#“Masterclass”

[health-care-products-24]

Where Creativity Meets Technology: A Review of "The Complete AI Digital Artist Masterclass"

The intersection of artificial intelligence (AI) and art has always fascinated me. But the technical barrier to entry seemed daunting. Then I discovered "The Complete AI Digital Artist Masterclass" membership area, and it's been a game-changer! This comprehensive platform has empowered me, with limited artistic experience, to explore the exciting possibilities of AI-assisted art creation and develop my creative skills in a whole new way.

Demystifying AI Tools: A Beginner-Friendly Introduction

"The Complete AI Digital Artist Masterclass" doesn't assume prior AI knowledge. The introductory modules provide a clear and concise explanation of various AI art tools, their functionalities, and the role they play in the creative process. The instructors, who are themselves established digital artists, break down complex concepts in a way that's approachable and engaging. This gentle introduction allowed me to overcome my initial apprehension and dive headfirst into the world of AI art creation.

Exploring the Creative Canvas: From Text to Image

The membership area delves into various AI tools that utilize text prompts to generate unique artwork. You'll learn how to craft effective prompts, experiment with different styles and artistic movements, and refine your prompts for optimal results. This "text-to-image" approach has opened up a new avenue for artistic exploration, allowing me to translate my ideas and visions into stunning digital art pieces, even with limited drawing skills.

Beyond Generation: Refining and Manipulating AI Art

"The Masterclass" goes beyond simply generating AI art. It equips you with the skills to refine, manipulate, and enhance these AI-generated images using industry-standard software like Photoshop. The courses delve into photo manipulation techniques, digital painting tools, and post-processing methods, empowering you to take creative control and transform the AI-generated base into a truly unique piece of art. This hands-on approach allows me to express my artistic vision even further, adding personal touches and details to the AI-generated artwork.

A Collaborative Community: Sharing Ideas and Inspiration

The journey of artistic exploration is more fulfilling with a supportive community. "The Masterclass" fosters a vibrant online space for aspiring and established AI artists to connect, share their work, and provide constructive feedback. The forum allows you to discuss different AI tools, brainstorm creative prompts, and learn from the experiences of others. This sense of community has been invaluable, providing encouragement, inspiration, and a platform to showcase my progress and learn from fellow artists.

A Continuously Evolving Landscape: Staying Ahead of the Curve

The field of AI art is constantly evolving, and "The Masterclass" keeps pace. The platform receives regular updates with new tutorials exploring cutting-edge AI tools, emerging artistic styles achievable with AI assistance, and industry trends within the digital art world. This ongoing support ensures you have access to the latest knowledge and resources to stay relevant and continue pushing the boundaries of AI-assisted artistic creation.

In Conclusion: Your Gateway to the Future of Art

If you're curious about the intersection of AI and art, "The Complete AI Digital Artist Masterclass" is an excellent platform to explore your creativity in new and exciting ways. This membership area offers a user-friendly introduction to AI tools, delves into "text-to-image" creation, explores image manipulation techniques, fosters a supportive community, and provides ongoing updates. With its clear explanations, engaging format, and commitment to empowering artists of all skill levels, "The Masterclass" has ignited my passion for digital art and opened up a world of creative possibilities. So, unleash your inner artist, embrace the possibilities of AI assistance, and join the "Masterclass" community – the future of art awaits!

[sicklyseraphnsuch]

Sam Is a Master Storyteller

I think the turning point in his head was when Matt said, hey TPK - new beginnings.

But that wasn't the clever part. He is SO GOOD at taking the tools given to him for the intended purpose of kneecapping people's hearts.

His core?? We introduced that before the fucking Red Moon beam. That was WAY back before they even met Plane Rider Rin (I believe??) One of the engineers was like oh you got this dangerous thing inside you.

And the clever move was ***EVERYONE FUCKING FORGOT ABOUT IT*** including Matt. That's how you hit people where it hurts. Always have something in the tank to blindside people with. And he held this behind his teeth with every smile. He fucking knew about this last hail mary bomb trapped in his chest. And he never said a fucking word to remind everyone - to let anyone brace themselves for this decision

And when he saw half the party go down - Orym, Ashton, with only Imogen, Fearne, Laudna, and Chet on their last legs... He knew it was time. It was time. And he blindsided everyone beautifully including the DM

Because he was a little Killer Robot. That bomb didn't kill his intended target a millenia or so ago. And instead, it becomes the prayer through which he saves his family.

He has become life, bringer of change.

[fanfic-gremlin-ft-trauma]

happy birthday to one of the greatest fics of all time <3 ( @bisexuallsokka , thank you for writing this masterpiece.)

[boylikeanangel]

craig mazin proving to all of us once again that he knows exactly when and where changes need to be made from the game to the show and exactly what he's saying when he makes those changes with ellie being allowed to brutalise david without joel stopping her are you listening to me!!!! it's about giving ellie far more agency and independence than her game counterpart, it's about allowing her to be the protagonist on her own terms, it's about joel once again failing her and showing up too late to save her and finding her stumbling about in the snow and all he can do is hold her and tell her it's okay, it's about setting up the kind of person ellie becomes when joel isn't there to hold her back it's about showing the extent of the brutality she is capable of when given the right motivation, and most importantly it's about ellie finally getting the outlet to release every bit of rage and anger and fear and sorrow she's had building up her entire life and violently reclaiming her own life on her own terms! and it's about giving bella ramsey his emmy moment!!! are you fucking listening to me!!!!!!

[mistressemmedi]

Esteban Ocon vs Pierre Gasly, Monaco GP 2024:

[ricksmarlene]

Temperature malfunction. Your preferred temperature has been reached.

[smeagles]

HXKHJXJGHXHCJCNF£_£[¥]¥§_[£[_<[_…<^…

[britney-rosberg06]

[petit-papillion]

Interesting comment by a Redditor under this post on r/formula1:

Haven't seen the list, but we all know the "random" part of "randomly selected" doesn't mean they draw numbers out of a hat. They very purposely pick the cars they will inspect...

Source: Reddit

[ecrireverie]

unpopular opinion, but bahrain 2024 was actually a great race from charles but people are too blind to see it because they only see the ferrari social media graphics post-race with 'p4' as his result.

MY GUY, with 100 degree brake imbalance was second fastest in sector 2, the most driver-dependent and technical of all sectors with heavy braking. key words; driver-dependent and heavy braking.

most would have considered retiring with a brake imbalance that extreme, but Charles LECUNT managed to bring the car home with p4 and was second fastest behind that rb rocketship in a sector that was the most difficult, skill-dependent, and heavy on the braking.

[lc-holy]

Conférence Masterclass 808 (Translation)

I've taken the liberty of translating the conference that took place last year with the writing director of Miraculous (Sébastien Thibaudeau). It was only made public when someone posted a video of the conference a short while ago.

In this conference, Sébastien Thibaudeau will talk about the creation of Miraculous and his work on the series. He is joined by Chloé Paye, a new scriptwriter working on Miraculous season 6.

Sébastien talks a lot and repeats himself a bit, so the summary can be a bit confusing.

I strongly advise you to go and listen to the video if you understand French. There are a lot of details I'm going to leave out, and Sébastien is very funny.

Photo belongs to mlbfanfr on twitter.

Please be respectful in comments or tags. If you want to debate on things related to this conference, please make your own post. I apologize if there are any mistakes, I'm French and I'm not fluent in English.

-12 years ago, Sébastien arrived at Zagtoon, a studio that was just starting out and had yet to produce and broadcast any series. The producer (Jérémy Zag) and Sébastien hit it off and decided to start working together. Zag decides to give Sébastien total freedom over his projects. Sébastien then decides to put the spotlight on scriptwriters, because in this profession they are unfortunately poorly paid and never stay on the same projects.

So they produced a cartoon called Kobushi. A little-known series that did rather well, even if it didn't stay on the "Gulli" channel for long. The scriptwriters and producer were happy with the end result, as it was produced in a very short time.

Jeremy Zag then proposed another project, which he thought was quite good, but which he was unable to sell to broadcasters. At the time, the project was called "Ladybug". No one was interested, as the project was aimed more at an adult audience than a children's audience. Sébastien had to make sure that the project could be broadcast on Disney and TF1.

There was only a "trailer" also called "Ladybug" (but you'll find the video under the title Ladybug PV) animated by Toei animation. At the time, Sébastien had not yet been hired by Zagtoon. It was Jérémy Zag who convinced Toei animation to work with them (no mean feat, since Toei animation doesn't work with anyone).

So Sébastien started working with Thomas Astruc (the man who wrote and created the "Ladybug" project). At first, he didn't want to work on this project because he found it complicated. Thomas wanted to make a series for adults, but at the time, it was very complicated to make a cartoon for adults. What's more, they didn't have enough money to take on such a project. Sébastien finally agreed, but there were some changes to be made, which Thomas accepted.

-What Sébastien appreciated most in this project was the romantic comedy, the love square between the two main characters.

To meet the requirements of the cartoon industry, "Ladybug" had to be set in a neutral universe, in other words, in an imaginary country or the USA, but Zag, who loves Paris, declared that the cartoon had to be set in Paris.

In the end, Thomas Astruc's entire project was discarded, leaving only the love story between the two heroes and the city of Paris, where the story was to take place.

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-Sébastien explains how he writes Marinette's first dialogues: He says he talks a lot in real life, so he writes Marinette like him. She says out loud whatever she's thinking.

For Chat noir, he makes him tell his father's jokes. Something TF1 doesn't accept. The TV channel went so far as to refuse to validate the Bible (a collection of information on the series and episodes) until it had removed the sentence: “Chat noir makes jokes”. Sebastien has therefore removed the sentence, but will continue to make Chat noir tell jokes.

-The writing director's job is to get the producer, creator and broadcaster to agree. The series broadcast on TF1 and Disney are very different. TF1 wants series whose story can be told in a single episode, unlike Disney, which wants series whose story spans several episodes.

Sébastien and TF1 agree that Miraculous will be a series with one story per episode, a "Formula Show".

He cites the example of Dora the Explorer episodes, where every episode is the same: Dora goes on an adventure from point A to point B, she has to find 3 clues, then she meets Swiper, she sings a song to make Swiper go away, she uses the talking map to get from one place to another, then Dora manages to get to point B and the episode ends.

This episode format is used for children, to give them a reassuring framework, as they build themselves up through repetition. That's why series like Dora work so well with young children.

So Sebastien sold the Miraculous series to broadcasters as a formula show. A person gets angry, is akumatized, then marinette transforms into Ladybug then frees the person from the akumatization and… The End.

It's also for this reason that Marinette tries to confess her love for Adrien in every episode, but is unable to do so.

But he tried to go against what he had planned with TF1, by slipping little extra stories into certain episodes. Audiences were receptive to these slightly hidden stories. The TV channel even asked Sébastien if there really were hidden things in the series, but he denied everything. Thanks to the positive reception from the public, TF1 agreed to develop the characters of Marinette and Adrien and flesh out the universe a little more.

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-Once the bible is written, they have to write a script. But first Sébastien, as writing director, needs to know the mood of the series, and to do this he calls on Thomas Astruc, the series creator. Thomas is a great fan of classical painting. A single painting can tell a complex scene with lots of detail. He wants the episodes of miraculous to be like these paintings, there will be very few shots, but in a single shot a lot will happen.

-Sébastien explains that one of the things Thomas wanted to convey in the series was emotion. They didn't want to do what a lot of children's cartoons do, which is to beat the bad guys and win at the end of the episode. They wanted to tell kids that it's normal to have negative emotions. We can also become better people, learn from our mistakes and so on. It also reassures TV channels by setting up scenes that are repeated in every episode: people get angry, people akumatize then people deakumatize, end of episode...

Once the TV channels had been reassured, they set about writing a script.

-Sébastien asks Thomas to write the ending, as they're not sure the series will work. They also wondered what the aim of the series was, and what they wanted to say to the children. The two of them sat down in an office and wrote the ending, which turned out to be just the end of an arc. He even adds that now that they've written a lot more, it's important for them to write in advance so that everything is clear to them.

-The first season was written by 19 authors, from home. He found it interesting that the series was written by several different authors, even if some of them didn't quite understand the premise of the series. One episode that Sébastien particularly appreciated was written by two “autrices” (I think it's weird to say “two female authors”, so I'll use the French word): the refletkta episode, with the story of Juleka who couldn't get into the photos. (Note that all the episodes were proofread by Sébastien and Thomas).

After that, they kept a few people on to work together on the scripts for subsequent seasons.

Sébastien explains that he keeps a close eye on the production of the episodes, to make sure that everything that goes into the picture is as faithful as possible to what they've written in the script.

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-The kwamis exist thanks to Toei, who wanted funny little animals to sell plush toys. So the scriptwriters had to find a way to integrate kwamis into the story.

-(Again, Sébastien advises people to check out the Kobushi series if they can still watch it somewhere, or ask the leaker who leaked the whole of season 5 to give them the episodes (that's a joke, of course)).

-Sébastien talks about the Ikari gozen episode, which could have been a total failure because the storyboarder didn't fully understand the scenario. Sébastien asks Zag to redo the storyboard, which will add 10 weeks to the episode's deadline. The storyboarder admits that he's always done storyboards mechanically, without worrying whether the episode is good or not, whether the jokes are funny or not. Eventually, the episode was redone by the same storyboarder, resulting in the episode we all know today.

- They still have a lot to tell with Miraculous, to the point where they're wondering if they'll have enough seasons to tell everything they want to tell. Sebastien says there will be a season 6 and 7, and probably a season 8 and 9.

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- Chloé Paye met Sébastien when she was looking for an internship. She had never worked in animation, and knew nothing about Miraculous. She tells us how the scriptwriting team works. Each time, all the scriptwriters in the room have to be convinced of the script. They can sometimes spend hours on details to get everyone to agree.

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- The driving force behind the series is that there must always be a secret between Marinette and Adrien. The lovesquare can never be broken, otherwise there's no series. Sébastien knows that some people are worried about this. Will they continue the lovesquare for another 4 seasons or more? How will they evolve? Sébastien says not to worry, they know where they want to go.

-It takes them 14 to 16 months to produce an episode, but it's often much longer due to unforeseen circumstances. And they don't work on one episode at a time, but on several at the same time. One episode takes a long time because of the 3D animation.

One of the things that's complicated with Miraculous 3d animation is that they can only display 3 characters at a time on screen, whereas the series requires them to display many more characters. It's also very difficult to correct animation errors, as this takes a lot of time.

-The TV networks were very surprised by the success of miraculous. They didn't think adults and children alike would watch the series. The TV channels were a little confused because they usually make series for a specific age group, but since miraculous had people of all ages watching, they weren't sure what to do.

- Sébastien says he's very happy that miraculous inspires a lot of people to create things, like writing fanfiction, however he's not interested in it because he doesn't want to be influenced by certain fans who would love to see certain things in the series.

- Writing direction also means paying attention to how the characters speak. They all have their own way of speaking. For example, Adrien will never say "j’te parle", but rather "Je te parle".

- During the writing process, the writers sometimes act out scenes to make the dialogue more natural. This is what happened with the episode "Gang of secrets". They felt that, with the success of the show and the pressure it was generating, they needed to write something to relieve their stress. So they wrote about Marinette and the enormous pressure she was under to keep all her secrets. The final scene, in which Marinette tells Alya that she's Ladybug, came naturally when they performed it together.

[bondilluns]

gerar

[ID: A ms paint doodle of one of the new pictures of Gerard. They are in front of a microphone and look distracted. End ID.]

[alicentshair]

I'll never forget you, Zeff.

[stripeydani]

Roman chose to hit Seth over Cody. His hurt and trauma over Seth's betrayal all those years ago still cuts so deep. Seth knew he would hit him given the chance, he positioned himself to take the hit.

Seth saved Cody, he was uniquely designed to be his shield after all.

What storytelling.

God I hope we delve fully into Roman and Seth's rivalry, love, hate, trauma when they're both back from their inevitable breaks!

[elviehun]

The cutest thing you'll see today

[neil-gaiman]

this is probably the most counterintuitive and useless question ever, but would you say your masterclass is worth the price?

I hope so. If it gets you writing, it's worth the price -- if not, then it wasn't.

But you can get it through libraries too. It's one of four classes offered through Hoopla Digital in Libraries for free: