even with highly stylized style recommend learning anatomy and doing life drawing first - because they have spent time learning to understand how things actually look and improving their skill, before basically developing a symbolic shorthand. I can usually tell my symbolic associations are getting too strong or I've 'forgotten' how to draw things when I start getting a lot of 'same face syndrome' in my art. That's usually a sign I need to go hit the books, practice drawing from life again so I can remember that. I don't just practice drawing eyes once and never do it again - I probably do a refresher, at minimum, once a year. And each year it gets a bit better.

So that's it. Talent doesn't exist, everyone can draw - all you gotta do is be stubborn enough to keep learning. Go forth and draw shit!

No really, this is literally it - in my lifetime I've infected at least three people with the drawing bug telling people this, girl in my italian class went from going 'I wish I could draw' to sitting next to me in fine arts in my final year of school. Just practice dude - and be stubborn about it.

truly the best thing to say to someone who self-deprecatingly tells you they "can't draw" is "why?"

[inspirationinbadthings]

ADIDAS "REMEMBER THE WHY" from Norm Li, csc on Vimeo.

Client: Adidas @adidas @adidasbasketball Prod Co: Love Song @lovesongfilms Agency: Johannes Leonardo @wearejl Dir: Illimitéworld @illimiteworldtv EP: Kelly Bayett @kellybayett EP: Daniel Wolfe @Judedanielwolfe EP: Deannie O’Nell @deannieo Head of Prod: Paige Kauffman @thatgirlpk Producer: Elise Tyler @snackelise Talent: Mekhi Kimble @mekhi_kimble Music: Flying Lotus @flyinglotus DP: Norm Li, csc @norm_li PD: Andrew Clarke 1st AC: Nico Martin @cleofilms Gaffer: Drew Valenti @drewvalenti Key Grip: Nick Kirsten @babytuna_can Drone: Lightcraft @lightcraft.tv Scripty: Edye Rice Editor: Matt Carter @matt_carter Editorial: Final Cut @finalcutedit Colorist: Joseph Bicknell @josephbicknell VFX: Mathematic LA @mathematic_us VFX EP: Hadi Dahrouge @hadiwd VFX Producers: Spencer Patzman & Matthew Allen @spencerpatzman @matthewallenfilm Post Supervisor & On Set Supervisor: Vincent Blin @blincestagram Sound & Mix: Barking Owl @barkingowlsound Sound Designer: Gus Koven @guskoven Rental House: Camtec @camtec_official Film: Kodak @kodak_shootfilm

[hridaymehta]

Editing Workshop

Research and Planning - Post 20

Before beginning on working on our project, we took part in the Editing Workshop at our school, where we learnt about how editing happens, the software we were going to use for editing, etc.

We began with discussing what a pixel is. It is the tiniest square in an image holding a particular shade of colour. Multiple pixels of various shades (or even of the same shade) come together to form an image.

There are 2 types of software, ones that use pixels and ones that use vectors. A vector software enables the user to design and manipulate computer images using geometric and mathematical commands.

There are 2 other types of software, layer based and node based. Layer based software uses multiple layers of certain text, photos, videos or audio which are 'layered' one on top of the other to produce the final output, in video the topmost layer showing the most amount of significance, however in audio layers the significance is equal. A node based software links images, texts, audio and video to produce the final output, appearing to be like a tree diagram, or a flowchart.

An example of a layer based software is Final Cut Pro X, which layers different forms of media to create a product, whereas an example of a node based software is Nuke, a great software used for VFX.

Moving on, we began with learning about the Final Cut Pro X video editing software's user interface, analyzing what each panel, tool, function and button is used for whilst editing. We explored different interfaces as well, for editing, adding any VFX or SFX from their respective libraries, titling libraries, transitions and colour grading.

At first looking at the software without having an understanding, I was a little bit overwhelmed by the appearance, looking at all the tasks it could carry out. After seeing it in action with some footage our sir edited to show how it performs, I had a clearer idea of how to edit. These skills immensely get enhanced and polished during the post-production phase of the project.

I have never used MacOS or Final Cut Pro X in my life, so getting used to their interfaces and keyboard functions was a task at first, but eventually I got used to it, and its safe to say that Windows is far superior. Before learning to use Final Cut Pro X, I learned using the MacOS and getting used to it, eventually learning Final Cut Pro X.

Our sir explained to us how the keyboard is more reliable than using a mouse while editing, since you can use all 10 fingers on the keyboard, rather than 2 on the mouse. It is not just easier to master or faster to use, but most importantly the most accurate way of editing. Zooming in on the timeline to see if audio and video have synced all the way to inputting decibel values for each audio clip, even cutting or copy-pasting, I agreed with him on that, as during the workshop I may have found it hard to believe, however after actually using the editing software I was able to make a judgement, that keyboard is better.

Below are some of the evidences of us editing in Final Cut Pro X.

[nofatclips]

Kids Turned Out Fine by A$AP Rocky from the album TESTING (samples Don't Come Home Today by Good Morning) - Director: Dexter Navy

[nofatclips-home]

A la folie by Juliette Armanet extrait de l'album Petite Amie - Réalisation I ADRIEN ARMANET

[rycofx]

Shooting rays into a phyllotaxis spiral! 😵 . . . #Looping #Animation #Render #3D #Houdini #Mantra #Math #Mathematics #Art #VFX #Houdini #SideFX #Design #Digital #Abstract #Digitalart #Lighting #Ray #Raytrace #Cube #Dark #Light #Laser #laserbeam #mdcommunity #XUXOE #plsur #lucidscreen

[maacsatara]

Simulation and Dynamics: Fluid Simulation and Particle Systems

Simulation and dynamics are crucial fields in computer graphics and animation that allow artists and developers to create realistic representations of physical phenomena such as fluids, smoke, fire, hair, and cloth. Among these, fluid simulation and particle systems stand out as powerful techniques used to bring lifelike motion and effects to digital environments. These simulations are fundamental to visual effects (VFX), video games, virtual reality (VR), and scientific visualization. For those looking to master these advanced techniques, studying at the best VFX institute in Pune can provide the necessary training and skills. This article delves into fluid simulation and particle systems, exploring their principles, applications, and impact on the digital world.

Fluid Simulation: Bringing Realistic Liquids to Life

Fluid simulation refers to the mathematical modeling of liquids and gases to recreate their behavior in a digital environment. This technique is essential for creating realistic effects like water, smoke, fire, and other fluid dynamics that react naturally to forces such as gravity, wind, and pressure.

**Key Concepts in Fluid Simulation:**

1. **Navier-Stokes Equations:** Fluid simulations are based on the Navier-Stokes equations, which describe the motion of fluid substances. These equations are a set of nonlinear partial differential equations that govern the conservation of mass, momentum, and energy within a fluid. Solving these equations accurately is the key to achieving realistic fluid simulations.

2. **Grid-Based Methods:** One common approach to fluid simulation is the grid-based method, which divides the simulation space into a 3D grid of cells. Each cell stores information about the fluid’s properties, such as velocity, pressure, and density. The simulation calculates the interactions between these cells over time to produce realistic fluid motion. The most popular grid-based method is the "Eulerian" approach, which tracks the fluid’s velocity field at fixed points in space.

3. **Particle-Based Methods:** Another approach is particle-based simulation, such as Smoothed Particle Hydrodynamics (SPH). In this method, fluids are represented as a collection of particles that interact with each other based on physical laws. Each particle carries properties like mass, position, and velocity, and their interactions determine the fluid's behavior. Particle-based methods are particularly effective for simulating free-surface flows, such as splashing water.

4. **Hybrid Methods:** Modern fluid simulations often combine grid-based and particle-based methods to achieve higher accuracy and stability. Hybrid methods can capture the strengths of both approaches, allowing for detailed surface representation and realistic interaction with solid objects.

**Applications of Fluid Simulation:**

Fluid simulation is widely used in various fields, including:

- **Visual Effects (VFX) in Film and Television:** Realistic fluid simulations are used to create stunning water scenes, raging fires, smoke, and explosions in movies and TV shows. For example, the water effects in "Pirates of the Caribbean" and the fire in "Game of Thrones" were achieved using sophisticated fluid simulation techniques.

- **Video Games:** In video games, fluid simulation is used to create dynamic environments that react to player actions, such as splashing water or smoke from explosions. Although real-time fluid simulation is computationally intensive, advancements in graphics hardware and algorithms have made it possible to achieve convincing fluid effects in modern games.

- **Scientific Visualization:** Fluid simulations are also used in scientific research to visualize complex fluid dynamics, such as weather patterns, ocean currents, and aerodynamics. These simulations help researchers understand natural phenomena and make data-driven decisions.

Particle Systems: Creating Complex Effects with Simple Elements

Particle systems are another powerful tool in computer graphics, used to simulate a wide range of natural phenomena like fire, smoke, rain, dust, and magical effects. A particle system consists of a large number of small, simple particles that collectively form complex visual effects.

**Key Concepts in Particle Systems:**

1. **Emitters:** The emitter is the source that generates particles in a particle system. Emitters can have different shapes, such as points, lines, or surfaces, and can control properties like emission rate, direction, and speed. For instance, a point emitter might simulate a spark, while a surface emitter could simulate rain falling on the ground.

2. **Particle Attributes:** Each particle in a system has attributes like position, velocity, color, size, and lifespan. These attributes define the particle’s behavior and appearance. Over time, particles may change color, fade out, or follow specific motion patterns based on predefined rules or dynamics.

3. **Forces and Dynamics:** Forces such as gravity, wind, turbulence, and drag affect the motion of particles in a system. By applying these forces, developers can create realistic effects that mimic real-world phenomena. For example, particles in a smoke simulation might rise and disperse as they interact with turbulence and wind forces.

4. **Shading and Rendering:** The appearance of particles is controlled by shaders and rendering techniques. Shaders define how particles interact with light, color, and transparency, enabling the creation of different effects like glowing embers, misty fog, or glittering stars.

**Applications of Particle Systems:**

Particle systems are widely used across various industries:

- **Visual Effects (VFX):** In movies and TV shows, particle systems are used to create dynamic effects such as explosions, fire, smoke, and magical spells. For instance, the dust and debris in battle scenes or the shimmering particles in a magic spell are often created using particle systems.

- **Video Games:** Particle systems are used to create interactive and immersive environments in video games. Effects like fire, rain, snow, and smoke are simulated in real-time using optimized particle systems, enhancing the gameplay experience.

- **Virtual Reality (VR) and Augmented Reality (AR):** Particle systems are also used to create realistic and interactive effects in VR and AR applications, such as fireballs in a VR game or confetti in an AR experience.

#### The Future of Simulation and Dynamics

As technology continues to evolve, the future of simulation and dynamics looks promising. Advances in hardware, such as GPUs, and the development of more efficient algorithms are pushing the boundaries of what is possible in real-time simulation. Techniques like deep learning and machine learning are also being explored to predict and simulate complex dynamics more efficiently.

Furthermore, the integration of simulation tools into game engines and 3D software packages like Blender, Houdini, and Unreal Engine is making these technologies more accessible to artists, designers, and developers. This democratization of technology is opening new doors for creativity, allowing for more realistic and interactive experiences in digital media.

Conclusion

Simulation and dynamics, particularly fluid simulation and particle systems, play a crucial role in creating realistic and compelling visual effects in digital media. These techniques allow artists and developers to simulate complex natural phenomena and bring digital worlds to life. Learning these techniques at a reputable VFX institute in Pune can help aspiring artists master the skills required to create such effects. As technology advances, the potential for more accurate and efficient simulations continues to grow, paving the way for more immersive and visually stunning experiences in movies, games, and beyond.

[fearsmagazine]

MOSQUITO STATE - Review

DISTRIBUTOR: Shudder

SYNOPSIS: August 2007. Isolated in his austere penthouse overlooking Central Park, obsessive Wall Street data analyst Richard Boca sees ominous patterns through his computer models that are behaving erratically. On Wall Street, they’re called “quants”—the intense data analysts whose mathematical prowess can make the difference between a fortune and a flop. Consumed with his work, Richard doesn’t often stray from his office or apartment. Richard decides to attend a company function where he makes two acquaintances: the mysterious, sylphlike Lena and one pesky mosquito, both of which take root in his mind. The mosquito spawns swarms of mosquitoes breeding in his apartment, an infestation that fosters his psychological meltdown.

REVIEW: Filip Jan Rymsza presents a tale of the unraveling of a stressed mind and how it attempts to validate patterns and connections in his logarithms and the parasite that he allows to overtake his vast apartment. It is part “Willard,” 1973’s “Bug” and part “American Psycho.”

The plot is a captivating tale of a brilliant introvert who begins to crack under the pressures of his job and his isolation. The mosquito acts as a catalyst that begins the process of his demise, or possibly his salvation. The bites have a physical effect and Richard begins to exhibit these growths/welts on his face that deform his looks. While others around him notice, he is blind to his transformation. His mousey disposition becomes more aggressive, yet his co-workers never see him as a threat. Rymsza crafts several interesting monologues, as well as some powerful dialogue between Richard and his boss, and Lena. It’s compelling how Rymsza lays out the plot in relation to the life cycle of the mosquito. As the swarm grows it seems that Richard is having an effect on them as well. It's an engaging plot that draws the viewer in and secures the viewer's interest to see how he resolves the tale.

Filip Jan Rymsza does an excellent job of capturing the period while instilling minimalistic production designs with art pieces that hint at the relationship between certain characters as the colors pop and add a subliminal emotional intensity. The filmmakers great amazing sets that feel like what could be a contemporary castle, with a Dracula like feel. Th film captures some amazing shots of the mosquito and its lifecycle that look like somethin from a nature shot against the backdrop of the apartment. The visual effects for the swarm feel organic and natural as they become a more sentient entity. It's very compelling how the interplay between light and shadow give way to splashes of color that ultimately give way to this bloody hue as the swarm roosts on the apartment’s massive windows. All that is supported by an excellent score by composer Cezary Skubiszewski that creates another level to the mood and atmosphere. Overall, impressive production designs and visuals that are absolutely awards nomination worthy.

MOSQUITO STATE rests on the shoulders of actor Beau Knapp. He creates this complex character that goes from an introverted computer genius, who feels like he is on the spectrum, to this creepy, menacing psychotic that has this Reinfiled aspect to the performance. It’s interesting how he maintains an aspect of innocence and a level of sympathy. He brings this element of a fairy tale to the character as the tale progresses in the relationship between his boss and Lena. It’s an amazing and powerful performance. The rest of the cast present as obstacles to be overcome or conquered. Charlotte Vega plays Lena. It is a genuine performance that also possesses a bit of mystery to it. She has an inner strength, but also there is a bot of the enchanted princes to it. SHe comes across as in need of an awakening more than rescuing. It’s an excellent ensemble cast that draws the viewer in for the ride.

MOSQUITO STATE is a complex film that has numerous visionary aspects that make for a haunting viewing experience. It does offer a bit of an allegory, but it truly is a fascinating thought provoking story. There is so much talent behind and in front of the camera that, again, I would be shocked if it didn’t receive a few award nominations. Filmmaker Filip Jan Rymsza is a master storyteller whose forthcoming projects I will absolutely be on the lookout for. This, as well as several other upcoming releases, make the Shudder subscription fee well worth it.

CAST: Beau Knapp, Charlotte Vega, Jack Kesy, Audrey Wasilewski and Olivier Martinez. CREW: Director/Screenplay/Producer - Filip Jan Rymsza; Screenplay - Mario Zermeno; Producers - Wlodzimierz Niderhaus and Alyssa Swanzey; Cinematographer - Eric Koretz; Score - Cezary Skubiszewski; Editors - Andrew Hafitz, Wojciech Janas and Bob Murawski; Costume Designer - Katarzyna Lewinska; Production Designer - Marek Warszewski; VFX Supervisors - Maks Naporowski and Karapetyan Vardan. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/hM-ngBshq_Y RELEASE DATE: Exclusively on Shudder on August 26th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[mellowyknox]

IKEA “One Room Paradise”

Agency: Mother London

Production: Riff Raff London Director: Megaforce Editor: Joe Guest Colorist: Paul Harrison

Post: Mathematic Paris, Finish London

Year: 2013

[spirit-science-blog]

Ahhh, interstellar, a simple classic movie, about a farmer his family Some dust and a transdimensional interstellar quantum gravitational space travel.

Seriously!

So the basis of this movie is that in the future, the earth has become a global dustbowl due to humanity being excessive. It’s mostly a commentary on monoculture farming, which we’ve explored in our food series. Primarily by farming the same thing on the same land over and over, you lose the majority of your nutrient base due to lack of plant diversity. You also lose your root system, making it easy for winds to pick up dirt and throw it for miles and miles. Interstellar begins with a warning - if we continue living the way we are, this could be our world.

So the film introduces us to our main characters, Cooper, or Coop for short, and his daughter Murph. Now, there’s an interesting thing in these opening scenes, where we see Murph's teacher talking to Coop about his daughter's progress in school. She remarks about how the moon landings were fake. They were entirely propaganda to fool the Soviets into pouring their resources into the space program so that the Americans could gain an advantage in the war.

It’s so exciting seeing a Hollywood movie talk about this, because of course, if you google this, there are massive conspiracies today that say the moon landing was faked. Then again, we also have ex NASA officers and astronauts who publicly have said: “Yeah, we went up there and met a bunch of aliens and it was so crazy that NASA hid it from the world, and never went back.” You can learn more about that in our Sumerian Epic series. Ultimately, you’re going to have to decide for yourself on this one, but still interesting that we even see it mentioned in Hollywood!

Now, in many storylines today, we see this narrative of the hero’s journey, which often begins with a call to adventure. Interstellar features this through these strange gravitational anomalies vibrating morse code patterns in Murph's bedroom, which Coop and Murph translate to be co-ordinated to a nearby location. They make their way there and find none other than Nasa.

In this movie, Nasa is a driving force of the plot, providing the technology and the plans to execute a journey into a magical wormhole way out near Saturn. Now, I’m not here to get into the drama and conspiracies against or for Nasa, though yes, these things exist out on the internet. Curiously, we find a spiritual lesson about this in the film itself, and we’ll come back to that soon.

In these scenes, we see the opposing mentality of the many vs. The few. Mostly, everyone these days are just concerned with farming, they’re focused on survival and just getting enough to make it through to the next season, even though their crops are slowly growing smaller and smaller. The few, on the other hand, such as Coop, exclaim, “we used to be pioneers, explorers, adventurers… not just trying to survive”. And this becomes a question we can personally ask ourselves are we pushing the boundaries of what we know, or are we just trying to get by in life?

So upon the discovery of Nasa, we learn about this wormhole, a link through the spacetime into another galaxy, where there might just be a way to save their dying species. So Coop, Anne Hathaway, and two other characters who don’t make it to the end all get in a rocketship and blast into the universe to save the human race. Bringing with them, some unique and friendly robots, and a bunch of test-tube humans that they plan on growing somewhere, and they intend that if they can, maybe they can even transport some people there.

Perhaps one of the most fundamental hidden spiritual truths of this movie is that the deeper you get into science, into the unknown, into the universe, the more mystical reality gets. We see this with the wormhole itself. The funny thing about the wormhole, though, is that it was produced using the mathematics of an actual wormhole according to General Relativity! The visual fx artists worked with renowned Physicist, Kip Thorne, and used a mathematical representation of a massive black hole, then plugged it into their VFX generator, and this is what it turned into! They even produced a scientific paper about it. So this is an actual wormhole simulation, not just a fancy visual effect.

Now, maybe this is just me - but watching the sequence of going through the wormhole felt to me like my mind was expanding. Like reality was being stretched, like more was possible than it was before. It feels to me like this was an encoded message for the audience watching the movie, implanting within us this idea of what it looks and feels like to perceive spacetime differently, getting us ready for our transcendent evolution of consciousness.

Now, on the other side of the wormhole, they have three planets to visit in hopes of finding a new home for the human race. Their first guess takes them on a short trip to Waterworld, where they go surfing and chilling in the shallow side for the equivalent time of 23 earth years. It doesn’t go so well, and returning to their ship, they’re limited on fuel. So there’s this moment where they have to decide on which of the two planets to visit next, and they better pick well.

So it’s revealed that Dr. Hathaway is in love with one of the astronauts on one of the nearby worlds, Dr. Edmund. And there’s this very rousing speech from her about following our hearts., that love is powerful - it has to mean something. Love is the one thing we’re capable of perceiving that can transcend the dimensions of time and space. It’s an overall very moving and emotional scene, and it might even make you cry.

Now, this IS Hollywood, so OF COURSE, the man immediately takes control of the situation and steers directly towards the other guy. The legendary, the one, the only Dr. Mann.

I gave him a little hype just now because this is how Dr. Mann is portrayed in this film. He is a legend; he is the best of the best; he was the one who brought everyone together and made this mission possible And then, well, this happened.

Dr. Mann is a personification of the ordinary human consciousness and our ego. I mean, his name is Mann. He is the one who could create miraculous things, but watch how quickly that personality can turn when it is filled with fear, dread, and isolation. This is what happened with Dr. Mann - He was isolated, stranded alone on a frozen planet with nobody else for the rest of his eternity. The last time he went into cryosleep, he didn’t even set wake-up time. This isolation and the fear of not surviving caused him to lie, caused him to tell people to come to his planet because it was the one. It caused him to betray his comrades, and in arrogant defiance to the truth - got himself killed. A valuable lesson for all of us doesn’t arrogantly defy the reality, or you shall suffer horrific karmic repercussions.

With the power of persistence, determination, and undying faith in the universe and himself, coop successfully reconnects his ship to the space dock even with it exploded and spinning like mad. Herein lies another secret lesson - if we set our hearts upon doing something, and we do it well, there’s nothing we can’t accomplish!

Okay, let’s pause for a moment and reflect briefly on the events back on earth. Throughout the film, it is slowly revealed that the head of Nasa has been lying. Coop's daughter noticed that it looked like he was doing equations with two hands tied behind his back. Then it was revealed that he knew a long time ago that it would be impossible to save the human race by using science to negate gravity and lifting off into a super space station. He could not reconcile quantum mechanics and general relativity. Still, he convinced everyone that it was possible, and he was working on it - so that people would work on the technology and carry out the mission.

THIS is the key to the whole Nasa conspiracy thing that we mentioned earlier. Because look - there is some evidence and speculation that NASA is hiding something, but instead of throwing shade, the film reminds us this valuable lesson that even the people who are behind NASA and other giant organizations are just that - people, subject to human desires and emotions, the positive and the negative, and are easily influenced to do things, such as lie or create deceptions, out of their fears and insecurities. The Nasa chief in the movie wasn’t able to see beyond the solution to his formula, he couldn’t conceive of a quantum interdimensional answer, probably because there was nowhere for him to go and take Ayahuasca. So he fooled everyone in a way that he believed was safe.

Jumping back to another galaxy and another timeline, Coop’s new plan is to slingshot them around the wormhole and over to their last remaining planet where maybe they’ve got a shot at growing some modern humans. In the process, coop sacrifices their robot and himself to make it happen. In a scene of great wisdom, Cooper says, “to get ahead mankind has always had to give something back/let something go,” and in this case - it was him. Honestly, this was a scene of tremendous bravery and courage to let oneself die to save their species.

And this is where Interstellar becomes a mystery school for us all. Cooper falls into a massive sphere inside the black hole, which then becomes these tunnels of lines, revealed to be pockets of time. On the other side of his tracks is his daughter's bookshelf, and he connects through his radio with Tarz, his robot buddy, also trapped inside this wormhole - who explains that he is inside a three-dimensional manifestation of a 5th-dimensional timeline. It’s time represented as a physical dimension, and Cooper can manipulate gravity from inside this time matrix because gravity is the only thing besides love that can go forwards and backward in time.

Cooper realizes that the gravitational anomalies that he saw at the beginning of the movie were him all along, giving himself messages from the future. He realized that the whole time he was thinking, “wow, it was THEM who have been helping us along,” alluding to some alien species. Still, honestly, that “them” was us - it was the evolved human consciousness that became 5th-dimensional beings through conscious evolution. It sent gravitational anomalies through time to help humanity grow in the first place.

What’s especially surprising about this is that that’s EXACTLY what the channeler Bashar has been saying in his channelings for years. That who he is channeling is himself from the future who, along with the rest of humanity, has evolved to higher consciousness, and he’s sending back information from the future about human evolution and how to make it happen.

Now, here’s a fun question that the movie will not even get into…. Why did the wormhole bring him THERE? Why that moment in time? Why that location? Well, in the bigger picture of the story, it’s because his daughter was the genius who could finish the mission and get quantum gravity liftoff to their earth-tech and save humanity. However, that’s only half the reason. The other half is because of something Dr. Mann said. When you’re about to die, you push a little farther to connect with your family and live longer.” The reason he went to the bookshelf was probably just as much because that’s what his subconscious manifested for him. After all, his loved ones were what he wanted most in life. Much of his driving actions in this film were because of his love for his children. Embodying the true spirit of the word Husbandry - the original meaning of which speaks to the nurturing and supporting of everything around the masculine father figure. This film asks us - what is it we truly care most about in our heart of hearts? And to dig deep into ourselves and find out what lights us up inside.

So Cooper transmits the quantum data to his daughter through time using morse code, and then he disappears into the void and wakes up in a hospital bed. A very long time has passed since he first left home, and his daughter is now an older woman on her deathbed. But Plan A is now fulfilled, using the data Cooper was able to send through the wormhole, young Murph was able to solve the gravitational propulsion problem to get Plan A, and the massive space station where Cooper awakens, out in space.

In an absolute heart-shattering scene, she tells him to leave her, she’ll be with her new family now, and that he should be with Anne Hathaway, and start a new life on a new planet and raise a new generation of humans on a new world. I’m sorry, this whole scene made me cry.

And so, that’s what Cooper does, bringing this film to an end. But the hidden spiritual meaning here goes on. See, the foundational message of Interstellar is not what most people think - the most excellent idea conveyed here is that of human evolution. That one day, we will evolve into a higher dimensional species, capable of perceiving time fundamentally different than we are today.

However, it will take some time to get there, and it’s up to us to make it happen. Interstellar warns us - we have to learn the lessons of caring and nurturing for each other and our world if we want to have a world to live on at all. We very well could destroy ourselves with our greed and excess. In other words, we must check ourselves before we wreck ourselves.

One thing Interstellar does make us feel this message takes us through large jumps in time. After Coop’s relatively short visit to the water planet (where he’s there for only several hours), the audience and Coop see both their astronaut comrade and young Murph age by 23 years. After he emerges from the black hole at the end of the film, his daughter is an older woman. These events show us viscerally that time is always passing, and compels the audience to make the most of what time they have, and show us the deep pain of missing out if we don’t seize the day, every day!.

But there is an even deeper message from this - because also if humanity destroys itself, even if we are pushed to the very brink of destruction, we can ALWAYS find our way back. All that it takes is unshakeable faith, love, and determination to see it through and do the things that are both scary and exciting.

So get out there and evolve into a multidimensional being!

Make sure to let us know what else you’d like to see a Hidden Spirituality about, and we’ll be sure to cover it soon! Peace out, and lots of love!