GARDEN GATES - Portraiture by Skyward, Practicing with Some Newer More Specific Prototypes, AI ROSES

In the midst of the most fertile gardens in the local galaxy system, there exist two time portals. One allows entry into the GARDEN GATES from almost any time and dimension. The other is essentially the exit door, used to return home. Most of the time these portals remain unused. However, when rare planetary alignments occur, the GARDEN GATES is the scene of a mass migration of beautiful women through the gates, wishing to be seen and have their photo taken in the legendary garden during the Estuarial Peak. In expectation, the men spare no effort to accommodate and make them happy during their brief visit. PRODUCTION NOTES: This whole effort is a technical exercise. The “rough draft“ for a new portrait model is typically as crudely drawn and morphy as she is going to get. Initially she has the widest threshold for variance, so training for specific expression is subsequently required. From then on, a frequent refinement will produce a relatively stable “identity“, like the illustrious ““Cobalt Blue Lady“, for example. Thus, I produced this film just to stay in practice making people and directing them to move around a little. I left a working demo at the very end, like the other one in WINGED CHAOS II at :54. Leave a timestamp in your comment if you would like for me to pursue any of these specific looks as we continue to move forward. I was also curious to know what “Rose Overload“ would feel like. TECHNICALITIES: Nobody wants to talk about it, so I may as well explain what I understand about the global elephant in the room in my non-industry terms. We do now have scene extension capability, however, I will try to severely encapsulate the current issues. I would say my chances of producing a “perfect“ extended scene are at best 25% from the jump. The scene in this film at 2:19 is a great example of a “perfect“ and “seamless“ “extended scene“, even though it morphs noticeably near the end. There are four extended scenes in the film CITY OF GLASS, 2 “perfect“, and 2 showing noticeable seams. The other 75% tends to have problematic seams, and can have many other out of control issues including the dreaded “twisting anatomical vortex“ (that you can never unsee). Sometimes I notice, the longer AI tries to hold the current thought, although the vast majority of the time remains impressively stable (right now about 90% of the time by my estimation), it can become prone to an intrusive thought or divergent tangent. The AI definitely has the “don’t think about a polar bear“ problem, just like us. If I were to prompt something like that and then generate, about 50% of generations, sometimes more will include an unwanted polar bear. Every scene I’ve managed showing an ankle is a near impossibility due to the rapidly twisting anatomical vortex. I have only managed to show ankles, calves, heels, by performing a miraculous editing microsurgery EVERY TIME. If you slow the runtime and look at ANY leg or ankle shot you will notice this , and you may even figure out what I’ve done there to make those shots aesthetically successful. I tell you this to just check in, and to take a little of the mystery out of the notion that, essentially, some AI processes will proceed along kind of slowly while others will continue forward at a very fast pace. Everybody is working on it from their own angle. It’s a very good thing! -Skyward MUSIC: TITLE: PAINT HIM IN 3D BY: INGRID WITT ***Tune in Saturday for the premiere of ELECTRON, in which two of these new gals make their EPICALLY STUNNING introductory appearances! Yes, it is the purple cavern childhood memory thing. We’ve got a little Retro Pulp Sci Fi Marathon beginning Saturday! See you there. (3:00 Central)