The photograph, captured in the early evening over a small town in Kazakhstan, features a massive unidentified aerial phenomenon (UAP) suspended in the sky. The UAP, nearly the size of a mother ship and shaped like a flat rugby ball, has an enigmatic strip of detail, which the photographer described as an opening from which smaller objects emerged. This UAP, according to the leaked reports, was completely invisible from beneath, leading to questions about potential advanced cloaking technology. The timing of the UAP's appearance, considering Kazakhstan's historical role as a nuclear power, instigates further speculation about its origins and purpose. The photographer, known as Borat, was a chef at a local hotel situated amidst the high mountains. His hobby of capturing sunset scenes from high altitudes led to this unusual snapshot. However, instead of releasing this extraordinary photograph, Borat chose a different path. With the promise of a significant monetary compensation, he agreed not to leak the photograph. The agreement included a clause that required Borat and his family to immigrate to Turkmenistan, another Turkic-speaking country. This move, while providing a significant lifestyle change for Borat and his family, also ensured the photograph remained classified for many years. It was only when the related report leaked recently that the existence of this unique photograph came to light. This revelation stirred public interest, further adding layers of intrigue and speculation around this UAP and its untold narrative.
July 28, 1947
Approximately four weeks following the UFO crash incident in Roswell in June 1947, a local farmer, Mac Politz, discovered what is presumed to be an extraterrestrial spacesuit on his property. FARAS-1947 report presents a detailed description and specification analysis of the discovered spacesuit.
The spacesuit appears to be made of a composite material, with a particularly noticeable rounded visor. On each side of the helmet, there are plugs, presumably for connecting auxiliary devices. These might have been used to expand the functionalities of the spacesuit or to operate individual equipment. On the interior hood of the visor, at the forehead section, there is a symbol that resembles a logo. This could potentially be an identification mark of the extraterrestrial civilization that manufactured the suit. On the front of the suit, symbols similar to the alphabets 'O' and 'X' are drawn. While these could potentially be interpreted as the language of the extraterrestrials. It is hoped that the meaning can be grasped through the interpretation of the semiotic structure found in spacesuits and other recovered items. Another notable aspect is the third sleeve emerging from the left side of the suit. This sleeve is presumed to be for an auxiliary arm, suggesting that the extraterrestrials could perform various tasks more efficiently.
The visor shows signs of wear and tear, indicating that the extraterrestrials used this spacesuit for a considerable period of time. This evidences the superior durability of the suit and is representative of the advanced technological capabilities of the extraterrestrials.
The spacesuit itself provides basic protection, including thermal regulation and pressure maintenance. However, auxiliary components that would have been originally attached to the plugs on either side of the helmet are currently absent. It is inferred that these components would have performed a variety of functions, though it remains speculative without the actual components for examination.
The extraterrestrial spacesuit demonstrates not only high technological capabilities and sophisticated design but also offers a unique insight into our understanding of extraterrestrial life and its advanced civilization. Further studies are necessary to fully comprehend the potential implications of this discovery.
It has been treated as essential data for the design and establishment of the Apollo program and is believed to have been leaked through the PTAC(Promptyper Archive Company) involved during the planning period.
I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.
This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.
I think Bulma has shown a versatile and capable woman image in Dragon Ball series. The technologies she uses, such as miniature capsules (Hoi Poi Capsules) and Dragon Ball Tracker, were extraordinary, and it was a great pleasure to see them work in animation.
And Bulma was one of the first characters to introduce me to the concept of "pretty woman" at the time. Let's stop discussing whether this is okay. We'll find out about this one day anyway and find it ourselves. Animation just moved it up a few months to a year. Ha Ha.
The picture presents a beach scene in Japan with a metallic UAP hovering close to the waves. The UAP, looks white and of a size comparable to a small vehicle, exhibits intriguing features such as an observation device protruding from its underside and a repossessed structure on top. There's speculation that this might just be a drone made by some Japanese engineer. The film used is an old model. It's possible that the image was taken recently using an old camera, but this theory is contradicted by the path of the leak and the time recorded at the time of the leak. This discrepancy makes it difficult to precisely determine when the photograph was taken, although it's believed to be from the mid-90s.
I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.
This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.
For us in our childhood, Vegeta was a terrible villain at first, but it became more and more like a symbol of 'Tsundere'. It was quite an impressive memory for me as a child.
I thought that Saiyan's hairstyle would be very strange when imagined as a live action movie. But once I've tried it, it's within the bounds of recognizing it as an existential hairstyle.
*To mention the meme It's over 9000, '8,000' is the official figure. (in japanese version.)
It was a fun to make these images. For Kenzo, getting a similar feel wasn't easy.
He was strange whether he was portrayed as old or young. Now he is younger than in my imaginary image, but he looks closer to his actual age in his actual work. I don't know if it reproduces Naoki Urasawa's realistic yet unique drawing style well.
In Johan's case, I thought his lips were too red and it was important that his hairstyle was very symmetrical, but I stopped adjusting here.
I also tried to depict their characters, situations, and symbols in the background of the poster.
I chose a low angle to portray Big Daddy's menacing look, and a leak in progress to portray Rapture's precarious appearance. The expression of splashing water was added with Photoshop. LoRA seem to have worked and did almost everything. I like this Big Daddy design, which is a little taller than the previous original design, as it seems to be suitable for a live-action film.
If there was one problem, it was not easy to get the Little Sisters into the right places. I just composited her in photoshop. Composite quality doesn't seem very good. Still, I'll have to be content with this.
BioShock was a big turning point for me. I started with a surprise about computer graphics, and the twist at the end is really the best I can think of now. I hope this work will be made into a great live-action movie someday.
little 3D effect on it. :D
The photograph, taken in the late 90s, depicts a scene within a military unit in the Philippines. The locale, densely populated by trees, makes sky views limited. A massive UAP floats stably in the air, its size dominating the image. Below the UAP, a pipeline-like structure extends, connecting to a station on the ground, lending the scene an appearance of a refueling operation. Given the elevated viewpoint of the photograph, one might surmise that the image was taken by someone aboard the UAP. This assumption lends credibility to the theory that this UAP could be of human design. The UAP's structure appears reminiscent of a type of Japanese bread, topped with a small spherical dome at the bottom that could potentially serve as an observational window to the ground. Small antennas, extending from the structure, further lend to its man-made appearance. Given the clandestine setting and lack of additional information, the photograph opens up a wide array of speculations and interpretations.
I made a Live-action movie poster of Dragon Ball Z using AI-generated images and Photoshop.
This is a fan art. I also hope this legendary manga to be made into a live-action movie. Rather than filming an actor's acting, I think we need CG that cannot be distinguished from the actual situation. Like Avatar and Alita : Battle Angel, for example.
When I remember Goku, the first thing that came to my mind was the disappointment of not being able to use Kamehameha. The concept of a character that grows over time made Goku come to me as a really vivid being in my childhood. I remember Goku before the Dragon Ball Z series was pretty funny, but after the Z series the atmosphere changed very scary, 'is this really a children's animation?' I also had this question. Dragon Ball Z was considered very violent, so even my parents thought it was a cautionary animation. But now that I think about it, what Goku has shown in Dragon Ball has had a tremendous impact on each of us growing up. Fighting to protect the Earth and friends, and enjoying the battle in the process, sometimes trying to endure and grow again even if can't enjoying it. And achieving growth and eventually achieving goals. These were things that we couldn't easily learn in school.
The image, captured by an aviator at a significant altitude, features a UAP bearing a characteristic flat disk shape. The most notable elements are the two light sources below the UAP, creating an impressive glow against the vast sky. Above the UAP, a spatial distortion manifests as a haze, adding an extra layer of intrigue to the scene. Under the sunlight's illumination, the UAP exhibits a reflective quality, making it appear as if composed of smooth metal. This feature, along with the overall design, becomes strikingly clear in the high-quality picture, implying the possible existence of advanced technology. This photograph remained hidden from public view until the data from the promptyper was leaked. The image, originally preserved as film, was printed for digital archiving by the promptyper, before being digitally scanned. The later leak of this data introduced this intriguing photograph into public knowledge, sparking speculation and excitement around its origins and implications.