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I was surprised by how poorly it reproduces the look from the perspective of specific images. For example, see the magic schoolbus further down. It feels like t

I was surprised by how poorly it reproduces the look from the perspective of specific images. For example, see the magic schoolbus further down. It feels like their algorithm could probably be tuned more in the direction of "trust the images".

chefandy 2y ago
A huge part of art is distinguishing between what "feels" right and what would be the case in reality. Even in the spaces I usually work in-- 3D animaton and film-- things in the background or maybe out-of-focus in the foreground or whatever are often distorted and weirdly juxtaposed to make something that looks right even if it wouldn't map to a real-world configuration that makes sense. 2D art is even less tied to real-world representations than that. What we can see in applications like this is how incredible our brains are at conceptually constructing ideas based on relatively abstract representations, and how incredible artists are at operating in the less-defined realms of that space. Maybe a scene seems to have a coherent perspective to the viewer, but the couch and end table in the BG were drawn as they would look shot with a 120mm lens while the foreground is deliberately claustrophobic and drawn like it was shot with a 30mm lens? It could look fine to us because we don't need to reason about the realistic 3D space those characters exist in-- we just need to understand that they're in a space like that because we know what it's like to be in spaces, and how people interact with them-- good art gives us just enough to communicate the core ideas making them the focus of the message, and lets our brains subconsciously make the connections and add all of the context to make a complete 'experience.' Everything is a potential layer of communication to achieve deliberate artistic effect-- the type of couch and end table, the often skewed or exaggerated scale and relationships between objects, etc.-- and it often just doesn't have a coherent real-world representation. Beyond that, in any given shot, things are certainly moved around to aid in composition, emphasize certain interactions, etc. etc. etc. If you notice it, then it's a continuity problem. If you don't notice it, then job well done. In the overwhelming majority of cases, nobody notices it, and we just happen to have a world where everything from every angle has really compelling composition. An algorithm that needs to look at the lines and try to figure out a real-world scenario that correlates to that representation might be trying to create something that could never exist in any coherent form.

chefandy 2y ago

A huge part of art is distinguishing between what "feels" right and what would be the case in reality. Even in the spaces I usually work in-- 3D animaton and film-- things in the background or maybe out-of-focus in the foreground or whatever are often distorted and weirdly juxtaposed to make something that looks right even if it wouldn't map to a real-world configuration that makes sense. 2D art is even less tied to real-world representations than that. What we can see in applications like this is how incredible our brains are at conceptually constructing ideas based on relatively abstract representations, and how incredible artists are at operating in the less-defined realms of that space. Maybe a scene seems to have a coherent perspective to the viewer, but the couch and end table in the BG were drawn as they would look shot with a 120mm lens while the foreground is deliberately claustrophobic and drawn like it was shot with a 30mm lens? It could look fine to us because we don't need to reason about the realistic 3D space those characters exist in-- we just need to understand that they're in a space like that because we know what it's like to be in spaces, and how people interact with them-- good art gives us just enough to communicate the core ideas making them the focus of the message, and lets our brains subconsciously make the connections and add all of the context to make a complete 'experience.' Everything is a potential layer of communication to achieve deliberate artistic effect-- the type of couch and end table, the often skewed or exaggerated scale and relationships between objects, etc.-- and it often just doesn't have a coherent real-world representation. Beyond that, in any given shot, things are certainly moved around to aid in composition, emphasize certain interactions, etc. etc. etc. If you notice it, then it's a continuity problem. If you don't notice it, then job well done. In the overwhelming majority of cases, nobody notices it, and we just happen to have a world where everything from every angle has really compelling composition. An algorithm that needs to look at the lines and try to figure out a real-world scenario that correlates to that representation might be trying to create something that could never exist in any coherent form.