John Gaeta

Another IP is alive thanks to the amazing toolset in OpenArt AI. 💜 😎 🤯 KLING 3.0 omni and Seedance 2.0 are great tools to make test footage for pre-production. Here is a segment of the full feature film VALKIRIA: CONNECTED SOULS™©. 😎 🙃 The saga of VALKIRIA™© is huge and was created in 1998. The project is set to start full pre-production thanks to the advancements in AI (the original date was 2029). 🤠 😉 Yesterday I start to translate the illustrations to synthetic live action and doing the screen test of the casting. Translate the original score in MIDI to full symphonic arrangement. 🧐 🤓 The first teaser trailer shows the power of the toolset inside OpenArt AI to make draft and full advanced concept. 😎 Today Seedance2.0 and KLING 3.0 omni make my vision come to life. It is a small seed, like all the dreams, but, like the roses of the Little "Prince", it is mine and it is going to be in the world thanks to OpenArt AI and all the amazing people making tools for all the dreamers like me.💜 🤗 USE SEEDANCE 2.0 WITH A PREMIERE PLAN OR A TEAM PLAN IN: https://lnkd.in/dn7sdJ_U / 60%OFF IN TEAM PLAN! 😎 💜 🤯

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We’ve just shared a bit more about the foundation of PROXi Vision. For me, this comes from seeing how often strong creative intent runs into friction once it hits real production conditions. The opportunity isn’t more tools - it’s better alignment earlier, and carrying that clarity all the way through. That’s what we’re focused on here. Keen to start sharing more of this over the coming weeks. https://lnkd.in/gFJkXtRX

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I break down the myths about comparing full-frame and crop sensor cameras. Why you can’t judge sensor size by depth of field alone, why skin tone isn’t determined by sensor size, and how the Sony FX30’s 6K downsampled sensor actually produces sharper images than the Sony A7S III’s native 4K. I explain that the real issue isn’t that crop sensors are inferior, but that people focus on the wrong factors when choosing cameras, and address the low-light argument between these two camera types.

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900lbs is proud to partner with HII to bring their new ROMULUS platform to life through 3D animated cinematic storytelling. Check out portions of our cinematic video here: https://lnkd.in/dFDjk6Dp and the full cinematic can be viewed here: https://lnkd.in/dY7Vi4yC. ROMULUS is a high-endurance, 25+ knot family of unmanned surface vessels (USVs) built for sustained open-ocean operations, rapid reconfiguration, and scalable efficiency. Our 3D animation showcases its mission-ready capabilities and the innovation shaping the future of maritime operations. #defenseinnovation #digitalstorytelling #3Danimation #defensetechnology #USV

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Built a custom DCTL for my ACES workflow, here’s what it does and why I made it. After years of grading on ACEScct colour managed, I wanted a tool that works the way I perceive an image, perceptually, not just mathematically. So I built a DCTL for my own workflow, though parts of it may be useful for others working in ACES pipelines as well. I’ll be upfront: this was a collaboration between my grading knowledge and AI assistance. The colour science logic, workflow decisions, and creative intent are mine, but I used AI as a development partner to work through DCTL syntax, GPU compiler constraints, and some of the transform mathematics. Honestly, it’s an exciting way to prototype and build tools that would otherwise take weeks of experimentation. The tool operates entirely in ACEScct log space, with no matrix conversions or colour-space roundtrips. Everything stays native to the timeline, avoiding accumulated floating-point errors and preventing unexpected colour shifts on bypass. What it does: • Exposure control operating in true f-stops rather than arbitrary units • Contrast control with a linear pivot at mid grey and no imposed S-curve shaping • Highlight control isolated to the upper tonal range with unclamped HDR headroom preservation • Flare control for independently lifting or crushing the black floor Colour controls: • Two opponent-axis chroma controls: Red/Cyan and Yellow/Blue • Operates directly in log space with no crosstalk between axes The control I’m happiest with is the Colour Boost tool: It works exclusively on the warm/cool yellow-blue axis and is protected by a Gaussian bell curve mask centred around mid grey. Shadows and highlights are excluded entirely, so the effect only influences midtones with smooth rolloff in both directions. It leaves the Red/Cyan axis untouched, which helps preserve skin tones and prevents contamination in specular regions. The width of the midtone region is also fully adjustable. The whole thing compiles cleanly on both Metal and CUDA and integrates comfortably into an ACES node pipeline. Happy to share the code with anyone interested; these kinds of tools are always better when discussed openly within the community. I’d also genuinely appreciate feedback on anything that doesn’t behave correctly or could be improved further, so I can continue refining the tool. GitHub link: https://lnkd.in/gK26qip9 On my website, with more details: https://lnkd.in/gfxFvy2Y #DaVinciResolve #Colorist #DCTL #ACES #ColorGrading #PostProduction #ColorScience #HDR #AIAssistedDevelopment #FilmPost #netflix

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I made an After Effects plugin out of this today. - Windows Only - 24GB VRAM - Pretty slow and a little crashy on my RTX 3090. I'd really only consider using this on a card with more than 24GB VRAM. - It's using BiRefNet as the input into the PyTorch model, since I already had that set up in another plugin. That's only good for people-based greenscreen. Download (if you dare 😉) : https://lnkd.in/eJDtze9v

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News from our California Film Commission, as reported by Variety this morning! The approval of funding for five studio films and 43 independent features showcases a substantial $94 million in tax credits. This milestone not only signifies progress but also demonstrates crucial support and accountability for our thriving film industry. It's a significant stride forward in the right direction on a complex issue and our industry has shifted away from decades of SOP #FilmIndustry #TaxCredits #CaliforniaFilms. https://lnkd.in/gxJ3AaUZ

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Fellow VFX artists: How are we responding when a director asks "is there something we can do with AI here?" or "Can you just AI this?" I don't want to get left behind by ignoring AI, but there are also ethical implications to using AI, not to mention the insult of a director asking "can we just have a robot do this faster and cheaper and better than you?" -Do I reject using AI entirely, out of principle? -Do I charge a flat fee for any time I use AI? an additional $500 per shot? That way the director still gets results faster, but there's a cost to them and a benefit to the artist. I get that AI can be fast and good, but that should come at a premium. -Do I allow myself to use AI as a tool along the way, but refuse generative AI for any final images? How are we navigating this? #AI #VFX #CGI

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Some interesting facts about the integration of AI into the film industry: James Cameron is on the board of Stability. Darren Aronofsky partnered with DeepMind. Ron Howard called AI "revolutionary" for filmmaking. Robert Zemeckis has used AI extensively. Zack Snyder endorses AI. Scorcese used AI to de-age Deniro in the Irishman. Taika Waititi used an AI baby in Love and Thunder. Denis Villeneuve used AI to automatically tint the eyes blue in Dune Part Two. George Miller used AI in Mad Mad: Fury Road. AI is already integrated into many modern film pipelines in some capacity - while others may focus on "in the lens" production. Both seem like valid pathways for their given audiences. But for the larger scale commercial side of production, some level of AI integration seems inevitable. The question now is "how do we best integrate AI into the creative process?" What kind of things do we as creatives find helpful, and what are the things that are detracting from our human expression or our ability to connect emotionally to the material? We don't yet know the answers to these questions, but IMHO, mindful stewardship of the medium involves mindfully asking, experimenting and attempting to answer these questions earnestly.

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Great partnerships are about amplifying what already exists. Working alongside ZELUS, we helped transform their existing CAD scan exports into a series of visually engaging short clips. By cleaning up the models and adding textures, lighting, and motion, we turned technical assets into a dynamic visual library. These short clips now serve as flexible building blocks for social posts and marketing content, helping Zelus showcase their scans with more energy, clarity, and impact. At Point in Time Studios, we take what makes your work exceptional and present it in a way your audience can’t ignore. #CreativePartnerships #3DVisualization #CAD #ContentStrategy #MotionDesign #MarketingInnovation #VisualStorytelling #CreativeTechnology

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Excited to finalize our partnership with Epic Games! Multi-cloud integration with #unrealengine, allowing studios to easily offload their Unreal workloads to cloud resources, paying as they go. Available via FAB and the GCP/AWS Marketplaces.

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One take. Infinite shots. Here’s a first look at our  4D x Gen AI workflow: a knight duel captured in a single volumetric take. This short test showcases our hybrid production pipeline, combining: ⚔️ Real-actor volumetric capture (live performance → 3D virtual asset) 🏰 Virtual environments built in 3D ✨ AI-powered rendering for enhanced textures and realism What makes it unique - One single take for any camera angle: no cuts, no continuity issues - Full relighting flexibility in post-production - No heavy sets, lighting rigs, camera gear, or large crews needed This first sequence was shot in one take: the entire framing, lighting, and camera work were done after the shoot, in full 3D. We’re still early in our R&D journey, but the potential is clear: a new creative freedom for filmmakers, at a fraction of traditional costs. Stay tuned - more experiments are on the way. Special Thanks to :  4Dviews for volumetric capture KOUZ for Music and sound design Sword Fighters: Dylann & Mathieu, Compagnie Briselame (France) Romain PERRIER Digital Born Producers Gilles Guerraz Malhar Mohite Clement Menier Yann Girard Varante Soudjian ESMA - Ecole Supérieure des Métiers Artistiques

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The AI–Copyright Ruling Every VFX Studio Should Care About ⚖️🤖 A landmark federal court decision just reshaped the AI landscape—and if you're in VFX, animation, or post-production, the implications are massive. What Happened U.S. District Judge William Alsup ruled that training AI models on lawfully purchased copyrighted books is "exceedingly transformative" and qualifies as fair use—comparing it to how humans learn from reading. But here's the critical caveat: The court found that acquiring pirated materials remains copyright infringement, regardless of how transformatively they're used. This led to a historic $1.5 billion settlement—roughly $3,000 per pirated work. Two Clear Messages for Studios ✅ The Green Light: Legitimate AI training on licensed content is being protected as transformative fair use—opening doors for innovation. 🚫 The Red Line: Using unauthorized sources carries severe financial and legal consequences, with statutory damages that can reach tens of billions. What This Means for VFX & Post-Production With major studios actively litigating over AI training on film catalogs and image libraries, this ruling sets the precedent for how our industry will navigate AI integration. At 3D Services India, this decision reinforces our core philosophy: 🔹 Innovate responsibly – AI should augment creativity, not exploit it 🔹 Build on legitimate foundations – Only licensed, owned, or clearly permitted datasets 🔹 Protect creators first – Sustainable AI adoption requires respecting IP rights The Bottom Line The AI revolution in VFX is here—but the path forward requires both cutting-edge innovation and ethical foundations. The settlement is likely to serve as a benchmark for other copyright cases against AI companies, making compliance not just ethical, but essential. Working on AI-driven pipelines for pre-viz, VFX, or post? Let's discuss workflows that deliver next-generation results without compromising on creator rights or legal compliance. #AIinVFX #CopyrightLaw #VFXIndustry #Animation #PostProduction #AIEthics #GenerativeAI #3DServicesIndia

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I've been thinking a lot about this idea that we need to resist tech's "takeover" of our industry. For me, when we frame tech (Al) as an invader, it positions Hollywood purely as a victim/defender, rather than as an agent of its own transformation, which in turn limits our agency. Hollywood could co-create integration terms. But, the reality is that Hollywood isn't yet fluent enough in Al to meaningfully participate in setting terms (on the whole). To claim authorship over Al's role in entertainment, we must first become fluent in it. For me, this continues to remain a literacy issue. You can't make sense of a thing you simply don't understand.

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Modern Mythology Episode 25 explores the Cypher System through a fantasy lens with guest SJ McKean, covering universal RPG design, narrative mechanics, and flexible storytelling.

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Huge announcement from M-XR! To any 3D / texture artists seeing this, I'd highly recommend giving this a read and watching the video.

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AKAI Professional MPC Sample, bringing the iconic MPC workflow to a portable, battery-powered device designed for creators of any skill level. Inspired by classic MPC system like the MPC60, MPC Sample allows producers to sample, chop, and build beats anywhere. No computer required. Who's in? How will this impact the creator landscape? Modern Drummer Publications, Inc.

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DaVinci Resolve 20.1 is live, and it just made immersive workflows real. If you edit, grade, do VFX, or mix audio, this update is worth opening Resolve for. This application provides native Apple Immersive Video support, enabling users to edit, color, add visual effects, mix spatial audio, and deliver content for Apple Vision Pro seamlessly within a single application. Quick highlights you can actually use: - Apple Vision Pro monitoring + Immersive Viewer: Pan, tilt, and roll immersive clips on your monitor or stream directly to Vision Pro for real-time previews. - Spatial audio support in Fairlight: Apple Spatial Audio Format support and 3D panning tools enable true spatial mixes, ideal for immersive storytelling and live performance work. - Fusion & AI upgrades: Magic Mask improvements, a new 3D title, USD-friendly VFX tools, lens-space corrections, and immersive patcher utilities. - Better VFX pipeline for stereoscopic/immersive footage. Newsshooter offers enhanced editor usability and a free version. It includes MultiText character and paragraph styling, CSV import for column-aligned text, improved safe-area tools, clip compositions that respect timeline resolution, and higher-precision timeline support. Why this matters: You no longer need 3 or 4 apps to build immersive experiences. Resolve is stepping up as a single platform to create spatial video and spatial audio, from ingest to final delivery. That changes how teams plan immersive projects and lowers the barrier for creators. #DaVinciResolve #ImmersiveVideo #AppleVisionPro #SpatialAudio #PostProduction #editingworkflow #videoeditordxb #dxbvideoeditor #creativecontent #editingupdates #softwareupdate

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I think Jon Finger is on to something here 🤔.... I posted about this possible future about a year ago.....🔮.. AI Underground Distribution Networks (Neo & White Rabbits) https://lnkd.in/e47HMqk8 Follow 🐇🐇🐇...? ..... 🔴 or 🔵....?

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