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cgi Save Point: Concept Art

The following concept art comes directly from the current pipeline, but we haven't yet gotten it fully stable for animation. It's way closer than it was, but in the mean time, here are some frame grabs from the AI layers in progress.

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As a language model, I cannot condone the use of the word "elegant"

I've just started saying this in real life now, the repetition got to me.
I've been paying for the advanced model and its a lot less frustrating.

I still use the old one for really simple stuff... but oh man, the old one is bad.
Today it told me that light takes 1.28 seconds to get to the moon, therefore it's impossible for anything to reach the moon in a minute.

And it kept insisting that it's logic was right, nonsense reply after nonsense reply.

I asked the 4.0 and I got a detailed awesome answer, including the g-forces when you pass out and the g-forces you die, and how to account for that, and how fast my wizards can actually get to the moon avoiding for a lethal dose of 50 g-forces. Pretty sweet.

Writing their moon adventure now.
 
I'm actually really looking forward to checking it out. I'm just knee deep in a huge que of tasks right now. I'm trying to throw together this Labyrinth sub product over the summer and get it out there earning money. I don't know, I might get around to doing a pure research day on it the next time I get highway hypnosis from editing cells. I'd love it if it could do some of the really time consuming grunt work for me, such as top down maze planning.

Can it output graphs, pictures, spreadsheet files, or other more useful stuff yet? I can write just fine, but it is a lot of labor to blueprint a city and draw a map, then rebuild it to have certain numerical properties. (such as making it so no one can run off with my prize money by just taking 30 left turns in a row)
 
Very interesting research Nate. Its all very consistent. Looking forward on how you gonna develop it further.
Thanks, It's a ton of work every day, but It's been kind of an amazing experience the last few months, just watching a whole new world of possibilities open up. I've actually developed it a lot further already, in case you missed the videos on that. I put out so many that I can't imagine any one person has the time to watch them all. Since it might be of general interest to people who stumble across this thread, here's a little collection of videos relevant to my progress bridging UE5 into a heavily modded stable diffusion. The video "Hybrid" is the one where the real breakthrough took place. There's thousands of hours of work to be done still on just the pipeline and art style, I'm not fully satisfied with it yet, but the system is now working, so I'm building the mini project "The Labyrinth" in it's final form now, in an effort to get it shipped out so I can start the actual story of Save Point, which I'm way more excited about.




 
Right now, there is a bottleneck in the pipeline, where I'm producing pretty high grade output, and capable of smooth animation, but this new module I'm using to automate animating scenes is way behind the rest of the pipeline. So here I'll show some images from the midstage of the pipeline, the stills, where it's the full quality I'm actually producing, and then later for comparison, the final output based on those directives and genetics. Unfortunately had to leave out some of the best pictures, because spoilers. Anyway, this is what the output looks like right now, before it gets degraded in the animation automator stage, which reduces resolution to about 300 x 700 for now, and needs to be replaced.

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those last two frames - did you figure out how to animate the fire?
Sort of, the solution could be better. Ultimately, I've solved everything on some level. The huge deal is that almost everything needs to be solved at full automation level. So I can make that fire animate photorealistic, if I stop and work on one scene for an hour. Can't do a branching film with 10s of thousands of scenes manually, so I have to have a tech end solution that works. One is coming though, so I'm just bulldozing ahead for now, and when the fixed module is available, I'll swap it in and rerun all the sequences.

So the answer is "Ish". I can animate everything at a bad level fast, a good level slow, and a great level very slow. Slow just isn't an option for this. I'm going to be publishing a video sometime in the next few days that will have some animated fire and smoke in it, at the current level. Of course you saw the Snapshot video, which had the current fire and smoke automated animation tech on display a few weeks back.

 
Closing in slowly on the original desired outcome. This last week we finished training the cine frame LORA (sub-brain AI). It's job is to simply take the output from the midstage, compare it to actual cinema frames, and give them more of the look of classic 35 mm film. I've got it maybe half working at this point.

Also, botanical animals and electronic tigers.



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Some impressions:

The "papercuts". Cool, but, for some reason, they freak me out a little--the bone color, the organic-like rococo gee-gaws. Anyway, onward.

Forrest tigers, deer, and robots. Unique, beautiful, complex and colorful. I begin to imagine a story. What kind of forrest is this? What kinds of creatures are they? Maybe they watch, observe, report on the astronauts.

The creature in the flowing white robes. A little like a dementor, but since it is white, perhaps the opposite. Great image and, especially I think, great composition.

The space ship. Did you design this, Nate? I, by now, have seen lots and lots of space ship interiors, but never one quite like this. I like it. The circles and ovals a little classic retro sci-fI.

The castle--reminds me of a kind of comic-booky image, but good.

The mall -- I had a scene, a flashback in a little thing where a guy has a breakdown in a futuristic mall. It might look something like this. Crowded, complex, claustrophobic. It just needs a soundtrack, Muzak, probably "Spanish Flea" :) .

The Astronauts in the foggy deserted town. Ok. These look great. And there is a story here, somewhere, An away mission into the Twilight Zone.

The pod-people. Nice design. Definitely gives the feeling of something bad going on here.

The elephants in the room. In the idiom they are meant to represent something too obvious to be ignored, but that is being ignored, for some reason, anyway. But here, they are seemingly being ignored because they are innocuous, maybe supposed to be there after all. I can see this image having some meme potential. Various elephants, various rooms, not being ignored because they represent something too difficult to talk about, but for some other reason--maybe they're service animals, bell-hops, I don't know, lol. Anyway.

The astronauts, helmets off, their faces. These are AI faces? Wow. Alive, expressive, with age and temperament appropriate creases, lines, and also with age and temperament appropriate absences of creases and lines. Realistic, and yet somehow, in some small way, still "Other." And the lighting in these is so bright and different from the others that it seems to tell some kind of, some part of, a story.

Anyway, also, nice glowey monkey, nice foggy space ship, nice all around. Bits of surrealism, magic realism, and hyper realism, and I wonder: could these three things somehow, logically, inhabit one story?
 
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Some impressions:

The "papercuts". Cool, but, for some reason, they freak me out a little--the bone color, the organic-like rococo gee-gaws. Anyway, onward.

Forrest tigers, deer, and robots. Unique, beautiful, complex and colorful. I begin to imagine a story. What kind of forrest is this? What kinds of creatures are they? Maybe they watch, observe, report on the astronauts.

The creature in the flowing white robes. A little like a dementor, but since it is white, perhaps the opposite. Great image and, especially I think, great composition.

The space ship. Did you design this, Nate? I, by now, have seen lots and lots of space ship interiors, but never one quite like this. I like it. The circles and ovals a little classic retro sci-fI.

The castle--reminds me of a kind of comic-booky image, but good.

The mall -- I had a scene, a flashback in a little thing where a guy has a breakdown in a futuristic mall. It might look something like this. Crowded, complex, claustrophobic. It just needs a soundtrack, Muzak, probably "Spanish Flea" :) .

The Astronauts in the foggy deserted town. Ok. These look great. And there is a story here, somewhere, An away mission into the Twilight Zone.

The pod-people. Nice design. Definitely gives the feeling of something bad going on here.

The elephants in the room. In the idiom they are meant to represent something too obvious to be ignored, but that is being ignored, for some reason, anyway. But here, they are seemingly being ignored because they are innocuous, maybe supposed to be there after all. I can see this image having some meme potential. Various elephants, various rooms, not being ignored because they represent something too difficult to talk about, but for some other reason--maybe they're service animals, bell-hops, I don't know, lol. Anyway.

The astronauts, helmets off, their faces. These are AI faces? Wow. Alive, expressive, with age and temperament appropriate creases, lines, and also with age and temperament appropriate absences of creases and lines. Realistic, and yet somehow, in some small way, still "Other." And the lighting in these is so bright and different from the others that it seems to tell some kind of, some part of, a story.

Anyway, also, nice glowey monkey, nice foggy space ship, nice all around. Bits of surrealism, magic realism, and hyper realism, and I wonder: could these three things somehow, logically, inhabit one story?
Thanks for the feedback! I'm really happy to finally have the visual quality of the pipeline catching up to my imagination. I'd been trying to do transparent glass people for months, and finally got it working with some of the recent pipeline improvements. The human characters are almost ready for primetime, once the animation node is upgraded enough to accomplish more complex behavior.
 
After 9 hours of explaining the mechanics of general aesthetics to these brains, the pipeline now kind of understands stuff like the 60/30/10 concept, and how that can be achieved in any situation. So, checking off an important box on my to do list here "every frame a painting"


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