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特斯拉認紅綠燈
AI在影像識別上，對紅綠燈一直是很困擾工程師，一來是影像上紅綠燈太小不易識別雖對人眼來說很簡單，二來是紅綠燈有直有橫有多有少有各方向，
2020/4特斯拉2020.12.6有新的更新針對紅綠燈，美國限定，就目前半封鎖的美國來說是個好測試的時間是嗎？
網上的回饋大多正面，這功能看來是被特斯拉的AI Mechine Learning解決了。
Tesla owners with the new Traffic Light update are revealing some interesting experiences https://bit.ly/2VYVx3L
Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share
The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
2019年台灣國際熱氣球嘉年華系列活動之光雕音樂會
今晚(2019年7月20日)在台東池上大坡池
花小編月初大半夜三仙台"原聲迎曦"
大坡池的水映湖畔想是浪漫唯美..衝一波？😅
大坡池風景狠美->https://ajs0414.pixnet.net/blog/post/227567486
【7/20池上大坡池光雕音樂會交通管制及接駁訊息】
⚠交通管制：⚠
通水巷為行人徒步區，禁止各種車輛通行。
車輛請停放縣道197線兩側(導航請設23.118072, 121.217105)
⚠接駁資訊：請搭乘台鐵⚠
439次自強 臺東17:07→池上17:43
611次莒光 臺東18:09→池上19:05
4556次區間 池上20:42→臺東21:28
436次太魯閣 池上21:15→臺東21:55
438次普悠瑪 池上21:58→臺東22:32
4660次區間 池上22:45→臺東23:35
448次普悠瑪 池上23:46→臺東00:15
Light carving concert traffic control and connection information☝☝
#台東觀光 #台東旅行 #熱氣球嘉年華
เปิดตัวในไทย พร้อมราคา All-New Kia Carnival 2021เกีย คาร์นิวัล โฉมใหม่ ในประเทศไทย
เกีย คาร์นิวัล ใหม่ มาพร้อมกับสมรรถนะของเครื่องยนต์ใหม่ สมาร์ทสตรีม ดีเซล เทอร์โบ ขนาด 2.2 ลิตร มาตรฐานยูโร 5 ให้กำลังสูงสุด 202 แรงม้าที่ 3,800 รอบต่อนาที แรงบิดสูงสุดที่ 45 กิโลกรัม-เมตรที่ 1,750 – 2,750 รอบต่อนาที รวมถึงโหมดการขับขี่ที่หลากหลาย ได้แก่ Normal Mode / ECO Mode / Sport Mode และ Smart Mode ที่ช่วยเพิ่มความสนุกสนาน และความมั่นใจตลอดการขับขี่
ดีไซน์ภายนอกของ เกีย คาร์นิวัล ใหม่ ได้รับการออกแบบใหม่ตั้งแต่ลักษณะโครงสร้างไปจนถึงดีไซน์รอบคัน โดยโครงสร้างภายนอกนั้นมีการปรับความยาวช่วงห้องเครื่องด้านหน้าให้สั้นลง และเพิ่มฐานล้อให้ยาวขึ้น ช่วยเพิ่มพื้นที่ภายในห้องโดยสารและบริเวณที่วางขาให้กว้างขึ้น อีกทั้งยังปรับความสูงจากพื้นถึงตัวรถให้ต่ำลง พร้อมทั้งติดตั้งมือจับบริเวณขอบประตูเพื่อให้ผู้โดยสารสามารถก้าวขึ้น-ลงรถได้ง่ายขึ้น ดีไซน์ภายนอกทันสมัยและโดดเด่นยิ่งขึ้นด้วยกระจังหน้า tiger-nose ดีไซน์ใหม่ ที่ผสานอย่างลงตัวกับไฟหน้าแบบ LED และ Daytime Running Light พร้อมทั้งไฟตัดหมอกหน้าแบบ LED ไฟท้าย ไฟตัดหมอกหลัง รวมถึงล้ออัลลอยใหม่แบบ Machine Finished ขนาด 18 นิ้ว
การออกแบบภายในของ เกีย คาร์นิวัล ใหม่ มาพร้อมกับคอนโซลดีไซน์ใหม่ และหน้าจอ Infotainment ระบบสัมผัสขนาด 12.3 นิ้ว ที่รองรับการเชื่อมต่อผ่าน Apple CarPlay และ Android Auto พร้อมระบบ Rear Seat Entertainment ด้วยจอขนาด 10.1 นิ้ว ติดตั้งบริเวณหัวหมอนของเบาะโดยสารคู่หน้าจำนวน 2 จอสำหรับผู้โดยสารในแถวที่สอง ระบบเสียงจาก BOSE® และลำโพง 12 ตำแหน่ง ทั้งยังสะดวกสบายด้วยจุดชาร์จ USB ทั้งหมด 6 จุด และช่องชาร์จโทรศัพท์มือถือแบบไร้สาย ติดตั้งระบบ Mood Light ที่แผงประตูด้านหน้าและซันรูฟไฟฟ้า 2 ตำแหน่ง รวมถึงเกียร์แบบหมุน Dial Type – Shift by Wire (SBW) ที่สร้างความหรูหราและโดดเด่นให้กับห้องโดยสาร ภายในห้องโดยสารกว้างขวางมาพร้อมดีไซน์ที่ทันสมัยยิ่งขึ้นด้วยเบาะหนังสีน้ำตาล Saddle Brown ตัดขอบสีดำ โดยเบาะที่นั่งสามารถปรับเปลี่ยนได้หลายรูปแบบ และรองรับครอบครัวใหญ่ได้ถึง 11 ที่นั่ง เบาะโดยสารแถวสุดท้ายสามารถปรับพับเรียบได้สนิท Pop-up Sinking Seat ช่วยเพิ่มพื้นที่สำหรับจัดเก็บสัมภาระได้อย่างลงตัว
เกีย คาร์นิวัล ใหม่ ยังมาพร้อมกับเทคโนโลยีอำนวยความสะดวกที่ครบครันยิ่งขึ้น อาทิ ประตูสไลด์ไฟฟ้า Smart Power Sliding Door เพียงแค่ยืนใกล้ตัวรถพร้อมกับกุญแจอัจฉริยะ Smart Key ประตูสไลด์จะเปิดโดยอัตโนมัติ ประตูท้ายไฟฟ้า Smart Tailgate พร้อมระบบ Away-Auto Close ที่สามารถเปิดโดยอัตโนมัติเมื่อยืนอยู่ใกล้ตัวรถ และสามารถปิดเองโดยอัตโนมัติเมื่อเดินห่างออกจากตัวรถ พร้อมทั้งระบบ One-Touch Remote เพียงแค่กดปุ่มบนรีโมทค้างไว้ ประตูสไลด์ไฟฟ้าทั้งสองบานและประตูท้ายไฟฟ้าจะเปิดพร้อมกันโดยอัตโนมัติ สะดวกต่อการขึ้น-ลงและขนสัมภาระ
มั่นใจยิ่งขึ้นในทุกการเดินทางด้วยเทคโนโลยีความปลอดภัยล้ำสมัยครบครัน อาทิ ระบบเซ็นเซอร์ช่วยจอด PDW (Parking Distance Warning) และกล้องรอบคัน SVM (Surround View Monitor) ที่จะช่วยเพิ่มความมั่นใจในการขับในที่แคบและระหว่างการถอยจอดให้มากขึ้น นอกจากนี้ยังมีเทคโนโลยีการขับขี่และความปลอดภัยอัจฉริยะ Advanced Driver Assistance System (ADAS) หรือ DRIVE WiSE ซึ่งประกอบไปด้วย ระบบควบคุมความเร็วอัตโนมัติแบบแปรผัน Smart Cruise Control ระบบเตือนมุมอับที่กระจกมองข้าง Blind-Spot Collision-Avoidance Assist ระบบเตือนมุมอับสายตาขณะถอยรถ Rear-Cross Traffic Collision Avoidance Assist ระบบช่วยควบคุมรถให้อยู่ในช่องทางเดินรถ Lane Keeping Assist และ Lane Following Assist และระบบเตือนการชนด้านหน้า Forward Collision-Avoidance Assist
สำหรับ เกีย คาร์นิวัล ใหม่ มีให้เลือกทั้งหมด 2 รุ่น ได้แก่ รุ่น EX (อี เอ็กซ์) และรุ่น SXL (เอส เอ๊กซ์ แอล) โดยมีราคาเปิดตัวดังนี้
· รุ่น EX: ราคา 2,144,000 บาท
· รุ่น SXL: ราคา 2,459,000 บาท
โดยสีตัวถังภายนอกมีให้เลือกทั้งหมด 4 สี ได้แก่ สีขาวมุก Snow White Pearl, สีดำ Aurora Black Pearl, สีเทาดำ Panthera Metal พร้อมทั้งสีใหม่ล่าสุด คือ สีฟ้า Astra Blue (เฉพาะรุ่น SXL)
สำหรับผู้ที่สนใจ สามารถสัมผัส เกีย คาร์นิวัล ใหม่ อย่างใกล้ชิดครั้งแรก ได้ที่งานมหกรรมยานยนต์ ครั้งที่ 37 ณ อาคารชาเลนเจอร์ 1 – 3 อิมแพค เมืองทองธานี บูธ B04 ระหว่างวันที่ 2 – 13 ธันวาคม 2563 หรือสอบถามรายละเอียดเพิ่มเติมได้ที่ โชว์รูมเกียทุกสาขา
Với sự xuất hiện của Volvo S60 R-Design, sẽ là một sự lựa chọn mới dành cho các khách hàng đang có nhu cầu mua một chiếc xe Sedan hạng sang, cỡ nhỏ mà lại tràn ngập công nghệ an toàn
Volvo S60 được trang bị nhiều công nghệ an toàn hàng đầu phân khúc như: Pilot Assist, City Safety, Land Keeping Aid, BLIS, Cross Traffic Alert, Adaptive Cruise Control... Cùng otosaigon tìm hiểu thêm Volvo S60 R-Design vừa ra mắt nhé
⚠️ License music:
ES_Candle Light - dreem
Được thực hiện bởi / Video made by Otosaigon
Sản xuất / Produced by Otosaigon
Nhà sản xuất / Producer: Hoàng Thiện
Giới thiệu / Host: Lê Hoàng Thiện OS
Quay phim / Cameraman: Huy Lucas
Điều hành sản xuất / Executive Producer: Lamnk
#otosaigon #Volvo #Volvos60
✅Otosaigon - Cộng Đồng Ô Tô Việt Nam
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Follow my life at sea on Instagram @jeffrey.hk
www.instagram.com/jeffrey.hk
If you'd like to support my camera work so I can continue timelapse (this piece used up almost half of my D750 Shutter Life. Rain and camera also don't get along) please check out my patreon:
https://www.patreon.com/YTJeffHK
Two weeks of non-stop shooting, 1600GB - 62,000 of raw image files along with 500GB of rendered video files to combine into this piece.
After transiting Panama Canal, our ship cross the Caribbean Sea into Atlantic Ocean and arrive at New York, Savannah then Charleston. The timelapse was taken over span of 15 days, some less interesting parts were speed up or faded out (cargo work, daylight hours with no clouds). Most night shots were done on 25 second shutter speed at 30 seconds interval, with port arrivals and departures at 4~8s interval.
*note* The time-lapse was presented different than actual port rotation, its narrative was not linear. I purposefully reshuffled Charleston before New York because it'd be anti-climatic to start the timelapse with dark moody rainy day arriving at New York.
Support my photo/videography through my patreon and affiliate links!
https://www.patreon.com/YTJeffHK
Best Value Fullframe for timelapse https://amzn.to/2MYk2vX
Fisheye lens used in 30 days timelapse https://amzn.to/30uE4Aw
360 camera I use https://amzn.to/2Qfgcku
Drone https://amzn.to/2Qhxk98
BIG JUICE powerbank for everything https://amzn.to/304fKJq
Gaffer Tape (no residue) https://amzn.to/2LCRLYq
Silica Gel Packs https://amzn.to/2N083xJ
Good intervalometer https://amzn.to/2N1ETOS
Good Entry Tripod https://amzn.to/2ZWp8e7
Pro Tripod https://amzn.to/2NYSlCH
Budget Time lapse Motion Control https://amzn.to/2A4H7Vd
Advance time lapse Motion control https://amzn.to/2PQ5ctn
Music: Stellardrone - Breathe In The Light
Stellardrone - Eternity
=====I Got Fired!? Demoted!? New ship!?=====
https://youtu.be/uX6Vzmg3CzA
=====I Made a $10,000+ 360° 24K Resolution Camera - Rain-proof Timelapse Monster for at Sea=====
https://www.youtube.com/watch?v=fseH9Kd5ooM
=====Day in my life as Chief Officer onboard a ship=====
https://www.youtube.com/watch?v=GX5YO_CDcK8
?An Unusual Mooring Operation - to Palm Trees!??
https://www.youtube.com/watch?v=V-HtIFMdhB0
=====Docking a Mega-Ship=====
https://www.youtube.com/watch?v=6GyQN8zi8kk
=====30 Days Timelapse at Sea | 4K | Through Thunderstorms, Torrential Rain & Busy Traffic=====
https://www.youtube.com/watch?v=AHrCI9eSJGQ&t=305s
=====10 Reasons Why Maritime is AWESOME =====
https://www.youtube.com/watch?v=0U18AHZbS_M
=====10 Reasons Why Maritime SUCKS =====
https://www.youtube.com/watch?v=tdMYEKwxTyo
=====How To Anchor a Mega-Ship =====
https://www.youtube.com/watch?v=62O7KYfb4GA
=====Navigation Bridge of a Mega Ship=====
https://www.youtube.com/watch?v=Bj3_peT4u9M
=====A Tour of Mega Ship's Engine Room=====
https://www.youtube.com/watch?v=s7BhBsVigZw
=====HEAVY SEAS! Bad Weather in Atlantic Ocean=====
https://www.youtube.com/watch?v=OZA6gNeZ5G4
IntelliLight: A Reinforcement Learning Approach for Intelligent Traffic Light Control. We've also investigated traffic signal control problems in ... ... <看更多>
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PressLight: Learning Max Pressure Control to Coordinate Traffic Signals in Arterial Network ... To avoid the heuristic design of RL elements, we propose to ... ... <看更多>