VFX'er, mographer, filmmaker, software'er. My tweets are my own. Unless they are re-tweets, in which case they are yours. I don’t respond to anonymous accounts.
New York, NY
- Tweets 40,701
- Following 998
- Followers 21,930
- Likes 5,512
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A year ago I had never touched Unreal Engine. Then I took @SchoolOfMotion’s Unreal Engine for 3D Artists class with @JonathanWinbush. That started my Unreal Engine learning journey. 365 days later I’m making stuff like this.
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Aharon Rabinowitz retweeted
When someone uses your driveway to turn their car around.
zîn𓃵
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Aharon Rabinowitz retweeted
Radial blur -> Gaussian blur -> RGB split blur.
Shaders are now working in After Effects.
It's setup with slider controls, effectively making a custom 'realtime' pseudo-plugin. AE should have native support for GLSL; it's crazy powerful being able to write custom instructions (math) on a per-pixel basis.
#aftereffects #glsl
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Aharon Rabinowitz retweeted
It’s that time again! I’m opening up my private referrals network for public submissions. If you’re looking for work in the film, tv, digital, or photo industries - fill this out to be contacted directly with job/gig opportunities. bit.ly/veeslist
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Aharon Rabinowitz retweeted
Duo-Man offers the complete walkman experience on the iPhone Duo. Open the Duo to pick and 'insert' the cassette, Close the Duo to start listening.
Yes, I actually recorded the button clicks and static noise from a real Walkman!
It was fun making this at @bitrig hacks today.
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Aharon Rabinowitz retweeted
1/ We introduce TrackEverything: a 3D point tracker that tracks all points across all frames of long videos (1000+ frames).
Our key idea is to tie computation to unique 3D scene content rather than redundant 2D pixels in a video.
trackeverything.github.io
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Muting assholes is one of the great pleasures of twitter. It serves two purposes: I don’t have to hear from them, and also it infuriates them because they are not being heard. Win-win.
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Aharon Rabinowitz retweeted
I tell new screenwriters all the time, professionals don’t need a second draft. If you don’t get it exactly right the first time, you’re not cut out for this business.
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Updated a wide 3D shot I made in Unreal with Seedance just to see how it would look. The bird is not in the original render. Also added it into a holiday shot I previously set up and rendered in C4D.
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Aharon Rabinowitz retweeted
Compare this to every AI “series of quick cuts” super stylized slick reel and you’ll realize most who make those are paid to show you what is possible - meanwhile it takes a fearless artist to dare to make the thing, make it well, make it ALONE and make history.
Congratulations for being the tip of the spear and inspiring countless people who will see what you did and follow.
It’s here. The first AI feature film to screen in theatres. The first AI feature film by a female filmmaker.
Not a collection of shorts. A feature film.
Not a studio. One woman with a laptop.
Not a paid PR campaign. An organic social movement.
I didn’t just make a film. We made history. Together.
Because I never for a second thought this was about me. It’s much much bigger than me.
The era of waiting for permission is over. I’m living proof. And that makes some people mad.
Because there are no gatekeepers where there are no gates.
BOSS (2026). Coming soon to a theatre near you.
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Aharon Rabinowitz retweeted
Experimenting with a multi-level cache for high-frequency effects based on my previous work for SPWI surface GI (left). Specular effects like caustics scale in 2D on surfaces.
Also researching solutions to angular aliasing and flickering of depth-upscaled probes (right). No TAA.
An extension of Radiance Cascades global illumination to support complex transmissive and reflective light transport, including diffuse and specular reflection, refraction with dispersion, caustics, and subsurface scattering.
Left: U-HRC (32^3), Right: spectral path tracer
ALT Holographic Radiance Cascades in real-time 3D with equal-angle rays (U-HRC) at a dense field density of 32^3. Includes a wax cube with subsurface scattering and colored caustics on the floor, dispersed between yellow and darker orange.
ALT Spectral path-tracer reference accumulated over an hour. Some chroma noise is still visible. Includes a wax cube with subsurface scattering and colored caustics on the floor, dispersed between yellow and darker orange.
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Man the "paper and pencil is the only real way to make art" guys are out in full force today.
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There are a lot of people out there accusing me of lying about this, but I’m not sure what they think I get out of lying. I don’t get paid by any AI company and I work for a school that teaches 3D. I also design 3D material libraries for unreal engine, and visual effects software for After effects and Unreal.
I use both 3D tools (unreal engine, cinema 4D) and AI. It’s all just tools.
I've had a few 3D artists message me that this was too good/consistent/physical looking to be AI and that it must be 3D. But I am sorry to disappoint - It is AI.
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I've had a few 3D artists message me that this was too good/consistent/physical looking to be AI and that it must be 3D. But I am sorry to disappoint - It is AI.
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Aharon Rabinowitz retweeted
En 1957, un director británico arruinado aceptó rodar un programa infantil con muñecos para pagar las deudas de su estudio. Acababa de nacer una revolución técnica que cambiaría la industria. Así fue como Gerry Anderson inventó las supermarionetas. Tira del hilo 🧵👇🏽👇🏽👇🏽
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