99 missed calls from Italy 1,00,000 missed assassinations from lionfield💀💀💀 Edit: y’all I did not mean to start a fight in the comments I know it’s over used 💀💀💀
Well actually they already exist, faloodeh is a famous Persian dessert made with rose water syrup, also in Turkey and Bulgaria there are desserts such as güllaç and jams made with rose,its water and its syrup 😊
This flower syrup looks too pretty to eat! 🌼🥤 I love how they make cooking look so fun and magical. Plus, Kian really adds that touch of surprise! 😄 Can't wait to try this recipe! 🌟
Recipe: Western style Fried Rice w/ Pan-fried Sesame Chicken Ingredients: Food Items - Chicken Breast - White Rice - Eggs - Spring Onion - Peas and Carrots - Garlic - Sesame Seeds Sauce/Seasonings - Low Sodium soy sauce - Black Vinegar (yellow cap) - Ketchup (sub tomato or tamarind paste if despise ketchup) - Honey - Rice Vinegar (or regular vinegar) - Onion/Garlic powder - Salt/pepper - Neutral oil Optional Ingredients (Will cover how to use at the end after main recipe) - Onions - Bean sprouts - Chili Flakes/Spicy Red Chili powder - Cornstarch or Flour (for a battered version) - Sesame Oil - Chili Oil (lao go ma) - Red wine vinegar - Shaoxing wine Cooking Instructions: Step 1: Rice Fork your chicken good and cube it up. (The purpose of the forking is to tenderize and infuse seasonings. It cooks faster internally) Toss in a mixing bowl and add a 1-2 teaspoons (or as much as you desire) of onion/garlic powder with salt/pepper. Mix it and let it sit in the fridge for 30-60 minutes. Start cooking your white rice now while preparing the eggs and veggies. It should take 10 minutes or so. I highly suggest blanching the carrots and onions, if frozen in boiling water, before cooking.... Or follow the video.... If you're using fresh peas/carrots, you don't have to blanche them. The steps for the video is self explanatory. Pre-heat pan, coat oil over it, and saute veggies for 1 minute on medium high heat, add your eggs, and cook on high heat for 1 minute, add rice. Stir for 2 minutes on heat and add 2-3 TBSP of low sodium soy sauce (or Light Superior Soy Sauce for authentic brand, but it's not low sodium). Drizzle a 2-3 teaspoon of black vinegar (or rice wine vinegar, light/dark soy mix - 2-4 TBSP light/.5-1 teaspoon of dark soy). Authentic approach Coat pan with oil, pre-heat until ready. Saute onions and veggies for 2 minutes, medium high, and place on the side. Now add your rice and stir it around so it's more even in the pan. Once you're ready, turn the heat to high and slowly mix your eggs all over your rice (don't fast pour). If you drizzle it correctly, you can coat the rice with yellow egg. 😮 Mix the rice while adding the egg so it doesn't stick from the heat. Add your veggies back (add oil if needed because it's sticking) and cook while mixing for 3-5 minutes. Add your soy sauce/black vinegar mixture. Rice is done, set aside. Step 2: Protein Let's make the sauce. You will add 2-3 TBSP of ketchup (or tomato/tamarind paste to sub), 2-3 teaspoons of honey, rice wine vinegar (or regular vinegar), minced garlic, and 2-4 TBSP of low sodium (or Light Superior soy sauce.) Whisk and blend. Ready your meat, pre-heat Pan on medium high (coat Pan with oil) and saute your chicken for 4-8 minutes on all sides till you get a slight browning. Add your sauce glaze and cover 1/3 of the meat. Let it finish on medium high or high heat for 3-5 minutes. Prepare your rice bed, glazed chicken, garnish with sesame seeds and chopped spring onions. Optional touches Instead of grilled chicken, you can mix it with cornstarch and/or egg wash for a light batter. Season it with your onion/garlic/red chili powder in the cornstarch dredge. Deep fry for 8-10 minutes on 350 (F) degrees. While cooking, preparing the glaze, add red chili flakes to it for spicy hit. Use white onions while cooking your veggies for flavor. On a wok with a high BTU burner, the cooking cycles change, more fast paced, and requires lots of tossing, but this gives you the authentic restaurant flavor (wok hay). You'd cook the glaze for 30 seconds, toss your battered meat, and flip/toss while cooking for 2 minutes. Serve on the rice. Drizzle sesame oil at the very end, your chili oil, shaoxing wine, and bean sprouts. Enjoy and please leave a like if you really tried this recipe! 🖤❤"
Hey! It’s been a while since I’ve posted--I was working on a frankly unreasonable number of projects these last two months, some of which I hope to be able to show you soon, but it left me with very little time to add to this blog. A couple of days ago, I was reminded I have to get back to this when I saw a comment come up on my last post “Action is his reward.” With permission, I’m reproducing it here: I am rewarded by your enthusiasm and I can relate to most of the content that you produced for this blog post. However, this project may not the best case for the perspective you are presenting, as it stands with today's technology trends and capabilities (perhaps limitations as well). I hope some day, doing this style of work proves to be more cost effective, as I would love to see more of this style in hopefully even more ambitious productions. Let me elaborate some other perspective that may explain my point better and hopefully have more people appreciate lesser understood details about what is presented in that teaser. If you think about a team of people creating this whole thing from scratch and let's say during the process they might be using some techniques uniquely advantageous and otherwise impossible when not animating using computer aided techniques, you can appreciate making those techniques work as they work in traditional animation medium will pose its own challenges. It is only fair if I gave two examples as well... For example computer simulation of any kind is hard if not impossible with non-continuous representations of motion when they don't interpolate in a relatively plausible way. Another example would be re-creating a traditional "looking" style, let alone being attempted at a scale like this, will just be a huge technical undertaking. Now, I have a consistent problem where I open my mouth intending to add just a sentence to a conversation and a nine-volume encyclopedia pops out instead. Accordingly, my attempt to answer the poster succinctly turned into a post-long response that I decided might as well just be a post, so here it is! Thanks for your comment! You may be right that Spider-verse isn’t the best example, and certainly I wouldn’t hold it up as an example of the kind of production I intend to create--just as a very good example of stylized CG. I suspect that rendering in a stylized way, and making this style work with their existing methods, was quite expensive for SPI! I recall an artist who worked on Paper Man describing it as twice the work of ordinary CG. That's certainly a danger with stylized approaches--but I think it's an avoidable one. The problem, it seems to me, is that you really can't approach this sort of production as if it were conventional CG, with a conventional methodology and pipeline, and expect to reap the cost benefits I think are potentially realizable with it. You'd have to treat this kind of production very differently. For instance, you mention simulation as something that would be difficult with non-continuous motion, and you're quite correct. So simulation itself would be the first thing on the chopping block for the production, outside of the occasional FX shot. It's one of the many steps that gums up the works of CG production and prevents us from getting to that an-artist-can-sit-down-and-just-make-something state. Plus I generally don't like its results on an artistic basis (at least in this stylized context). When traditional animators animate clothed characters, the clothing takes part in the character's silhouette and becomes a part of the performance. They never had any difficulty animating cloth by hand. Yes, I am actually claiming that hand-animating cloth would be faster then simulating it, and I know how insane that sounds from a conventional CG perspective. But stylization completely changes the game. Consider the monkey test I posted a few months back. The monkey is unclothed, of course, but there definitely parts of his body that require secondary animation, notably his hair tufts and ears. The hair tufts at least would most likely be simulated if this shot were approached in a conventional manner. The way I approached the shot was not only to animate them by hand, but to animate them from the very beginning--the very first key poses I put down already included the ears and hair tufts as an inherent aspect of those poses, already contributing to silhouettes and arcs. It’s pretty difficult to get an accurate idea of exactly what percentage of my time animating the shot was devoted to them, but I’m going to guess it was only a few percent. This is only possible because the stylized look allowed me to ignore the “higher frequency” details that would be required for a fully rendered character, and I expect these same details would also be unnecessary for character clothing. I’m much more interested in character silhouettes then I am in wrinkles and clothing detail, so some simple secondary that’s really just part of the character’s pose would actually be more effective. The idea here is that this isn’t just any form of stylization--it’s a specifically chosen set of stylizations that support each other in the goal of massively reducing the amount of work involved. And that means choosing subjects that work with the grain of those stylistic choices. For instance, you may be wondering how I’d approach a long flowing cape or a long coat. The answer is...I wouldn’t. I wouldn’t generally put characters in long coats or capes. There are about a million stories you could tell that don’t require anyone to wear a cape. Creating low-cost CG in this manner would be about making the design choices that let you get the most bang for your buck production-value wise while maintaining the essentials of character animation, a very different goal then that which I suspect drives companies like SPI and Disney to create stylized CG. This also applies to the NPR rendering. There are a lot of ways to approach this problem, and some may be very time consuming! The two-tone methods I’m using here aren’t, though. I was able, as an individual with some understanding of the problem but no custom tools, to sit down and do the shading for the Monkey test without much trouble. Partly this is again choosing the most direct path to something that both looks good and is efficient to create. The simple two-tone present in the monkey test carries far less detail then the more painterly frames from Spider-verse, but I think it wouldn’t have any difficulty supporting emotionally engaging characters or exciting action scenes. That said, the efficiency of this process could be improved a lot, and there’s a lot of room for R&D here--there’s still a required level of manual tweaking that I’d like to get rid of, and the two tone shapes could be improved. I’m hoping to tackle some of those problems this year. There’s still the question of how that process, however reasonable on a small scale, would scale up to a large production like a feature film. In many ways, it may help to think of the look development for such a production as being less like a conventional film production pipeline, and more like a game. Ideally, except for certain FX shots, such a production would not even have a rendering/compositing stage--what you would see working on the shot would simply be the shot. It might be quite literally “in-engine” if using a game engine as the hub of production turns out to be the right way to approach it (this is something I’m getting more and more interested in). While this doesn’t remove all potential issues with scaling the approach to feature film size, I think it does drastically simplify the problem. Of course, we haven’t actually produced a long-form project using these techniques, and I’m sure there are going to be unforeseen roadblocks, so we shall see! In any case, thanks again for your comment! I hope this illuminates how I envision this production process being different from the way I imagine that Spider-verse is being done, and why I think that the immense cost gains I’m claiming here are achievable.
@@Hefa-normal William Afton and Henry opened in 1967 the family friendly Fredbear's Family Diner, featuring a brown furry suit of a bear as a mascot. Henry would usually wear the suit, as they didn't have enough money to hire someone to do the job for a long time and they were studying at the time. William studied engineering and Henry business adminstration and communication. William met an unnamed woman, with whom he married and three years later had a boy challed Michael. They met in the court; William was being charged for murdering a child that allegedly was crying outside the Diner for being scared of Fredbear, the bear, and she was working selling hot-dogs in from of the building. (Btw, he was released because they didn't have evidences pointing it). It took them four years to actually achieve any success with the Diner, as they learnt from little Michael that Fredbear was boring. William them designed a new mascot: a yellow furry suit of a rabbit called Bonnie. The chemistry between both characters worked like black magic and the success rained on them like rain in a rainy day. The amount of money they got was so much, William used it to test his engineering skills, designing the first two Spring Lock suits: which were obviously Bonnie and Fredbear. The success increased. Freddy Fazbear's Pizza The Diner's success was so big, a company decided buy it and open a franchise around it. Hanry and William sold it, seeing a whole lot of profit coming from it, but there was a catch: the company used sneaky legal actions that allowed them to have the diner 100% under their possession, erasing Henry's and Michael's name from it. The company then opened Fazbear's Entertainment to take care of everything. William was so pissed because of this he cut any relationship with anyone involved with the franchise. Henry, on the other hand, didn't know any other thing to do, so he asked for a job; he became Phone Guy. FFP opened in 1973, and featured four furry suits of animals: Freddy Fazbear, a recolour of Bonnie, Chica and Foxy The Pirate. This made William even more pissed when he learnt they made four animatronics without him. He started planning his revenge. Btw, the Diner was still opened - as a sister location for FFP. The Origin of Purple Guy In 1976 William had twins: a little blonde girl and a little brunette boy. He started to teach Michael to take care of them, because "Daddy won't be around forever". During his free time, William started designing and projecting new robots (he hated the name "animatronics") and plans for his own company: Afton Robotics. But he had another plan under his sleeve: ruin FFP from the inside. He disguised himself as Dave Miller and started working applied for day time security guard at FFP. As he was always wearing purple - the uniform's colour - and usually hid in the shadows to stay out of sight of anyone who might recognize him, he was nicknamed by every child as "The Purple Guy". During this time, in 1980, he did his evil plan: using the Spring Bonnie suit he built years earlier, he lured five children to a back room, murdered them and hid inside the body of the animatronics. In case you're wondering what he did with the fifth one, he obviously hid it inside a spare Freddy suit he then painted yellow, duh. Fortunately for Billy, they actually caught Henry instead of him, as one of the cameras caught him walking around in one of the suits. He got out sometime later, as they managed to prove he had some mental disabilities and had a fixation with wearing the suits around, and had no violent behaviour. But Dave? Well, he was fired when FFP closed. Circus Baby With the help of the money he got from selling the children's organs in the black market, William opened Afton Robotics and had everything ready to open his own kid-friendly restaurant: Circus Baby's Pizza World. The problem is that he got a new hobby, and this where his hill went down. He liked so much the idea of killing children and the profit he could get from selling their organs - healthy children organs are way more valuable than adults' -, he made special alterations in his robots, turning them into kid-kidnapping and killing machines. The problem is that, in 1982, he accidently let his daughter get close to Baby when he wasn't looking; and Baby killed her. He knew he was the one to blame, but he actually blamed Michael for this, saying that he, as the older brother, should've protected her. This incident lead to the pizzeria's cancellation and William's divorce. His wife took Michael and the other boy with her, leaving him alone. His new hobby and this incident in his life lead him to become a human monster. The Children Going a little away from the entire "Afton story arch", let's talk about the children he murdered. The first one came to possess a Puppet from FFP. The other five, with the help of the first one, possessed the suits they were stuffed inside. They then started killing any adult they could at night, when there was no children around, because they thought every adult was the "Purple Guy" they heard of when they were still alive. The Bite of '83 William's ex-wife took the children and they started living close the Diner, that was still running great. For the good old times, before the problems, she would take them there. William, on to their house, where he built an underground room he used to monitor cameras installed in the house, the Diner and in the street. He also started to prepare the warehouse to building Circus Baby Entertainment & Rental. He also returned to his Dave Miller persona, working at the Diner, taking a closer looka at his sons. The Crying Child After the Baby Incident, Michael became a rebel teenager who, rebelling against his father's will, bullied his younger brother. For the brother's unluckiness, he was also traumatized for actually having witnessed Baby killing his sister in the year before. For his luckiness, though, he had a reliable friend: Psychic Friend Fredbear. Unbeknown for him, the plush was actually a camera his father used to check on him. More unbeknown for him, when the plush talked with him, it was actually the spirit of his sister, who was haunting William's warehouse, and with supernatural abilities managed to speak through the camera system. The Bite per se You all know how it happened. Birthday party, bad joke, head inside the bear's mouth and chomp, child's head's crushed. He went to the hospital, but died. His sister tried to help him, but in the end he became a ghost purple bear, crying in the corners of anywhere the suit that killed him was at. William's Revenge After the Bite, Michael's mother committed suicide and he was taken under William's keeping. But Billy wasn't happy with his son, who caused the death of another one of his children. William projected the new building to have a place for torturing children - specially made for Michael, actually. The room was designed to mimic Michael's room from the other house, so when he would fall asleep, William would take him to the "nightmare" room (Michael would be drugged) and unleash nightmarry robotic versions of the Fazbear animatronics to haunt him at night, giving him some reminders of what he did to his brother. This marked Michael for life, and turned him a better person, actually. 1987 OMG, this is long, isn't it? Well, in 1987 another FFP opened, with new animatronics. William became Dave again and killed more five children. The place temporarily shut down, reopened in November, but didn't last after Mangle bit someone. Henry was once again without a job. The problem is that, in this attempt, they recognized Dave as William, so he had to hid himself for his own safety. Fixing past mistakes During the time hiding, William started pondering about his decisions in life, and how it screwed everything for him. He caused the death of his family, lasting only him and his older son. That was it! The solution! If he, William, ruined everything, Micheal could be the one to fix everything! He then sent a letter to Michael, explaining everything he should do. William was aware of the spirits and possessions, and knew his daughter was haunting CBE&R, so he sent Michael there first. Then Sister Location happened and all that jazz. Or should I say, casual bongos? Kill me. So, Baby first thought Michael was William, but then she recongnized his brother and saw an opportunity for her and the other sentient robots from the Rental to leave - using him as a "human disguise". To prevent his brother died from this, she did some black magic researchs and found a way to prevent him from dying. Then Ennard came to be, Michael was fooled into the Scooping Room and became a suit. Ennard tried to live a life as a regular human being pretending to be Michael, but unfortunately the black magic didn't prevent flesh from rotting, so the disguise was ruined and Ennard left Michael' body, now living in the sewers, waiting for It to start shooting, hoping to get a role in it. But, even though Michael became an undying walking corpse, his job wasn't done, he had one last thing to do: free the souls of his father's victims. So, he went to work at FFP, that reopened in the 90's, to check if the possession thing was really going on there. Oh, Henry died there before Michael begin to work. Michael got a fake name - Mike Schmidt (he wasn't as good with names as his father was) -, and worked there. He was unfortunately fired for being a smelly corpse and "supposedly tampering the animatronics". So he waited for when the pizzeria closed for good. With the help of Shadow Freddy, who was actually the spirit of his younger brother, he dismantled the animatronics, freeing the children's souls from their physical restraints. For Michael's unluckiness, in FNaF Universe rotten FNaF 3 No one likes FNaF 3. You all know what happens here. The Future After Fazbear's Fright burnt down," ǝqᴉɹɔsqn
Hey! It’s been a while since I’ve posted--I was working on a frankly unreasonable number of projects these last two months, some of which I hope to be able to show you soon, but it left me with very little time to add to this blog. A couple of days ago, I was reminded I have to get back to this when I saw a comment come up on my last post “Action is his reward.” With permission, I’m reproducing it here: I am rewarded by your enthusiasm and I can relate to most of the content that you produced for this blog post. However, this project may not the best case for the perspective you are presenting, as it stands with today's technology trends and capabilities (perhaps limitations as well). I hope some day, doing this style of work proves to be more cost effective, as I would love to see more of this style in hopefully even more ambitious productions. Let me elaborate some other perspective that may explain my point better and hopefully have more people appreciate lesser understood details about what is presented in that teaser. If you think about a team of people creating this whole thing from scratch and let's say during the process they might be using some techniques uniquely advantageous and otherwise impossible when not animating using computer aided techniques, you can appreciate making those techniques work as they work in traditional animation medium will pose its own challenges. It is only fair if I gave two examples as well... For example computer simulation of any kind is hard if not impossible with non-continuous representations of motion when they don't interpolate in a relatively plausible way. Another example would be re-creating a traditional "looking" style, let alone being attempted at a scale like this, will just be a huge technical undertaking. Now, I have a consistent problem where I open my mouth intending to add just a sentence to a conversation and a nine-volume encyclopedia pops out instead. Accordingly, my attempt to answer the poster succinctly turned into a post-long response that I decided might as well just be a post, so here it is! Thanks for your comment! You may be right that Spider-verse isn’t the best example, and certainly I wouldn’t hold it up as an example of the kind of production I intend to create--just as a very good example of stylized CG. I suspect that rendering in a stylized way, and making this style work with their existing methods, was quite expensive for SPI! I recall an artist who worked on Paper Man describing it as twice the work of ordinary CG. That's certainly a danger with stylized approaches--but I think it's an avoidable one. The problem, it seems to me, is that you really can't approach this sort of production as if it were conventional CG, with a conventional methodology and pipeline, and expect to reap the cost benefits I think are potentially realizable with it. You'd have to treat this kind of production very differently. For instance, you mention simulation as something that would be difficult with non-continuous motion, and you're quite correct. So simulation itself would be the first thing on the chopping block for the production, outside of the occasional FX shot. It's one of the many steps that gums up the works of CG production and prevents us from getting to that an-artist-can-sit-down-and-just-make-something state. Plus I generally don't like its results on an artistic basis (at least in this stylized context). When traditional animators animate clothed characters, the clothing takes part in the character's silhouette and becomes a part of the performance. They never had any difficulty animating cloth by hand. Yes, I am actually claiming that hand-animating cloth would be faster then simulating it, and I know how insane that sounds from a conventional CG perspective. But stylization completely changes the game. Consider the monkey test I posted a few months back. The monkey is unclothed, of course, but there definitely parts of his body that require secondary animation, notably his hair tufts and ears. The hair tufts at least would most likely be simulated if this shot were approached in a conventional manner. The way I approached the shot was not only to animate them by hand, but to animate them from the very beginning--the very first key poses I put down already included the ears and hair tufts as an inherent aspect of those poses, already contributing to silhouettes and arcs. It’s pretty difficult to get an accurate idea of exactly what percentage of my time animating the shot was devoted to them, but I’m going to guess it was only a few percent. This is only possible because the stylized look allowed me to ignore the “higher frequency” details that would be required for a fully rendered character, and I expect these same details would also be unnecessary for character clothing. I’m much more interested in character silhouettes then I am in wrinkles and clothing detail, so some simple secondary that’s really just part of the character’s pose would actually be more effective. The idea here is that this isn’t just any form of stylization--it’s a specifically chosen set of stylizations that support each other in the goal of massively reducing the amount of work involved. And that means choosing subjects that work with the grain of those stylistic choices. For instance, you may be wondering how I’d approach a long flowing cape or a long coat. The answer is...I wouldn’t. I wouldn’t generally put characters in long coats or capes. There are about a million stories you could tell that don’t require anyone to wear a cape. Creating low-cost CG in this manner would be about making the design choices that let you get the most bang for your buck production-value wise while maintaining the essentials of character animation, a very different goal then that which I suspect drives companies like SPI and Disney to create stylized CG. This also applies to the NPR rendering. There are a lot of ways to approach this problem, and some may be very time consuming! The two-tone methods I’m using here aren’t, though. I was able, as an individual with some understanding of the problem but no custom tools, to sit down and do the shading for the Monkey test without much trouble. Partly this is again choosing the most direct path to something that both looks good and is efficient to create. The simple two-tone present in the monkey test carries far less detail then the more painterly frames from Spider-verse, but I think it wouldn’t have any difficulty supporting emotionally engaging characters or exciting action scenes. That said, the efficiency of this process could be improved a lot, and there’s a lot of room for R&D here--there’s still a required level of manual tweaking that I’d like to get rid of, and the two tone shapes could be improved. I’m hoping to tackle some of those problems this year. There’s still the question of how that process, however reasonable on a small scale, would scale up to a large production like a feature film. In many ways, it may help to think of the look development for such a production as being less like a conventional film production pipeline, and more like a game. Ideally, except for certain FX shots, such a production would not even have a rendering/compositing stage--what you would see working on the shot would simply be the shot. It might be quite literally “in-engine” if using a game engine as the hub of production turns out to be the right way to approach it (this is something I’m getting more and more interested in). While this doesn’t remove all potential issues with scaling the approach to feature film size, I think it does drastically simplify the problem. Of course, we haven’t actually produced a long-form project using these techniques, and I’m sure there are going to be unforeseen roadblocks, so we shall see! In any case, thanks again for your comment! I hope this illuminates how I envision this production process being different from the way I imagine that Spider-verse is being done, and why I think that the immense cost gains I’m claiming here are achievable.
He did me dirty 😢
Lmfao
We love uuuu❤
lol
Bahahshhdhs
wth why do you not have a checkmark i thought this was random top comment 🤨
99 missed calls from Italy
1,00,000 missed assassinations from lionfield💀💀💀
Edit: y’all I did not mean to start a fight in the comments I know it’s over used 💀💀💀
Bot
@@LegendSavage13 wdym bot
@@Josemordata this comments is overused
@@LegendSavage13fr it's not even funny at this point, it's straight up annoying
Like whats wrong? İts only a joke-
**wears a fallout 4 armor**
“Did you know that you can-“
“No”
Damn that was personal💀
Dont Translate!!!!... 💀
გამოვიწერ ყველას ვინც გამოიწერს და მოეწონება ეს კომენტარი
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
You again
@@Heinz_Yellow_Mustardwhy 😢
😂
Kian appearing out of nowhere got me.. His teenage and not childish voice (anymore) got me twice over 😂 damm.
I love how they always collab with eachother
@@DungTran_iajddis i think i had a stoke trying to read that
Wo
@@michael-z8y5k
That's a standard way to increase viewership and make more money. Most RUclips tutorials will mention that
@@michael-z8y5k😂😂😂😂😂😂😂😂
The things you guys do really bring a smile to me even on my worst days. I cannot thank you enough!
Kian just appearing out of nowhere lol
Where
The end
@@PriyaPatel-iw2rc okay I see
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
@@DungTran_iajddis blud said nothing
"Thank you! Is my favorite!"
Best line
Albert:APPROVED
Lionfield:NOT APPROVED
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
Lionfield: NOOO-
Bot
︀︀︀lo̖l
@@DungTran_iajddishow
Yay now i have a use for my nerium oleander flowers.thanks 😁
Ifjcvbn.
Chen b jddbc. Babel’s ans iDVD can. Hi xbaheegzbxbxv CB b ehjqge(?)5);
Kian: Thank You
Albert: *Pours*
What the atual fuck
Erm
Fr
Love how everytime this says "did you know" albert just shuts him up and he on the otherhand doesnt give up
I love flowers 🌸🌷🌸🌷🌸🌷
Me too😅
A flower pedal went in my nose💀
@@kassidymckinney3682
ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
Let's eat them
That actually looks AMAZING
"Theres a starman waiting in the sky he'd liked to come and meet us but he thinks he'll blow our minds"
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
Love the Bowie reference!
No I Didn't Know You Can Make Syrup With Flowers At All🌸🌺🌻🌹🌷🌼💐
Well actually they already exist, faloodeh is a famous Persian dessert made with rose water syrup, also in Turkey and Bulgaria there are desserts such as güllaç and jams made with rose,its water and its syrup 😊
He is making spaghetti with sweets .Lionfield is coming for him
😡🔪
This flower syrup looks too pretty to eat! 🌼🥤 I love how they make cooking look so fun and magical. Plus, Kian really adds that touch of surprise! 😄 Can't wait to try this recipe! 🌟
Him : “Just 2 ingredients”
Water: “Am I a joke to you?”
Lol
Because you can easily get water from the tap so it's not really an ingredient
Recipe: Western style Fried Rice w/ Pan-fried Sesame Chicken Ingredients: Food Items - Chicken Breast - White Rice - Eggs - Spring Onion - Peas and Carrots - Garlic - Sesame Seeds Sauce/Seasonings - Low Sodium soy sauce - Black Vinegar (yellow cap) - Ketchup (sub tomato or tamarind paste if despise ketchup) - Honey - Rice Vinegar (or regular vinegar) - Onion/Garlic powder - Salt/pepper - Neutral oil Optional Ingredients (Will cover how to use at the end after main recipe) - Onions - Bean sprouts - Chili Flakes/Spicy Red Chili powder - Cornstarch or Flour (for a battered version) - Sesame Oil - Chili Oil (lao go ma) - Red wine vinegar - Shaoxing wine Cooking Instructions: Step 1: Rice Fork your chicken good and cube it up. (The purpose of the forking is to tenderize and infuse seasonings. It cooks faster internally) Toss in a mixing bowl and add a 1-2 teaspoons (or as much as you desire) of onion/garlic powder with salt/pepper. Mix it and let it sit in the fridge for 30-60 minutes. Start cooking your white rice now while preparing the eggs and veggies. It should take 10 minutes or so. I highly suggest blanching the carrots and onions, if frozen in boiling water, before cooking.... Or follow the video.... If you're using fresh peas/carrots, you don't have to blanche them. The steps for the video is self explanatory. Pre-heat pan, coat oil over it, and saute veggies for 1 minute on medium high heat, add your eggs, and cook on high heat for 1 minute, add rice. Stir for 2 minutes on heat and add 2-3 TBSP of low sodium soy sauce (or Light Superior Soy Sauce for authentic brand, but it's not low sodium). Drizzle a 2-3 teaspoon of black vinegar (or rice wine vinegar, light/dark soy mix - 2-4 TBSP light/.5-1 teaspoon of dark soy). Authentic approach Coat pan with oil, pre-heat until ready. Saute onions and veggies for 2 minutes, medium high, and place on the side. Now add your rice and stir it around so it's more even in the pan. Once you're ready, turn the heat to high and slowly mix your eggs all over your rice (don't fast pour). If you drizzle it correctly, you can coat the rice with yellow egg. 😮 Mix the rice while adding the egg so it doesn't stick from the heat. Add your veggies back (add oil if needed because it's sticking) and cook while mixing for 3-5 minutes. Add your soy sauce/black vinegar mixture. Rice is done, set aside. Step 2: Protein Let's make the sauce. You will add 2-3 TBSP of ketchup (or tomato/tamarind paste to sub), 2-3 teaspoons of honey, rice wine vinegar (or regular vinegar), minced garlic, and 2-4 TBSP of low sodium (or Light Superior soy sauce.) Whisk and blend. Ready your meat, pre-heat Pan on medium high (coat Pan with oil) and saute your chicken for 4-8 minutes on all sides till you get a slight browning. Add your sauce glaze and cover 1/3 of the meat. Let it finish on medium high or high heat for 3-5 minutes. Prepare your rice bed, glazed chicken, garnish with sesame seeds and chopped spring onions. Optional touches Instead of grilled chicken, you can mix it with cornstarch and/or egg wash for a light batter. Season it with your onion/garlic/red chili powder in the cornstarch dredge. Deep fry for 8-10 minutes on 350 (F) degrees. While cooking, preparing the glaze, add red chili flakes to it for spicy hit. Use white onions while cooking your veggies for flavor. On a wok with a high BTU burner, the cooking cycles change, more fast paced, and requires lots of tossing, but this gives you the authentic restaurant flavor (wok hay). You'd cook the glaze for 30 seconds, toss your battered meat, and flip/toss while cooking for 2 minutes. Serve on the rice. Drizzle sesame oil at the very end, your chili oil, shaoxing wine, and bean sprouts. Enjoy and please leave a like if you really tried this recipe! 🖤❤"
Man would’ve been dead if Kian didn’t appear from probably being trained by Chef Rush
Albert always violating food crime in every single video especially by Italians. 💀💀
@@Cooljohnnyboi ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
You laugh but this used to be an actual dessert in older times. Especially with cinnamon and and related older sweet stuff
How the hell do you not get the reference?
Bro Albert is already tired of spicymoustache always saying “did you know that you can”😂😂😂
😂😊😢❤
Suddenly Kian appears out of nowhere😅
Hey! It’s been a while since I’ve posted--I was working on a frankly unreasonable number of projects these last two months, some of which I hope to be able to show you soon, but it left me with very little time to add to this blog. A couple of days ago, I was reminded I have to get back to this when I saw a comment come up on my last post “Action is his reward.” With permission, I’m reproducing it here: I am rewarded by your enthusiasm and I can relate to most of the content that you produced for this blog post. However, this project may not the best case for the perspective you are presenting, as it stands with today's technology trends and capabilities (perhaps limitations as well). I hope some day, doing this style of work proves to be more cost effective, as I would love to see more of this style in hopefully even more ambitious productions. Let me elaborate some other perspective that may explain my point better and hopefully have more people appreciate lesser understood details about what is presented in that teaser. If you think about a team of people creating this whole thing from scratch and let's say during the process they might be using some techniques uniquely advantageous and otherwise impossible when not animating using computer aided techniques, you can appreciate making those techniques work as they work in traditional animation medium will pose its own challenges. It is only fair if I gave two examples as well... For example computer simulation of any kind is hard if not impossible with non-continuous representations of motion when they don't interpolate in a relatively plausible way. Another example would be re-creating a traditional "looking" style, let alone being attempted at a scale like this, will just be a huge technical undertaking. Now, I have a consistent problem where I open my mouth intending to add just a sentence to a conversation and a nine-volume encyclopedia pops out instead. Accordingly, my attempt to answer the poster succinctly turned into a post-long response that I decided might as well just be a post, so here it is! Thanks for your comment! You may be right that Spider-verse isn’t the best example, and certainly I wouldn’t hold it up as an example of the kind of production I intend to create--just as a very good example of stylized CG. I suspect that rendering in a stylized way, and making this style work with their existing methods, was quite expensive for SPI! I recall an artist who worked on Paper Man describing it as twice the work of ordinary CG. That's certainly a danger with stylized approaches--but I think it's an avoidable one. The problem, it seems to me, is that you really can't approach this sort of production as if it were conventional CG, with a conventional methodology and pipeline, and expect to reap the cost benefits I think are potentially realizable with it. You'd have to treat this kind of production very differently. For instance, you mention simulation as something that would be difficult with non-continuous motion, and you're quite correct. So simulation itself would be the first thing on the chopping block for the production, outside of the occasional FX shot. It's one of the many steps that gums up the works of CG production and prevents us from getting to that an-artist-can-sit-down-and-just-make-something state. Plus I generally don't like its results on an artistic basis (at least in this stylized context). When traditional animators animate clothed characters, the clothing takes part in the character's silhouette and becomes a part of the performance. They never had any difficulty animating cloth by hand. Yes, I am actually claiming that hand-animating cloth would be faster then simulating it, and I know how insane that sounds from a conventional CG perspective. But stylization completely changes the game. Consider the monkey test I posted a few months back. The monkey is unclothed, of course, but there definitely parts of his body that require secondary animation, notably his hair tufts and ears. The hair tufts at least would most likely be simulated if this shot were approached in a conventional manner. The way I approached the shot was not only to animate them by hand, but to animate them from the very beginning--the very first key poses I put down already included the ears and hair tufts as an inherent aspect of those poses, already contributing to silhouettes and arcs. It’s pretty difficult to get an accurate idea of exactly what percentage of my time animating the shot was devoted to them, but I’m going to guess it was only a few percent. This is only possible because the stylized look allowed me to ignore the “higher frequency” details that would be required for a fully rendered character, and I expect these same details would also be unnecessary for character clothing. I’m much more interested in character silhouettes then I am in wrinkles and clothing detail, so some simple secondary that’s really just part of the character’s pose would actually be more effective. The idea here is that this isn’t just any form of stylization--it’s a specifically chosen set of stylizations that support each other in the goal of massively reducing the amount of work involved. And that means choosing subjects that work with the grain of those stylistic choices. For instance, you may be wondering how I’d approach a long flowing cape or a long coat. The answer is...I wouldn’t. I wouldn’t generally put characters in long coats or capes. There are about a million stories you could tell that don’t require anyone to wear a cape. Creating low-cost CG in this manner would be about making the design choices that let you get the most bang for your buck production-value wise while maintaining the essentials of character animation, a very different goal then that which I suspect drives companies like SPI and Disney to create stylized CG. This also applies to the NPR rendering. There are a lot of ways to approach this problem, and some may be very time consuming! The two-tone methods I’m using here aren’t, though. I was able, as an individual with some understanding of the problem but no custom tools, to sit down and do the shading for the Monkey test without much trouble. Partly this is again choosing the most direct path to something that both looks good and is efficient to create. The simple two-tone present in the monkey test carries far less detail then the more painterly frames from Spider-verse, but I think it wouldn’t have any difficulty supporting emotionally engaging characters or exciting action scenes. That said, the efficiency of this process could be improved a lot, and there’s a lot of room for R&D here--there’s still a required level of manual tweaking that I’d like to get rid of, and the two tone shapes could be improved. I’m hoping to tackle some of those problems this year. There’s still the question of how that process, however reasonable on a small scale, would scale up to a large production like a feature film. In many ways, it may help to think of the look development for such a production as being less like a conventional film production pipeline, and more like a game. Ideally, except for certain FX shots, such a production would not even have a rendering/compositing stage--what you would see working on the shot would simply be the shot. It might be quite literally “in-engine” if using a game engine as the hub of production turns out to be the right way to approach it (this is something I’m getting more and more interested in). While this doesn’t remove all potential issues with scaling the approach to feature film size, I think it does drastically simplify the problem. Of course, we haven’t actually produced a long-form project using these techniques, and I’m sure there are going to be unforeseen roadblocks, so we shall see! In any case, thanks again for your comment! I hope this illuminates how I envision this production process being different from the way I imagine that Spider-verse is being done, and why I think that the immense cost gains I’m claiming here are achievable.
@@DungTran_iajddis stop yapping lol
Yo that actually looks good
Did you know you can-
No
Bro that never gets to old😂😂
I ahve a challenge for you make daal bati
I love this syrus idea! ❤❤❤❤
please make ghorme sabzi❤❤❤❤
Kian really is a real one.
His name is kian.
@@LiveLaughLoveMxtsuriKxnroji typo. soz
@@spartanious5519 oh it's alr
Ooo my favourite thank you got me on the floor😂😂😂😂
Roses 🌹 make the best syrup
Putting syrup and sweets to pasta is too personal for the Lionfields and the italians
( DID YOU KNOW ) never gets old❤🎉💯💯💯
I like this video necouse i love albert
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
I like that cauldron made of glass
Albert be like:APPROVED🤌
Lionfield be like:NOT APPROVED!!🫵🫵
Don't Do Zat My Friend
@@Hefa-normal
William Afton and Henry opened in 1967 the family friendly Fredbear's Family Diner, featuring a brown furry suit of a bear as a mascot. Henry would usually wear the suit, as they didn't have enough money to hire someone to do the job for a long time and they were studying at the time. William studied engineering and Henry business adminstration and communication. William met an unnamed woman, with whom he married and three years later had a boy challed Michael. They met in the court; William was being charged for murdering a child that allegedly was crying outside the Diner for being scared of Fredbear, the bear, and she was working selling hot-dogs in from of the building. (Btw, he was released because they didn't have evidences pointing it). It took them four years to actually achieve any success with the Diner, as they learnt from little Michael that Fredbear was boring. William them designed a new mascot: a yellow furry suit of a rabbit called Bonnie. The chemistry between both characters worked like black magic and the success rained on them like rain in a rainy day. The amount of money they got was so much, William used it to test his engineering skills, designing the first two Spring Lock suits: which were obviously Bonnie and Fredbear. The success increased. Freddy Fazbear's Pizza The Diner's success was so big, a company decided buy it and open a franchise around it. Hanry and William sold it, seeing a whole lot of profit coming from it, but there was a catch: the company used sneaky legal actions that allowed them to have the diner 100% under their possession, erasing Henry's and Michael's name from it. The company then opened Fazbear's Entertainment to take care of everything. William was so pissed because of this he cut any relationship with anyone involved with the franchise. Henry, on the other hand, didn't know any other thing to do, so he asked for a job; he became Phone Guy. FFP opened in 1973, and featured four furry suits of animals: Freddy Fazbear, a recolour of Bonnie, Chica and Foxy The Pirate. This made William even more pissed when he learnt they made four animatronics without him. He started planning his revenge. Btw, the Diner was still opened - as a sister location for FFP. The Origin of Purple Guy In 1976 William had twins: a little blonde girl and a little brunette boy. He started to teach Michael to take care of them, because "Daddy won't be around forever". During his free time, William started designing and projecting new robots (he hated the name "animatronics") and plans for his own company: Afton Robotics. But he had another plan under his sleeve: ruin FFP from the inside. He disguised himself as Dave Miller and started working applied for day time security guard at FFP. As he was always wearing purple - the uniform's colour - and usually hid in the shadows to stay out of sight of anyone who might recognize him, he was nicknamed by every child as "The Purple Guy". During this time, in 1980, he did his evil plan: using the Spring Bonnie suit he built years earlier, he lured five children to a back room, murdered them and hid inside the body of the animatronics. In case you're wondering what he did with the fifth one, he obviously hid it inside a spare Freddy suit he then painted yellow, duh. Fortunately for Billy, they actually caught Henry instead of him, as one of the cameras caught him walking around in one of the suits. He got out sometime later, as they managed to prove he had some mental disabilities and had a fixation with wearing the suits around, and had no violent behaviour. But Dave? Well, he was fired when FFP closed. Circus Baby With the help of the money he got from selling the children's organs in the black market, William opened Afton Robotics and had everything ready to open his own kid-friendly restaurant: Circus Baby's Pizza World. The problem is that he got a new hobby, and this where his hill went down. He liked so much the idea of killing children and the profit he could get from selling their organs - healthy children organs are way more valuable than adults' -, he made special alterations in his robots, turning them into kid-kidnapping and killing machines. The problem is that, in 1982, he accidently let his daughter get close to Baby when he wasn't looking; and Baby killed her. He knew he was the one to blame, but he actually blamed Michael for this, saying that he, as the older brother, should've protected her. This incident lead to the pizzeria's cancellation and William's divorce. His wife took Michael and the other boy with her, leaving him alone. His new hobby and this incident in his life lead him to become a human monster. The Children Going a little away from the entire "Afton story arch", let's talk about the children he murdered. The first one came to possess a Puppet from FFP. The other five, with the help of the first one, possessed the suits they were stuffed inside. They then started killing any adult they could at night, when there was no children around, because they thought every adult was the "Purple Guy" they heard of when they were still alive. The Bite of '83 William's ex-wife took the children and they started living close the Diner, that was still running great. For the good old times, before the problems, she would take them there. William, on to their house, where he built an underground room he used to monitor cameras installed in the house, the Diner and in the street. He also started to prepare the warehouse to building Circus Baby Entertainment & Rental. He also returned to his Dave Miller persona, working at the Diner, taking a closer looka at his sons. The Crying Child After the Baby Incident, Michael became a rebel teenager who, rebelling against his father's will, bullied his younger brother. For the brother's unluckiness, he was also traumatized for actually having witnessed Baby killing his sister in the year before. For his luckiness, though, he had a reliable friend: Psychic Friend Fredbear. Unbeknown for him, the plush was actually a camera his father used to check on him. More unbeknown for him, when the plush talked with him, it was actually the spirit of his sister, who was haunting William's warehouse, and with supernatural abilities managed to speak through the camera system. The Bite per se You all know how it happened. Birthday party, bad joke, head inside the bear's mouth and chomp, child's head's crushed. He went to the hospital, but died. His sister tried to help him, but in the end he became a ghost purple bear, crying in the corners of anywhere the suit that killed him was at. William's Revenge After the Bite, Michael's mother committed suicide and he was taken under William's keeping. But Billy wasn't happy with his son, who caused the death of another one of his children. William projected the new building to have a place for torturing children - specially made for Michael, actually. The room was designed to mimic Michael's room from the other house, so when he would fall asleep, William would take him to the "nightmare" room (Michael would be drugged) and unleash nightmarry robotic versions of the Fazbear animatronics to haunt him at night, giving him some reminders of what he did to his brother. This marked Michael for life, and turned him a better person, actually. 1987 OMG, this is long, isn't it? Well, in 1987 another FFP opened, with new animatronics. William became Dave again and killed more five children. The place temporarily shut down, reopened in November, but didn't last after Mangle bit someone. Henry was once again without a job. The problem is that, in this attempt, they recognized Dave as William, so he had to hid himself for his own safety. Fixing past mistakes During the time hiding, William started pondering about his decisions in life, and how it screwed everything for him. He caused the death of his family, lasting only him and his older son. That was it! The solution! If he, William, ruined everything, Micheal could be the one to fix everything! He then sent a letter to Michael, explaining everything he should do. William was aware of the spirits and possessions, and knew his daughter was haunting CBE&R, so he sent Michael there first. Then Sister Location happened and all that jazz. Or should I say, casual bongos? Kill me. So, Baby first thought Michael was William, but then she recongnized his brother and saw an opportunity for her and the other sentient robots from the Rental to leave - using him as a "human disguise". To prevent his brother died from this, she did some black magic researchs and found a way to prevent him from dying. Then Ennard came to be, Michael was fooled into the Scooping Room and became a suit. Ennard tried to live a life as a regular human being pretending to be Michael, but unfortunately the black magic didn't prevent flesh from rotting, so the disguise was ruined and Ennard left Michael' body, now living in the sewers, waiting for It to start shooting, hoping to get a role in it. But, even though Michael became an undying walking corpse, his job wasn't done, he had one last thing to do: free the souls of his father's victims. So, he went to work at FFP, that reopened in the 90's, to check if the possession thing was really going on there. Oh, Henry died there before Michael begin to work. Michael got a fake name - Mike Schmidt (he wasn't as good with names as his father was) -, and worked there. He was unfortunately fired for being a smelly corpse and "supposedly tampering the animatronics". So he waited for when the pizzeria closed for good. With the help of Shadow Freddy, who was actually the spirit of his younger brother, he dismantled the animatronics, freeing the children's souls from their physical restraints. For Michael's unluckiness, in FNaF Universe rotten FNaF 3 No one likes FNaF 3. You all know what happens here. The Future After Fazbear's Fright burnt down,"
ǝqᴉɹɔsqn
Looks like the elf pasta yummy
"Did You Know That You Can"
"No"
Hey! It’s been a while since I’ve posted--I was working on a frankly unreasonable number of projects these last two months, some of which I hope to be able to show you soon, but it left me with very little time to add to this blog. A couple of days ago, I was reminded I have to get back to this when I saw a comment come up on my last post “Action is his reward.” With permission, I’m reproducing it here: I am rewarded by your enthusiasm and I can relate to most of the content that you produced for this blog post. However, this project may not the best case for the perspective you are presenting, as it stands with today's technology trends and capabilities (perhaps limitations as well). I hope some day, doing this style of work proves to be more cost effective, as I would love to see more of this style in hopefully even more ambitious productions. Let me elaborate some other perspective that may explain my point better and hopefully have more people appreciate lesser understood details about what is presented in that teaser. If you think about a team of people creating this whole thing from scratch and let's say during the process they might be using some techniques uniquely advantageous and otherwise impossible when not animating using computer aided techniques, you can appreciate making those techniques work as they work in traditional animation medium will pose its own challenges. It is only fair if I gave two examples as well... For example computer simulation of any kind is hard if not impossible with non-continuous representations of motion when they don't interpolate in a relatively plausible way. Another example would be re-creating a traditional "looking" style, let alone being attempted at a scale like this, will just be a huge technical undertaking. Now, I have a consistent problem where I open my mouth intending to add just a sentence to a conversation and a nine-volume encyclopedia pops out instead. Accordingly, my attempt to answer the poster succinctly turned into a post-long response that I decided might as well just be a post, so here it is! Thanks for your comment! You may be right that Spider-verse isn’t the best example, and certainly I wouldn’t hold it up as an example of the kind of production I intend to create--just as a very good example of stylized CG. I suspect that rendering in a stylized way, and making this style work with their existing methods, was quite expensive for SPI! I recall an artist who worked on Paper Man describing it as twice the work of ordinary CG. That's certainly a danger with stylized approaches--but I think it's an avoidable one. The problem, it seems to me, is that you really can't approach this sort of production as if it were conventional CG, with a conventional methodology and pipeline, and expect to reap the cost benefits I think are potentially realizable with it. You'd have to treat this kind of production very differently. For instance, you mention simulation as something that would be difficult with non-continuous motion, and you're quite correct. So simulation itself would be the first thing on the chopping block for the production, outside of the occasional FX shot. It's one of the many steps that gums up the works of CG production and prevents us from getting to that an-artist-can-sit-down-and-just-make-something state. Plus I generally don't like its results on an artistic basis (at least in this stylized context). When traditional animators animate clothed characters, the clothing takes part in the character's silhouette and becomes a part of the performance. They never had any difficulty animating cloth by hand. Yes, I am actually claiming that hand-animating cloth would be faster then simulating it, and I know how insane that sounds from a conventional CG perspective. But stylization completely changes the game. Consider the monkey test I posted a few months back. The monkey is unclothed, of course, but there definitely parts of his body that require secondary animation, notably his hair tufts and ears. The hair tufts at least would most likely be simulated if this shot were approached in a conventional manner. The way I approached the shot was not only to animate them by hand, but to animate them from the very beginning--the very first key poses I put down already included the ears and hair tufts as an inherent aspect of those poses, already contributing to silhouettes and arcs. It’s pretty difficult to get an accurate idea of exactly what percentage of my time animating the shot was devoted to them, but I’m going to guess it was only a few percent. This is only possible because the stylized look allowed me to ignore the “higher frequency” details that would be required for a fully rendered character, and I expect these same details would also be unnecessary for character clothing. I’m much more interested in character silhouettes then I am in wrinkles and clothing detail, so some simple secondary that’s really just part of the character’s pose would actually be more effective. The idea here is that this isn’t just any form of stylization--it’s a specifically chosen set of stylizations that support each other in the goal of massively reducing the amount of work involved. And that means choosing subjects that work with the grain of those stylistic choices. For instance, you may be wondering how I’d approach a long flowing cape or a long coat. The answer is...I wouldn’t. I wouldn’t generally put characters in long coats or capes. There are about a million stories you could tell that don’t require anyone to wear a cape. Creating low-cost CG in this manner would be about making the design choices that let you get the most bang for your buck production-value wise while maintaining the essentials of character animation, a very different goal then that which I suspect drives companies like SPI and Disney to create stylized CG. This also applies to the NPR rendering. There are a lot of ways to approach this problem, and some may be very time consuming! The two-tone methods I’m using here aren’t, though. I was able, as an individual with some understanding of the problem but no custom tools, to sit down and do the shading for the Monkey test without much trouble. Partly this is again choosing the most direct path to something that both looks good and is efficient to create. The simple two-tone present in the monkey test carries far less detail then the more painterly frames from Spider-verse, but I think it wouldn’t have any difficulty supporting emotionally engaging characters or exciting action scenes. That said, the efficiency of this process could be improved a lot, and there’s a lot of room for R&D here--there’s still a required level of manual tweaking that I’d like to get rid of, and the two tone shapes could be improved. I’m hoping to tackle some of those problems this year. There’s still the question of how that process, however reasonable on a small scale, would scale up to a large production like a feature film. In many ways, it may help to think of the look development for such a production as being less like a conventional film production pipeline, and more like a game. Ideally, except for certain FX shots, such a production would not even have a rendering/compositing stage--what you would see working on the shot would simply be the shot. It might be quite literally “in-engine” if using a game engine as the hub of production turns out to be the right way to approach it (this is something I’m getting more and more interested in). While this doesn’t remove all potential issues with scaling the approach to feature film size, I think it does drastically simplify the problem. Of course, we haven’t actually produced a long-form project using these techniques, and I’m sure there are going to be unforeseen roadblocks, so we shall see! In any case, thanks again for your comment! I hope this illuminates how I envision this production process being different from the way I imagine that Spider-verse is being done, and why I think that the immense cost gains I’m claiming here are achievable.
I am going to try this tomorrow morning 😂❤
Nice syrup
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
Hhhhhhhj@@DungTran_iajddis
It's Bo Sin?
Best way to aggravate the Italians
Lionfield reacting to this video with a cross later😂😂
Best collab ever xD
I would have never expected kian to pop up lol
😊I have a slice of the cake.
😊
Bury The Light deep within
They both are officially number 1 italy worse enemy💀
Dont Translate!!!!... 💀💀
გამოვიწერ ყველას ვინც გამოიწერს და მოეწონება ეს კომენტარი
I never thought that Kian betrayed the Italians
what did you do to the pasta😭😭 (i'm italian🤫🧏)
yes
🙃 ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
@@helldivers-o7t
Phone Flip be like
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
@@DungTran_iajddis how did you make upside down
@@rhynazoui7193 it's a bot don't even bother replying, it's a font btw
@@A-dood oh right, I forgot that a bot
I can already hear Lionfield screaming at pain
@Lionfield is typing...
Can you make sarma? It's a Serbian dish I think you'll like
Amazing videos l like ❤
🙃ǝqᴉɹɔsqns puɐ ǝʞᴉๅ ǝʌɐǝๅ oʇ ʇǝɓɹoɟ ʇuop"
Albert you can make Antep Fıstıklı baklava ?
Yeşil Türkiye 🎉❤❤❤
Yani yes
FLOWER!
Italians: 💀
Diabetes: 💀
Did Your Know You Can U- NO GOT ME DYING😂
bro never give up
That Pasta from Elf always looked good
I'm convinced all the foodtubers are neighbours because of all the collabs
Albert's the grumpiest man in existence if he's not getting food every 5 seconds
Spicymoustache:Did you know that you can-
Albert:No
Italian: Don't mess with pasta
Request: Haven't heard of BFDI? Pls make BFDI'S Berried Yoylecake!
Albert has not cried since 13 videos, and now i can't unsee it.
Albert doesn't give a chance. 😂
What kind of flowers were they though? Bougainvilleas?
"NOOOOOOOO ALBERT NOOOOOOOOOOOOOO
NOT APROOOOOOOOOOVED!!!"
-Lionfeilds
99 missed calls from Lionfield
@lionefield gone wrong with this one😂😂
You can make a tutorial of the Italy pasta dog please
Spicy moustache's iconic speech : did you know
Who needs flowers when we got syrup from trees here in Canada
In Syria we used to make rose syrup, it is the most delicious cold drink in the world
I can’t wait for Lionfield to see this “NOT APPROVED!!!”
Kian came from nowhere 😂
How To Summon An Entire Italian Army:
The guy that has tatoos looks like bo sinn
Kian awakened from the heavens
Liofened : NOT APROVED
ALBERT:APROVED
SPICY : NOT APROVED😊
Bro is a genius 🙌
😍😍😍😍😍😍😍😍😍😍😍🤩🤩🤩🤩👍👍👍
Bro is becoming Buddy the Elf 💀
You might be the only other one to realize this is elf spaghetti well known in the north pole culinary circles
Italian: Not Approved
Очень много цвет ядовитые . Удачи 😊.
Kian with an extraordinary entry
Spaghetti with choclate and marshmellow is a crime
Kuan saved his life there💀
Make Mendy next that is my country’s dish in yemen
Sweet Spaghetti with Flower Syrup 🪦
At this point he's intentionally pissing LionField for more collabs 😂
I like that guy to cook
“Two cups of watah” 🦘🇦🇺
Did you know 😃 *albert: no go away*
He is the enemie of Italian food
I was expecting lionfield
The kid:"cool its my favourite" that caught me laughing in the floor for 10 hours
I thought he said flowers to make spirit 💀
Two cups of W O T U H 😂😂