#2D 3D HOLOGRAMS

[kiranholographicsblog]

Hologram stickers play a crucial role in various industries, providing a visually stunning and highly secure method for authentication and branding. These stickers utilize holography, a technique that produces three-dimensional images through the interference of light beams. The intricate patterns and optical effects make hologram stickers difficult to replicate, serving as an effective deterrent against counterfeiting.

In the realm of product packaging, hologram stickers act as a powerful tool to establish product authenticity. They often incorporate elements like microtext, hidden images, and dynamic color shifts, making it challenging for counterfeiters to replicate the entire spectrum of features. This not only safeguards the interests of manufacturers but also assures consumers of the genuine nature of the product.

Beyond anti-counterfeiting measures, hologram stickers are extensively used for branding and aesthetic purposes. Companies leverage holography to create visually striking and memorable labels that enhance the overall appeal of their products. The holographic effects captivate consumers, adding a futuristic and sophisticated touch to the packaging.

In the world of document security, hologram stickers are employed to authenticate important documents such as IDs, passports, and certificates. The complexity of holographic patterns makes it exceedingly difficult for forgers to reproduce, ensuring the integrity of sensitive information. This application extends to event tickets, where hologram stickers deter unauthorized duplication.

Moreover, hologram stickers have environmental benefits as they can be produced using materials that are recyclable and eco-friendly. This aligns with the growing emphasis on sustainability and responsible manufacturing practices.

Hologram stickers have evolved beyond mere embellishments; they have become indispensable tools in the fight against counterfeiting while simultaneously serving as visually appealing and environmentally conscious branding elements. As technology advances, holographic techniques are likely to undergo further innovations, opening up new possibilities for secure authentication and creative design across diverse industries.

[holoproduction]

How to make an insane income with ChatGPT and Midjourney.

How to make an insane income with ChatGPT and Midjourney.

The first step is to establish yourself as an expert in your field and create a profile on Midjourney's platform. Once you have done this, you can start promoting your coaching services and using ChatGPT to engage with potential clients and answer their questions in a natural and conversational way.

Art has existed for thousands of years, but the advent of artificial intelligence (AI) has opened up a new world of possibilities for creating innovative and awe-inspiring works of art. AI art may appear to be a difficult task, but with the right tools and a little creativity, anyone can create stunning works of art that are sure to impress. In this article, we will look at how to create insane AI art for beginners with Midjourney V4 and how Chat GPT can help us in various art fields.

What exactly is Midjourney V4?

Midjourney V4 is an AI-powered tool that can assist in the creation of images and videos with amazing artistic effects. This tool employs a neural network known as StyleGAN to generate images with a distinct artistic flair. The best thing about Midjourney V4 is how simple it is to use, making it an ideal tool for beginners just getting started in the world of AI art.

How do I make insane AI art with Midjourney V4?

Creating AI art with Midjourney V4 is a simple process that can be completed in a few simple steps:

PS: You have to make an account in midjourney. You can join the server through Discord application.

Just go to discord. And add a server to your channel.

Click to the icon to show you this message.

Click to the icon to show you this message and click add to server.

Step 1: Select an image

To begin, select an image to serve as the foundation for your artwork. It could be anything from a landscape to a portrait of someone.

Step 2: Select a style

Next, decide which style you want to use for your image. There are numerous art styles to choose from, ranging from traditional to more modern and abstract.

Step 3: Make the artwork

After you've decided on an image and a style, you can begin creating your artwork. The StyleGAN neural network will be used by the Midjourney V4 tool to create an image that combines the base image with the selected style.

Step 4: Fine-tune the outcome

If you are unhappy with the generated image, you can fine-tune it by adjusting parameters such as brightness, contrast, and color balance.

Overall, making insane income with ChatGPT and Midjourney requires a combination of expertise, marketing savvy, and a willingness to engage with clients in a highly personalized and dynamic way. But for those who are willing to put in the time and effort, the rewards can be substantial, both financially and in terms of the satisfaction that comes from helping others achieve their goals.

How can Chat GPT help us in various artistic fields?

Chat GPT is a large language model trained by OpenAI that can help us in a variety of artistic disciplines. Here are a few examples of how Chat GPT can be used to improve the art-making process:

1. Creative writing: Chat GPT can be used to generate creative writing prompts or to assist writers in brainstorming story ideas.

2. Art history: Chat GPT can inform you about various art movements, famous artists, and their works.

3. Art criticism: Chat GPT can provide feedback on an artist's work, assisting them in improving their artistic abilities.

4. Art education: Chat GPT can be used as a teaching tool in art education to teach students about art history, techniques, and styles.

To summarize, creating insane AI art with Midjourney V4 is a fun and creative process that anyone can learn. With the right tools and some practice, you can create stunning works of art that will amaze and inspire you. Chat GPT can help us in a variety of art fields by providing us with information, feedback, and inspiration to improve our art-making abilities.

If you are interested in learning more about our services and how we can bring Hollywood quality to your project, please don't hesitate to contact us at info@holoproduction.com.

I would be happy to discuss your project in detail and answer any questions you may have.

✅Follow us:✅

Youtube:  Holoproduction - YouTube

LinkedIn:   https://www.linkedin.com/company/holoproduction/

Facebook: Holoproduction | Amman | Facebook

Instagram: Holoproduction (@holomediaproduction)

[worldofsaia]

MICHAEL TALBOT ;

the holographic universe • 1991

what if reality isn’t as solid as it looks? what if it’s more like a projection from something beyond?

TALBOT explores an idea—taking principles from the legendary physicist DAVID BOHM, and neuroscientist KARL PRIBRAM that suggest that behind the projection, there's interconnected existence.

in THU, quantum mechanics connect to paranormal experiences where current technologies fail, and this suggests that consciousness might be non-local, influencing reality like the observer effect.

these cases follow: telepathy, near-death experiences, synchronicities, and psychic abilities.

¹ ˙𖦹 *∴ A HOLOGRAM BRAIN

KARL PRIBRAM, in his research, realized that memories were not localized to any specific brain region, and, inspired by the holography concept, began to explore how the brain processes and stores information, leading to the holonomic brain theory.

the brain has FOURIER-LIKE PROCESSING, rendering information using wave interference patterns.

╰╼ a fourier transform is a math construct that takes complex signals (like sound waves) and breaks them down into simpler parts (like individual notes). your brain is doing this with information all the time, i.e;

— you suddenly remember a song you haven’t heard in years.

— a childhood memory pops up randomly.

— people with brain injuries sometimes recall after amnesia, or even access entirely new skills and epigenetic memory.

in these moments, your brain isn't like a hard drive storing data in little compartments—it’s more like a receiver, tuning into a bigger field of information.

and if that’s the case, is your brain creating consciousness, or is consciousness something bigger that your brain is just accessing?

other theories state that consciousness is a fundamental aspect of the universe, with the brain acting as a receiver or filter, it's the blueprint that allows the brain to do what it does, or even better, a physicalized avatar of consciousness, the same as the body and the world.

²˙𖦹 *∴ A HOLOGRAM REALITY

In the 1980s, DAVID BOHM thought mainstream quantum physics was missing something. dissatisfied with conventional copenhagen interpretations of his time, he proposed that reality itself is a projection from a deeper, invisible order—like a video game rendering a 3D world from 2D code.

consider: you think about someone, and they text you. you think of a number or an animal, then you see them everywhere, you convince yourself so thoroughly that you'll fail your driving test, and do so spectacularly awful it feels prophetic.

coincidence? maybe. or maybe your brain is tuning into a frequency—filtering reality based on what you’re focusing on—just like the sims 4—where the game only loads what you’re looking at.

physics states that particles remain connected even when they’re light-years apart. this is called nonlocality; everything in reality is deeply connected.

in bohm’s holistic view; these connections undeniably imply an “unknown and undescribable totality” which he calls the “holomovement,” which is the fundamental ground of all matter or; implicate order, which our observable reality, aka explicate order, comes from.

even black holes are theorized to store reality on their horizion surface, like a hologram—so what if the whole universe does the same? if our reality unfolds from a largely unseeable, unknownable infinity, it's right to call it a projection.

³ ˙𖦹 *∴ TIME, SPACE, MATTER

if reality is really holographic, then time, space, and matter are illusions emerging from a deeper level of unity.

we've already connected non-locality with space, so what about the other two? in quantum physics, TIME doesn’t always flow the way we think it does.

entangled particles not only connect to each other, they can also act on each other across what appears to be impossible distances in no time at all.

time dilation (proven by EINSTEIN) shows that time slows down near the speed of light, shows that time is relative.

even in daily life, time feels different depending on what you're doing (boring class vs. fun weekend). that's why we have calendars, watches, units and systems to measure something that, otherwise, doesn't exist unless we're paying attention to it.

as a matter of fact, ‘time’ seems to happen without time. the projection we watch (our observable universe) still follows its own internal “script” that includes processes like aging and cellular decay. even if you don't know time, you know progress, because you expect it.

okay. what about MATTER? when we look at the world around us, everything seems solid, right? your phone, your chair, your body—all solid objects. but at the smallest scales, where they become particles, collectives of atoms participating in unison, none of these things behave the way we think they do.

even stranger—particles (like electrons or light) can either act like solid little particles (like a tiny ball) or like waves (like ripples in the water), when we observe them closely. they “choose” to behave as particles.

this means at the most basic level, matter isn’t really “stuff”—it’s more like potential until we observe it. it’s only when we look that it “decides” to act like a solid thing.

⁴ ˙𖦹 *∴ SHIFTING W/ HOLOGRAPHIC MODEL

if we take the holographic universe theory seriously, reality is a hologram, then your consciousness is the projector. shifting should be as simple as changing the film running in that projector, right?

yes. and you've shifted so many times! it's just that the more you ‘try’ to shift, the more you reinforce a reality where you're trying to shift—not the one where you've already shifted. and your brain filters out changes to keep you itself stable and safe. this is why reality feels so monotonous, even though it's constantly shifting in little ways.

to break out of the loop, you need to glitch reality—enough that your brain stops autopiloting and lets your consciousness move freely. it's important to note you're not traveling anywhere, you're just wiping your glasses—aka, consciousness, the lens of your reality.

STEP ONE

the fact that you even know about shifting means it’s already happening. you’re just stuck in the “trying” loop. reality runs on predictable patterns, and your brain fills in gaps to make it feel stable. naturally, the quickest way to shift is to mess with that stability.

here are some ways to do that, stick with one or two of them or all of them, it doesn't matter:

— walk into a room and act like something changed (without checking). even if things look the same, in your mind, keep running the “program” that you're already in your dr.

— misremember something on purpose (“Wait, wasn’t my blanket blue?” Even if it never was.)

— when you do anything, like check your phone, act like it’s your DR phone. what would be on your screen? if your DR has no phones, imagine you’re reading a book or getting a message another way.

— if someone talks to you, mentally swap their words for what they’d say in your DR.

— throughout the day, remember that you shifted, mentally say: “Wait, when did I shift?”

— or ask yourself: “Wait, what was I doing again?” (in your DR) it doesn’t matter if you don’t “believe” it, act like it’s obvious.

STEP TWO

notice how you shift realities when you least expect it? when you’re half-asleep, zoned out, or so exhausted you stop caring? that’s because caring too much locks you into your current state.

— before bed, or when making an attempt, prime your mind by saying: “I actually don’t care about shifting anymore,” or “Shifting isn't so important after all.”

you’ll either 1) shift because you stopped resisting the process, 2) wake up feeling slightly different, which means you did shift but your brain is pretending nothing happened.

NOTE

if it feels weird, good. that means your brain is questioning it. when your brain starts doubting reality, it will try to restabilize by convincing you, “this is normal, nothing happened.”

your consciousness moves faster than your logical brain, meaning 9/10 you literally shifted—but your brain is reconstructing old memories to keep things feeling ‘normal.’ so if you keep asking, "did i shift?", you’re just reinforcing your old reality.

[karlmarxmaybe]

Math side of tumblr, I have an inquiry

Consider we want to represent a 3d cube in 2d. We might create an image like this:

[ID: a cube in isometric perspective. The top face is light grey, the visible right face is medium grey and the visible left face is dark grey, as if the light source was up on the right. /End ID]

Here, the dimension of depth is an illusion that comes from the specific use of light and shadow within the 2d image.

Now, what if we wanted to represent a 3d cube in 1d? The image this time might look like this:

ID: four rectangles of different color. From left to right: white, dark grey, medium grey and white again. /End ID]

(1d line stretched in a 2nd dimension -height- for visibility)

Here, the dimension of depth is still represented by light and shadow, but we have lost all information on height, and I cannot imagine a way to convey it in a static image (in video, we could have the cube pass through the line and thus appear and disappear, like in the well-known Flatland scenario).

My point being that representing a 3d object in 2d entails a much lower loss of information than representing a 3d object in 1d. This is logical.

What I want to point out is that all representations of 4d objects (like a hipercube) I've seen are in 2d, in screens, using this same light and shadow trick to simulate depth. This is analogous to representing the 3d cube in 1d. So my question is: would a 3d representation of a 4d object, made in either sculpture or hologram, offer more visual information than the 2d version?

[ratarade]

Hatsune Miku: The First Virtual Pop Diva

To begin, I must explain what VOCALOID is. It is a voice synthesis software application, capable of singing, developed by Yamaha Corporation. It allows users to generate a song simply by writing the lyrics and melody. Depending on which VOCALOID is used, the voice of the song will vary. In 2004, Crypton Future Media released their first Vocaloid with the software VOCALOID01, called Meiko.

Although Meiko, and later Kaito (2006), did not achieve great success, Crypton Future Media, in 2007, launched Hatsune Miku through the VOCALOID2 software (an update to the first version). Her name translates to "First Sound of the Future." Hatsune Miku was the first virtual vocal character and remains the most famous to this day.

She quickly went viral on a Japanese video-sharing platform (Nico Nico Douga), where users listened to the songs and created collaborative content. Starting from the original song, other users on the platform would create illustrations, 2D and 3D animations, and remixes, demonstrating the various possibilities of using the software for multimedia content creation.

After this initial success, various projects involving Hatsune Miku began, one of the most important being the release of her own video game, Hatsune Miku: Project Diva (2009) a rhythm game released by Sega for the PlayStation Portable, featuring songs such as 'World is Mine' and 'Levan Polka. That same year, Hatsune Miku made her first guest appearance at a concert (Animelo Summer Live), where she was projected on a 2D screen.

A few months later, on August 31, the “Miku FES'09 (Natsu)” took place, where Hatsune Miku performed as the first hologram singer. On March 9, 2010, Miku's first solo live performance titled “Miku no Hi Kanshasai 39's Giving Day” took place, becoming one of her most viral and visited concerts on the internet to this day.

Although the title of this blog is "Hatsune Miku: The First Virtual Pop Diva," her music varies in terms of musical genres. This is due to what I explained earlier: anyone can use the Hatsune Miku software and can use her voice to create the music they desire. Therefore, she is not only the first virtual singer and the first hologram singer, Hatsune Miku is a massification tool for music creation.

[egg-emperor]

I love when modern Eggman is on a goal plate when it's just close up of his face and they use the 3D model instead of a 2D graphic

3DS Gens is my fav because it looks the most like he took a photo and smiled for it and then just slapped it onto the sign. he looks so silly 💜

but they all evoke that vibe

it's also fun because you also get unique "renders" from them at times like these two - though they seem to be edited old ones or just roughly posed shots of the CG model, that aren't clearly fully complete rendered images that exist anywhere else

as opposed to when it's just a shot of an game model like this but still cute too

these have gotta be what a bunch of the selfies of his ten terabytes of photos of himself looks like hehe

the 3D classic Eggman ones despite not being 2D don't really feel the same as him taking a funny selfie because his mouth usually isn't visible in them unlike the 2D depictions often do but I guess it's kinda there

however the way it laughs on it in Gens is cute and makes it feel more lively then

almost like he recorded a little video hologram thing of himself to pop out and play on them somehow, just to mock Sonic if he fails the goal post juggle mission lol

[brambletakato]

Gunman Joe is most likely a hologram and is probably controlled by one of the inventors to stilt the other's progress (and probably not whoever Eggmuffin is, as it appears on top of their building and would probably dissuade Layton and Luke's efforts to connect to Eggmuffin). The voice is probably a voice changer of sorts. I don't think this is the main antagonist though.

The background art is GORGEOUS. And VERY American. I forgot to mark it down on my bingo sheet. SNAILMOBILE AND OSTRIDE!!!!!!!!!!!!!!!!

how much are you guys betting that the purple fog is doing some psychological horrors (JOKE)

music bangs as usual RAAAAAAAAAAGH

Ok... I think what was originally making me feel gloomy about the models is solved after seeing the puzzle solved (heh) animation, and I feel a bit more hopeful. The models we see here only have one form of shading as opposed to the NWOS switch teaser or the puzzle solved animation. This game IS early in development so now that makes sense. I mean it looks bad but I think it'll improve. And if not I'll do it myself. Plus the shading in the switch teaser is purple-hued and the shading in-game that we see here is black, which is USUALLY a sign it's still being tweaked around in the background.

The fact that they're STILL aiming for 2025 makes me worried though... The game definitely needs polishing. Realistically delaying it would've been expected at its current stage, but persisting in a 2025 release gives it about a year and a third. Of course Level 5 is known for delaying things all the time so they could just be like "gomen minasama 2026" but... I feel like if they are persisting in a 2025 release... mm... After all of that, the trailer was nice but a bit worrisome. It's obvious now that they're still in development and it's not the final look though! One thing that comes to mind is the crusty Desmond model we saw wayyyy early on in AL's development;

Like. There's still time. I would be especially surprised if the don't at least add a bit of texturing to some of the models (like the texture-baked shaking in luke's hat or desmond's hair). I'm less pessimistic about the 3d model style now especially with its siblings looking as peak as it is (inazuma eleven, decapolice, etc)

That being said, I can't say much about what I'm hoping for until we see the TGS (did you guys forget about TGS /silly), though if it IS coming out in 2025... I hope to god it's like. December or something. I really don't want this to be rushed and with how it looks right now I wouldn't exactly be happy with it. In fact if there is 2d cutscenes I can totally see them saving it up for TGS too just to have something new and exciting rather than the same information we've already seen. Concluding, things are going smoothly, models are still developmental-looking, and I have mixed feelings but it's slowly bouncing back to positive all because of crusty desmond png

[kiitoskiitos]

Source list for Fulfilled virgin

hello everyone. I published the first version of a new zine few weeks ago at Helsinki zine fest. In the spirit of everything I do, I forgot to add my sources when I printed the piece, so I have it here. peace and love. you can also consider this a teaser for the project. I will hopefully open internal shipping for an edited version of this lil passion project next month :3

"Bishōjo Games: ‘Techno-Intimacy’ and the Virtually Human in Japan" - Patrick W. Galbrait (Short text which digs deep into emotions and relationships formed around dating visual novels)

Japan’s emerging emotional tech - Daniel White, Patrick W Galbraith (similar as previous)

The Moe Manifesto - Patrick W. Galbrait (Interview collection of big names in turn of the milenium moe and otaku culture)

Relational artifacts with children and elders: the complexities of cybercompanionship - Sherry Turkle (this was the holly grail for me. extremely interesting read on the relationships children and the elderly built with pet robots)

Varieties of Tulpa Experiences: The Hypnotic Nature of Human Sociality, Personhood, and Interphenomenality - Samuel Veissiere

The affective and affectless bodies of monster toon porn - Susanna Paasonen (about the simultaneous pull and distance consuming porn is, i love paasonen)

Also big love toward artificialnightsky for his research on Toru Honda. Love is dead, long live the otaku.

Wikipedia: Train man, Akihiko Kondo, Tsutomu Miyazaki, AIBO

News articles:

The man who married a hologram in Japan can no longer communicate with his virtual wife

Porn-induced erectile dysfunction is not real.

Consuming 2D and 3D hentai does not lessen interest in real women.

"Porn addiction" isn't real.

[obeymekarasu]

Iskios stones can be set up to project 2d images like movies, or 3d holograms.

[bridoesotherjunk]

ugh. the lilo and stitch trailer dropped and it is hideous.

all the cgi aliens are ugly sonic-levels of uncanny. david isn't hot. jumba and pleakley literally have hologram human appearances as if the ENTIRE joke wasn't that they're obviously aliens in bad disguises. stitch looks like a taxidermied museum specimen

I'm honestly so sad about Pleakly. This is the reason why hyper realistic 3D is not always the answer- Pleakly looks terrifying!!! We only saw a glimpse of him, but he looks scary!

In the original 2D, he's cute!

Him in disguise is almost believable in the original. His design still fits the style of the rest of the movie. Here, it's harder to suspend the disbelief, so they kind of HAVE to give him a human disguise. He looks weird and alien and just slapping a wig on him wouldn't be convincing. And it sucks!!!!!

I like Pleakly dressing in drag! He has some of the best outfits! He was so cute!! Now he's scary looking and has a human disguise and I'm sad.

The "David isn't hot" comment there is kinda.... um... Hotness is pretty subjective, I'm sure there's plenty of people who think this new guy is hot.

I'm confused about whether Cobra Bubbles is actually back in this movie, though. I KNOW I saw articles about him being replaced. Is he back in?? I have no idea what's going on anymore with this

[blametheeditor]

Voretober Day 20 | Bond

Voretober Prompt List

First | Previous | Next

If given the opportunity, would you take the chance to go to space and travel the stars? What if the person offering to take you was someone you trusted more than anyone else?

What if that person is no longer entirely human?

MENTIONS OF SOFT VORE

Content Warnings: Soft, non-sexual vore (only mentions for now). Mentions of body horror. Mentions of experimenting on people. Mentions of death and murder, violence. Being trapped against one's will. Dehumanization. Abductions. Cursing. Darker themes/tone

___________________________________

“How far have we gotten?” 

“We’re finally onto the rules of baseball,” Scott says without pausing his sketching. “Which I’m going to tag you in for, but I think I’ll be able to give a decent hologram to work with.” 

He senses more than sees Vincent walk up behind him. Mike is already sitting in the chair to his right, watching a baseball field slowly come to life, but instead of grabbing the chair to his left the taller looks over his shoulder. 

“Nice job, Scotty.” A purple hand suddenly reaches forward, forcing Scott to pause as a finger hovers over one of the bases. “Though, I think this line will corrupt it.”

His eyes narrow, trying to see what Vincent apparently does. “How can you tell? Is it glitching or something?” 

“Or something,” is murmured vaguely. “If you don’t trust me, we can give the hologram a try.” 

“...are you messing with me?” Scott asks, looking up to meet his best friend’s gaze. One that’s suspiciously surprised by the accusation. 

“Me, mess with you? Why Scotty, when have I ever done such a thing?” Vincent asks. 

In retaliation, Scott swipes his hand over his nearly finished sketch, activating the hologram so it becomes a fully interactive 3D image instead of just glowing lines on the page. 

Part of him expected it to glitch sporadically, or possibly crumple into itself before becoming 2D as a mess of indiscernible sketches all mangled together. Neither happens, and he’s left staring at a fairly decent baseball diamond that will be helpful to explain the rules of the sport. 

Vincent thinks so as well, his arms reaching around Scott before closing the book with a loud snap before lifting it high over his head as he walks toward the doorway leading to the giant’s section. “Thanks, Scotty!” 

Scott’s left staring after his best friend, too shocked to do anything. And then Mike’s jumping out his chair with an excited shriek, racing after Vincent. 

That’s when he realizes he was left behind. “Vince!” 

He’s only given a wave as the purple man disappears from sight. Scott quickly climbs out of his chair as well, jogging toward the door before cautiously peering out, uncertain what exactly the current plan is. 

He’s greeted by Vincent sitting cross legged on the floor, grabbing a book big enough to smash Scott like a bug before setting it down in front of him and opening it, not paying any attention to the absolutely minuscule form climbing up his pants. He is careful with the book currently pinched between two fingers, setting it down in the middle of the pages with symbols bigger than it before using a nail to flip the microscopic cover. 

With a wave of his hand, Scott’s sketch is suddenly ten times its original size as it turns into a hologram, making it almost big enough to actually be usable. 

...he better not be used as a living demonstration. 

“Up here, Scott!” Mike waves from where he sits on Vincent’s knee. “Come sit next to me!” 

Scott hesitates. Sends a look up at the smirk hovering tens of feet above them. “You know, you could’ve just told me this was the plan.” 

Vincent smiles before offering a hand palm up. “Surprise.” 

“I hate you,” Scott grumbles as he walks across the fingers, gasping when the hand lifts before he’s properly sitting down, arms pinwheeling in the attempt to keep his balance. It’s only a few seconds before it’s stopping and he can stumble off, but it’s enough to have him whack the nearest digit as they retreat. “Were you trying to make me faceplant?” 

“No way to really prove it.” 

He glares as he carefully sits down next to Mike. “I swear you’re gonna be the death of me.” 

Just to prove it, a finger appears to poke his side, making him fall against Mike as the kid giggles. “Now, when it comes to baseball, you have two teams playing against each other.” 

As if he didn’t just make a lifelong enemy who’s currently planning payback, Vincent motions toward the hologram as he begins to explain the basics. Like the numerous positions, what exactly ‘bases’ are, and it’s not allowed to hit someone with the bat or directly throw the ball at them. 

“Did you play baseball?” Mike asks. 

The purple man pauses, looking down at them with a slightly distant gaze. “I did.” 

“Did Scott play with you?” 

That earns a small smile. “No, Scotty never played. Even refused to be my pitcher when I wanted to practice my swings.” 

“I tried to once, and you complained I didn’t throw fast enough,” Scott defends. 

“You couldn’t even clock a 65.” 

“My fastest was 55 and that was the first I ever threw a ball!” 

“I tried giving you tips to improve your throw.” 

Before he can fire back that simply saying he was ‘throwing it wrong’ wasn’t a tip, Mike is gently tugging on his sleeve. “Why do you have a jer-sey if you didn’t play?” 

“Oh,” Scott murmurs as he looks down at his attire. “This is Vince’s jersey. I was dressing up as one for Halloween.” 

He can see the question in Mike’s eyes since they haven’t spoken about holidays yet, but the kid holds himself back to focus on the topic at hand. “Why does it say W-reyt?” 

“Wright,” Scott corrects with a smile. “Like ‘right’ with a silent w.” 

Suddenly, the fingers are back to delicately pinch the other sleeve. When he looks up, he’s met with an awed expression. “This is mine?” 

“Uh, yeah.” The moment he says it, he realizes what it must mean to Vincent. That if Scott has his jersey, then what about his other items? Everything he owned back on Earth? Were they safely kept as reminders of the person who disappeared, or thrown away to make room for other things? “I...we each got a jersey.” 

His brothers got first pick of course. After a year passed, they packed away the everyday items, like clothing and everything he kept in the bathroom. They didn’t touch his bed or any of his other items, just the things that clearly weren’t being used anymore. But not before they decided to take one of his numerous jerseys for the different sports he played as a reminder. 

Daniel has his hockey. Jonathan his football. Anthony his soccer. Scott his baseball. 

Last time he checked in with the brothers, Vincent’s things were still exactly where they were left when he first disappeared. Though the rest of the room has changed, the second bed taken out along with all of Anthony’s things. Now Jonathan and Anothony share a room, and Daniel is now in the master bedroom. 

They might not have all gotten along, and there were certainly times when they would butt heads with Vincent, but they love their brother more than anything. And even though they were never really close with Scott, they always treated him like family. 

Though he doesn’t know if they let him have the jersey of their brother’s favorite sport because that was the only one Vincent ever properly tried to get him to play, or if they found it too painful to wear something with the same year he disappeared. Because Vincent never asked for a specific number, just whatever got handed to him. Who could’ve known 87 was an omen instead of what the coach randomly picked for the lineup. 

A smile tugs on Vincent’s mouth. A slightly sad one, but mostly fond. “I don’t know how I didn’t notice.” 

“Well, you’re not exactly behind me often,” Scott shrugs. “If you want to wear it, by the way, just let me know.” 

“I’d rather not risk having to grow and ripping it to shreds,” the giant murmurs. “It’s also funny seeing you wear a jersey despite never being a single sport in your life.” 

“Some of us aren’t naturally athletic.” 

Vincent flashes a lopsided smile. “Nope. Others are short string beans with noodle arms who can’t throw an average 65.” 

Scott sputters. “What the hell, what did I do to deserve that?” 

A finger nudges him. “Nothing about deserving, just stating the truth.” 

“The truth!” 

“What’s hell?” 

The sudden question makes him jump, turning to see Mike looking up at him expectantly, clearly having been amused by their argument. But he can only stay silent for so long, especially if something he has yet to learn about comes up. 

And Scott just committed the cardinal sin of telling a child there’s such thing a curse words. 

Vincent guffaws, somehow not managing to throw them off his knee from his movements. “It would be you.” 

“It’s just a place, Mike,” Scott explains, hoping he can distract the kid enough he doesn’t ask why Vincent’s laughing. “You don’t need to worry about it.” 

Big blue eyes turn pleading. “But you said ‘the hell’.” 

God help him. “Yes, but it’s just a phrase, it doesn’t really mean anything.” 

“Oh it means something,” Vincent rumbles as he wipes a tear from his eye. Once he composes himself he leans away from to prop his cheek on his fist using his other knee as an armrest. Gives a wide Cheshire grin that says he will not being giving Scott any mercy. “Well, do you want me to explain, or will you do the honors?” 

“We’re not teaching him!” Scott exclaims, though it sounds more like pleading. 

“Why not?” Vincent grins. “He wants to learn about Earth and humanity. And what’s more human than cursing?” 

“He doesn’t need to know. And if we do teach him, we’d be terrible...” He waves a hand, trying to find the right word. “Alien caretakers.” 

Both Mike and Vincent wrinkle their noses. “Vincent’s my brother.” 

“And those are supposed to teach about cursing,” the purple man agrees. 

Scott freezes. “I’m sorry, brothers?” 

“Adopted. Keep up, Scotty.” 

“You can’t just say that and expect me to know what you meant! I only learned he’s a Colossan a few days ago!” 

“Colossian.” 

“Vincent so help me-” 

“I want to be a human,” Mike interrupts. It catches both of them off guard, looking down at the kid’s determined expression as he looks between the two of them. “I don’t want to be a Colossian. I want to be a human like Vincent, and know how to play baseball, and curse.” 

He looks so proud of himself with such an announcement. Though it doesn’t escape Scott’s attention Mike is watching him like he’s waiting to be told if his want is possible to achieve. As if asking for permission. 

When he glances up at Vincent, his best friend only raises his eyebrows. 

“Okay, one, you don’t need to know how to curse to be human. Two, even though I think you picked the worst role model to have, we can teach you everything you need to know.” 

Mike brightens. “Including cursing?” 

“Including cursing," he sighs in defeat. Ignores the wide smile on Vincent’s face, no need to rub in. “Though I’m not teaching you, that’ll all be on Vince.” 

“Until we get to hell,” the giant sneers. “Though if he’s human now, he needs a full human name.” 

Mike gasps before standing up, unable to contain his excitement as he bounces in place, somehow never loosing his balance despite the unsteady surface. “Like what!” 

“Could give him yours,” Scott muses as he copies Vincent’s current position. “Michael Wright.” 

“I think we can get more creative than that,” the giant says. 

“Like pasta!” Mike cheers. 

“Unfortunately that’s not a proper last name,” Vincent grins. 

“Smith?” 

“So far Pasta’s winning.” 

Scott scowls as he waves a hand. “I don’t hear you making any suggestions.” 

A thoughtful hum emits as amber eyes look down in thought. Then they flick over to the hologram of a baseball field. “Schmidt.” 

It takes a moment for Scott to remember why the name sounds so familiar. “The baseball player?” 

That sells it for Mike. “Can that be my name!” 

Vincent smiles as he reaches over to ever so carefully ruffle the kid’s hair with a fingertip. “Your dad is going to be absolutely livid when he finds out.” 

“Not unless I tell him about baseball,” Mike proclaims. 

“Just make sure you don’t talk about the swearing lessons,” Scott murmurs. “So, Schmidt, should we break for lunch?” 

“Yes!” the kid says before all but throwing himself off of Vincent’s knee. A hand catches him before Scott can yell, though that doesn’t mean his heart automatically settles down as it’s then offered for him to climb into. 

He’s too shaken to speak, silently standing up on wobbly legs that buckle the moment he steps into the palm. He takes a moment to close his eyes, concentrating on taking deep breaths to calm his nerves, opening them once the sense of vertigo is gone. 

“I take it back, both of you will be the death of me.” 

“Come now, Scotty,” Vincent rumbles as he slides the two onto the floor in front of  the doorway. As Mike darts into the kitchen, he shrinks down to offer Scott a hand off the ground. “You’ve only been in space for a little over a month. By the time Mike hits his growth spurt, nothing will surprise you.” 

“That’s a very mild way of saying a teenager will be able to hold me in his hand.” 

“And yet I think you’ll prefer him carrying you around over me.” 

“Maybe, but only after he’s carried you around.” 

Vincent raises an eyebrow. “You think he’ll help you get payback for every time I’ve pocketed you?” 

Scott smirks. “Oh, you’d be surprised how quick he broke at the thought of a Pocket Vincent.” 

[kiranholographicsblog]

Hologram Stickers in Movie Merchandise

Movie merchandise has become an integral part of the film industry, offering fans a tangible connection to their favorite films and characters. From action figures to posters, fans worldwide eagerly collect these items. To protect the integrity of this merchandise and captivate buyers, hologram stickers have emerged as a game-changing solution.

Hologram stickers are not just decorative elements on movie merchandise; they serve as a powerful symbol of authenticity. In an age where counterfeiting and bootleg products pose significant challenges, holograms offer a visible and effective way to distinguish genuine items from fake ones. These stickers incorporate complex, light-reflecting patterns that are nearly impossible to replicate accurately, making them a trustworthy indicator of authenticity.

Hologram stickers play a vital role in preventing the circulation of counterfeit movie merchandise. Counterfeiters are deterred by the challenge of replicating the holographic design, which requires advanced technology and precision. This results in a more secure market for both producers and buyers.

Movie enthusiasts are discerning buyers. They seek authentic, high-quality merchandise that connects them to the cinematic universe they love. Hologram stickers build trust among fans, assuring them that the items they purchase are genuine and officially licensed.

Beyond their security features, hologram stickers are aesthetically pleasing. They add a touch of glamour to movie merchandise, creating a unique and eye-catching visual experience. The holographic effect, with its ever-changing colors and patterns, draws attention and enhances the perceived value of the item.

The inclusion of hologram stickers can make movie merchandise more collectible. Fans often place a premium on items with these stickers, considering them a symbol of exclusivity and quality.

Movie merchandise is frequently given as gifts. Hologram-adorned items are not only desirable for personal collections but also for gifting, as they are visually striking and impressive.

In the world of movie merchandise, hologram stickers are a dynamic addition, providing both security and visual appeal. They safeguard the authenticity of products while enhancing their desirability. As the movie industry continues to thrive, expect hologram stickers to shine brightly in the realm of merchandise, connecting fans to their favorite films and ensuring the magic of cinema endures in tangible form.

[materialsscienceandengineering]

Ultraprecise method of aligning 3D semiconductor chips invented

Researchers at the University of Massachusetts Amherst have invented a new way to align 3D semiconductor chips by shining a laser through concentric metalenses patterned on the chips to produce a hologram. Their work, published in Nature Communications, can help to lower the cost of producing 2D semiconductor chips, enable 3D photonic and electronic chips, and may pave the way for other low-cost, compact sensors. Semiconductor chips enable electronic devices to process, store and receive information. These functions are controlled by the specific pattern of components inlaid into the chip. However, this 2D design has reached its upper limit of technological advancement and 3D integration is considered the most promising solution.

Read more.

[sloshed-cinema]

Treasure Planet (2002)

What happens when your passion project isn’t everything that you hoped it to be? Per David, this was a much-deferred pet project of Musker and Clements, deprioritized by the studio in favor of other films. But when they finally got their shot, was it worth it? Whether this was always doomed to fail or was the result of that once shiny project now seeming more like fool’s gold after so many exhausting years of having it be denied, I cannot say. Paradoxically, it feels at once overly ambitious and reactionary. The scope and scale of a thrilling space swashbuckler seems like an occasion to which Disney Animation could rise. The union of 2D and 3D animation is more and more common in this period, and the film lives or dies by how that comes across. In smaller scale aspects, it works. John Silver’s cyborg and organic elements work seamlessly, and it’s an impressive showcase of bravura animation. Elsewhere, well… cascades of gold and jewels sliding past our favorite pirate as Treasure Planet goes kablooie were… special, to say nothing of some of the strange POV work which appears ripped from a video game cutscene. Some alien character designs are fun and strange, and others… fart a lot. It’s certainly reaching for something visually thrilling, but it doesn’t always connect. All of this is in service of a story that feels back on its heels. Maybe the most succinct demonstration of the film’s shortcomings is the aggravating robot BEN. His animation is clunky, and he feels like the film was poking Martin Short with a stick and saying “Hey… hey… do what Robin did with Genie.” The handling of humor elsewhere feels like a studio that is acutely aware of the shifting landscape in animation and no longer feels certain of its place in the constellation. I don’t think Doppler would have made quite so many pop culture references were this not released in a post-Shrek environment. At least we can count our blessings: had this been released in 2018, BEN absofuckinglutely would have dabbed at some point.

Long John Silver seems like he really was the kernel of what could have made an alternate version of this something special. He feels like a complete character, and the conflict between his obsession over Treasure Planet and his burgeoning fatherly affection for the sullen brat who is Jim develop organically. Even though it’s an oft-explored beat, his conflict between saving the gold or rescuing Jim from the exploding planet is earned and centers the action on his personal journey. Tim Curry is probably more fun in his interpretation of the corny pirate aspect of things, but Brian Murray brings a warmth which is much needed in a film that can at points feel like it’s a bowdlerized version of Dreamworks cynicism. In a sense, how well his character is animated in comparison to other elements feels telling about where priorities may have lay.

MOOOOOORPH

THE RULES

SIP

Treasure Planet is mentioned.

New implement in John Silver's cyborg arm is used.

Painful computer animated element in a scene.

BIG DRINK

Martin Short makes you want die.

A hologram appears.

[popmusicu]

Hatsune Miku: The First Virtual Pop Diva

To begin, I must explain what VOCALOID is. It is a voice synthesis software application, capable of singing, developed by Yamaha Corporation. It allows users to generate a song simply by writing the lyrics and melody. Depending on which VOCALOID is used, the voice of the song will vary. In 2004, Crypton Future Media released their first Vocaloid with the software VOCALOID01, called Meiko.

Although Meiko, and later Kaito (2006), did not achieve great success, Crypton Future Media, in 2007, launched Hatsune Miku through the VOCALOID2 software (an update to the first version). Her name translates to "First Sound of the Future." Hatsune Miku was the first virtual vocal character and remains the most famous to this day.

She quickly went viral on a Japanese video-sharing platform (Nico Nico Douga), where users listened to the songs and created collaborative content. Starting from the original song, other users on the platform would create illustrations, 2D and 3D animations, and remixes, demonstrating the various possibilities of using the software for multimedia content creation.

After this initial success, various projects involving Hatsune Miku began, one of the most important being the release of her own video game, Hatsune Miku: Project Diva (2009) a rhythm game released by Sega for the PlayStation Portable, featuring songs such as 'World is Mine' and 'Levan Polka. That same year, Hatsune Miku made her first guest appearance at a concert (Animelo Summer Live), where she was projected on a 2D screen.

A few months later, on August 31, the “Miku FES'09 (Natsu)” took place, where Hatsune Miku performed as the first hologram singer. On March 9, 2010, Miku's first solo live performance titled “Miku no Hi Kanshasai 39's Giving Day” took place, becoming one of her most viral and visited concerts on the internet to this day.

Although the title of this blog is "Hatsune Miku: The First Virtual Pop Diva," her music varies in terms of musical genres. This is due to what I explained earlier: Anyone can use the Hatsune Miku software and can use her voice to create the music they desire. Therefore, she is not only the first virtual singer and the first hologram singer, Hatsune Miku is a massification tool for music creation.

Antonia Pastene Arias

[whaliiwatching]

How DO you think universe signatures work? I don't think I've seen many theories or discussions on it but I also haven't been looking for them either

HOHOOO UNIVERSE SIGNATURES. ok. as i was rewatching scenes so i could write this, my theories fucking blinked out of existence :) there is as much consistency to universe signatures as there is to the atsv timeline.

alright lets see how incoherent this gets

btw i’m not using the word ‘dimension.’ incorrect scientific terminology in an animated spider man comic movie franchise about the multiverse? couldn’t be me. i already let them keep their holograms*

itsv came out in 2018 and is reported to have taken four years to make. in 2014, we couldn’t have made atsv; the technology hadn’t been developed, because there wasn’t yet a movie to demand it. (usually when the question comes up during production, the team has to invent an answer. like animating violet’s hair in the incredibles in 2004, or water in finding nemo in 2003, or fur for sully in the monsters inc movies, or the entire animation process of 2019’s klaus, or reflections on the cars in cars—) this, combined with itsv being set entirely in miles’s own universe, means that the b team’s (noir, peni, ham) universe signatures changing between universes can be attributed to 1. less worldbuilding than atsv and 2. lack of technological ability in 2014-2018 (no diss to the og animators obviously, itsv is fucking gorgeous)

but that’s a boring doylist analysis. i wonder if we can get watsonian. atsv, which was likely produced from 2017 or so to 2023, explores four more universes, rather than sticking to miles’s. surely it’ll have more answers!

i went through the entire movie to see what changes. not gonna bore y’all with a scene to scene analysis, so i’ll summarize: the only person who substantially differs between dimensions is gwen (abstract in E-65, solid but still pastel in E-1610, slightly more painted in E-50101, abstract again in E-928 during emotional scenes). hobie’s collage changes to match the tone or color palette of the universe around him, but doesn’t take on its signature. other than that, the only effect any universe has on every character is with its light, and the only effect to overpower a universe signature is a portal.

let’s pretend that in an infinite multiverse, such a thing as a standard can be set, and that standard is Comic Style. comparing it to itsv, where peni and ham gained depth from previously 2d-esque universes, it seems as though some things don’t change—general color palette and extreme stylistic divergences from the aforementioned standard, eg when atsv peni is styled in 2d—and some change universally—like universe-specific volumetric light, eg in itsv when E-1610’s halftone-style light gives peni depth and in atsv when E-928’s holographic-style light does the same in a different way.

then portals. they distort the space around them in their style of origin: organic portals always have miles’s universe’s signature because that’s where they were born; any portal opened with an E-928 watch has miguel’s orange holographic hexagon, no matter who uses them or where they open to; portals opened with hobie’s homemade watch are always collage, though they take on the color palette of the universe they’re opened in. that means portals have to be watch-specific, prolly based on the materials’ universe of origin, but in that case, hobie’s would look a lot like miguel’s since he harvested most if not all of the parts from E-928. so it has to be specific to either the person who made it or the universe it was made in.

but neither of those make sense! the degree of separation from universe/person that apparently applies to the watches doesn’t apply to items left in other universes. E-1610’s rubik’s cube retains its color and volume in noir’s universe, but the sweater gwen leaves on miles’s bed isn’t abstract, and the shoes she nicked from E-138 aren’t scrappy. even hobie’s watch is rendered in strangely crisp 3d, brightly colored and noticeably not collage.

and of course, both universe-specific light theory and portals-overpower-all theory aren’t totally consistent. hobie’s only properly illuminated when he’s in his base colors. but maybe that’s a quirk of atsv? he doesn’t glitch like paper in the radius of a portal—renaissance vulture didn’t glitch like paper either, maybe that’s just how glitching works! maybe it’s always that tv-signal-bright blocky mess! maybe there is one concrete rule in all this!!!!!

noir’s universe (during his intro scene, at least) comprises of three solid colors: black, light gray, and white, and volume/shadow is communicated through the intensity of halftone used. in itsv and in atsv he’s always in black and white, no matter the color of the light around him. he’s also the ONLY CHARACTER who glitches differently. noir breaks down in black and white!! when the team is lit up by gwen’s portal in atsv’s final scene he’s the only one not distorting in color!!!!! what the fuck man!!!!!!!!!

there isn’t one cohesive multiversal rule for how universe signatures act and interact with different universes, much as i’d love to have one. it raises too many questions and doesn’t give quite enough evidence to study. the closest i can theorize is color/style generally sticks and lighting/spatial physics generally doesn’t, and since that’s relatively simple, i’ll use it. gwen gets her photo-booth-app watercolors and peni/pav/ham/noir get just a little more rendered.

theories i have seen floating around that i also enjoy

gwen’s universe requires people to be in tune with it, to reflect their emotions—implying that the floaty abstract art during her scene with her father is diagetic. so when she’s not in her universe, she’s not like her universe.

hobie’s universe signature necessitates that he doesn’t conform to any other style

on that note, so would ham’s, because cartoon logic defeats reality logic

hope you enjoyed!! or at least were amused by my suffering <3

*do not get me started on holograms