Pratica di Shadowing: Is AI About to Change Movies Forever? - Impara a parlare inglese con i video
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Thirty years ago, Toy Story came out, and it took seven hours to render just a single frame.
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Three years ago, House of Dragon came out, and it still took seven hours to render a single frame, even though computers are literally a thousand times faster now.
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How come?
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And how does AI do all of this in only seven seconds?
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Well, by creating my own House of Dragon shop, I found the answer.
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So join me on the journey.
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In order to make a believable Dragon VFX video, we needed the right location, and Norway doesn't quite cut it.
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So I boarded a plane to Iceland to do this the right way.
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The problem was that there were too many good options to pick from.
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This entire country looks like it was ruled by dragons at some point.
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But eventually, we found this really awesome looking waterfall that we could actually walk behind, and I knew I'd found the perfect spot.
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For the video, I'm gonna be jumping off this ledge, and a dragon will come from underneath, and I will land on it and fly through this waterfall.
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Quite ambitious, I know.
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Then, we will see me ride the dragon through this epic valley, which my friend Luke helped me film on his drone that makes mine look like a toy.
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I just a baby!
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With these shots done, and a bit more...
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Sightseeing?
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AAAAAAAAHHHHHHHHHHHHHHHHHH!
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I headed home to start working on the VFX.
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Okay, we need to pause the video a bit, because something has happened.
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So, after I posted my last video, an AI company reached out wanting to sponsor me, And did they even watch my last video?
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I think you people have watched an AI video
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and felt like it was a piece of art that really touched or inspired them.
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But they did say something that intrigued me.
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We don't see AI as a replacement for VFX artists, no final cut on our side, no script, no talking points.
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Which gave me an idea.
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So I pitched them a real VFX vs AI competition, where the audience decides which one is best, and they have no say in the script whatsoever.
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I never thought they would go for this, but I jumped on a call with them to discuss it, and secretly recorded it.
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What would be almost fun would be a very like open
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and honest collaboration where I'm like in the video I'm like this is sponsored by Hicksfield
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but they gave me complete control to say whatever I want
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because I'm sure you guys are used to some hits but
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if you're I'm not sure
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if you're used to the creator you're sponsoring being critical about AI as well
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and if you're you're fine with that Definitely you'll be receiving some negative feedbacks
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but I'm totally okay in this matter Well okay then!
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I got this in a solid contract so there would be no take backs And the competition with Hicksfield was on.
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The first thing we need for our VFX shot is a dragon.
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And I'm not holding back for this competition, so I'm gonna use this dragon, which is probably the most detailed and high-quality Dragon 3D model available online.
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And I happen to know the creators, and they happily sent it over for this competition.
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We need some animation for it though, so I assembled the next part of my VFX Avengers team, Roan.
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My trusted animator from previous projects will handle the complex flying animation needed for this shot.
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And while he gets to work on that, I will tackle the waterfall.
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The waterfall can be replicated by trading a sphere that emits particles outwards and adding gravity to it.
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We then add some wind turbulence and random wind resistance per particle, however, it's still not looking quite right.
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But if we calculate the density of the particles by seeing how close each particle is to surrounding particles
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and make the dense clumps drop faster than the floating solar particles, we end up with a pretty believable waterfall without using a slow real water simulation.
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You might be wondering why we even need to create a waterfall when we have a real waterfall in the shot.
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He dumb?
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But we need it for when the dragon flies through the waterfall so we can get some interaction between them.
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Rowan is almost done working on the animation, but in the meantime, let's take a look at the opening shot.
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The opening shot is this beautiful drone footage of the waterfall from above, But the problem is that the drone is moving backwards instead of forwards.
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Usually, this would be an easy fix by putting the shot in reverse.
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But this leads to the waterfall going the wrong way.
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And this gave me an idea.
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Because for this competition, I'll be sending Hicksfield all of my footage for them to create their version.
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And I'm really curious how they're gonna fix this reverse waterfall.
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I can fix it myself by tracking the shot, use that track to stabilize the shot, rotoscope out the waterfall, reverse it,
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and then invert the stabilization to reapply the camera motion. And done.
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However, I will definitely send Higgsfield the version of it going the wrong way to see how they deal with this dilemma.
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Another thing I think AI will struggle with is close-up footage of a person with emotion.
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I didn't film this in Iceland, but I want to make this as challenging as possible for AI, so I pull up a green screen and shoot footage of me starting to run towards the cliff.
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I'll composite this later though because the dragon animation is finally ready.
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I import the dragon animation to see how it's looking and it's absolutely perfect.
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I also asked
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if he could animate me jumping off the ledge since I didn't really feel like going for a swim that day.
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And that animation is also looking so nice.
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To start, I bring in the waterfall we made earlier and position it where the real waterfall is.
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I then set up the dragon as a collision object and run the simulation again.
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But the interaction doesn't really look that nice.
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To fix this, I do a smoke simulation with the dragon as the source, which leads to a flowy wind field.
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We can then plug this wind motion into our particle waterfall simulation, along with the collision we set up earlier, and that looks a lot better.
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Now, it actually feels like the waterfall is wrapping around the dragon due to the air displacement.
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To light the scene, I use this overcast image as a light source, and create a sphere with a hole in it to act as the cave.
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I set this fake cave as a phantom object in the render, which means we won't see it in the render, but the light will still be affected by it, giving us this nice and realistic lighting.
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I then give the waterfall a smoke shader, as this looks the most like the mist we see in a real waterfall.
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Lastly, I use the same lighting for myself jumping off the cliff and hit render.
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Now let's finally answer the question of why 30 years later it still takes hours to render each frame of a movie.
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It all starts with looking at how they turned this into this.
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Well, Toy Story used Reyes, render everything you ever saw, which broke the geometry into a ton of tiny pieces,
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and for each piece read if the material was shiny or flat and what color it had.
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It then used this to fake the look of the object.
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It did this for every tiny piece, and finally added a pre-computed shadow map before the image was ready.
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It's no wonder it took on average 7 hours to render each frame.
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Nowadays, the process is completely different and almost simpler.
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When we render, we run a light simulation
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that bounces millions of lights around the scene to figure out
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how the light would actually interact with it just like real life.
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This is super computationally heavy though, which means even though we have computers that are thousands of times faster now, it still takes hours to render each frame of a movie.
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Monsters University actually took 29 hours to render per frame with this new rendering technique.
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Luckily, my render only took 12 hours, as I don't render at the insane quality that movies do.
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But it still left me with this physically accurate dragon and waterfall.
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I add the renders to my footage, paint out myself, and add fake me before the jump.
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I then mask out the waterfall render for a smooth transition between the real and fake waterfall, and finally, I color match everything to the shot.
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I found the waterfall interaction to be a bit underwhelming, so I went back into Houdini, added even more splash along the wings, and a bigger interaction overall,
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and after rendering it again, I am super happy with the results.
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Now, how in the world does AI do all of this in only a few seconds.
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Well, it completely bypasses all of the old techniques
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and uses a neural network trained on millions of videos to guess what the output should look like based on your prompt.
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Is that enough to create a convincing dragon scene?
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Well, it's time to find out.
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Last video, you guys complained that I misrepresented AI by not utilizing it to its full potential.
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Well, this time there will be no excuse because Higgsfield, one of the biggest AI companies, is going to be creating it.
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They start by trying to run this shot through a video-to-video model using a prompt written by Claude
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and a reference of Adele and the dragon.
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But it fails spectacularly.
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So instead they extract the first frame and use an image to video model to create the full motion from scratch.
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Which gives them a jump they're happy with, but the dragon emerging doesn't look so good.
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So they keep running the prompt until they get a version of the dragon that they like, and then finally stitch the shots together in post.
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For my reverse waterfall challenge, they just use the first frame and prompt the motion with an image to video model, which fixes it instantly.
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But I'm not too worried yet, as we still have the hardest shots coming up, and I will tackle them first.
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The next shot is this one from the side, and finally we'll tackle this ending drone shot of the dragon flying towards us.
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After a few days of animating, Rowan sent over this awesome animation, which has the dragon shake off the water from the waterfall.
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So I set up a water simulation that activates based on the speed of the dragon, so when he shakes, even more water falls off.
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I then convert the water particles to a mesh
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and create some geometry to block the light from the mountain so we can render with accurate lighting.
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For the final shot, I told him to go all out for the animation and he nailed it, with the dragon flying super close to the camera for an epic ending.
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Here, I use the same lighting setup as the previous shot and render overnight.
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To composite the side shot, I add the dragon and water, do some color matching, paint out some people, and finally add this mist asset to blend everything in even better.
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And you can get this asset plus a bunch more on Maria and I's website, vfx.store.
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And you can use the code AI30 for 30% off.
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To be featured in my next video, create a VFX shot with an asset from the store and send it to create at vfx.store.
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And so everyone has a chance to participate, we are actually making the HUD and UI pack free for a limited time.
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Anyways, with the mist added, the shot is complete.
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The ending shot was pretty similar to composite.
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I just make sure to add some camera shake as it flies over and it's done.
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Finally, let's composite this green screenshot.
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I use Corridor Key to remove the green screen, shoutout Nico, and I think this is the best use of AI.
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As a tool that doesn't take away creative control, but just speeds up the work.
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I then add a cave background and do my best to make it look realistic, but it doesn't really look that good.
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This is due to bad lighting when we film, and a lack of compositing skills from my end.
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So I headed out to a real cave to film it there instead.
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Sometimes you just can't fake reality, and I'll use real footage and practical assets whenever I can, But good luck doing the same, Mr. AI.
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Hicksfield gives video to video another go for this shot, and at first it struggles, but eventually they end up with a version they're happy with.
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They go through the same process for this one before getting a good version, which leaves only this one left.
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But to make it fair, I also sent them what I shot in the real cave, and they have the audacity to use a video to video model to replace me with a deal.
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Identity theft is not a joke, Jim.
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And with that, both the VFX and AI versions are complete, so let's take a look.
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Okay, are you ready to compare VFX versus AI finally?
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Yes, I'm so so excited.
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I've been waiting for weeks for this, so...
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Okay, well...
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Let's do it.
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Let's start with my VFX shot.
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Okay.
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Oh, it's so epic!
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Nooo!
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Oh my god!
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It looks so real!
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That could have been Game of Thrones!
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Maybe, no. Sick!
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What?
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I appreciate it.
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No, it was really fun to work on this one.
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The waterfall integration looks super realistic.
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That took a long time.
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You nailed that.
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Oh, and the animation.
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I had good help.
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So like obviously I put it all together and did the lighting
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and all that but like the animation and the model
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and all the help I had with that from other like Really really good artist was yeah, it made this come to life.
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Well, are you ready to see the AI then?
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Oh, I don't know if I want to.
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I have no idea what to expect for the Higgs field one Well, I've seen it once just to get it ready,
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but I'm very very excited to see your reaction All right,
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let's go Oh, it's a different guy!
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We have been replaced.
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Whoa, that's a big dragon.
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Yeah.
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And now it's super small.
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Yeah.
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I like the water touch.
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Me too.
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I want to go add that now.
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You should actually, that's actually so good.
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There are definitely some inconsistencies between the shots.
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There's so many inconsistencies.
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And between the dragon.
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It doesn't really float together as well.
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But the way he falls...
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Whee!
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That was kind of cool.
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I like the way he falls.
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But now it looks goofy, like he looks so big on the dragon.
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Yeah, and here it looks more like a falcon, almost.
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Yeah, yeah, that's true.
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It doesn't get that epic really close to the camera.
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But I like the replacement here.
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That's pretty impressive.
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Yeah, that's actually better than yours, to be honest.
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Yeah, I know.
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Who wins in your eyes?
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Oh, definitely yours.
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At least now.
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Like, so far, yours.
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Like, the consistency, the quality, the inconsistency definitely ruined it.
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Well, there we go.
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I guess the effects wins.
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Okay, then.
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That was ZZ.
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We can finally move on with our lives and never think about AI again.
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Is what I thought.
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But Higgsfield wasn't ready to give up quite yet.
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But I have a small surprise for you, because they actually sent over one more version.
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No way!
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What?
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I didn't know that!
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Yeah, yeah, no, where they just made their own original version of this, just completely without the footage.
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Oh, okay.
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Just to see how far they can push AI.
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It's fully prompt?
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Full prompt, and they're using Seedance 2.5 for this as well, so this is the best of the best.
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So we'll see how it holds up.
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Okay, you ready?
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Mhm.
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Okay, you can do this.
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You just have to jump.
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Just run and jump.
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That's it.
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A lot better acting than I did.
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The sound design is really nice.
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Yeah, yeah.
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Oh, that's cool.
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It's pretty epic.
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Wow, they really...
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It sounds like amazing.
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So how do you feel now after watching that?
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Well, it's pretty good.
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You seem like reluctantly wanting to say that.
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Yes, I agree.
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I think it's a lot better.
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And I think that's kind of, I guess, where AI can shine a little bit, where it can make everything from scratch.
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But I still feel like you're missing that creative control.
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Like when they're trying to make it match my vision of what I wanted to make, they couldn't do it.
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And now they get a pretty epic video, but I'm sure they struggled controlling it exactly what they wanted what they wanted.
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I'm sure they were just like, oh, this looks nice.
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There's still inconsistency there.
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Right, right.
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And I also think they directed it quite well with him kind of getting hyped up before
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and with the jump and the location and all that.
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So maybe they're just better directors than I am.
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But in terms of like matching my vision where I wanted what I shot in Iceland to have a dragon, the VFX one.
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That didn't hold up, no. But it still has this AI look to it.
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True.
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There's still something that says, hmm, this is not human made.
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Yeah, but I think it'll be really interesting to see what the audience says in terms of who they think wins.
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So be unbiased and be honest
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and like vote in the comments of who you think is better and who wins and why.
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Like, why is one better than the other?
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Oh, I'm excited to see and a bit scared.
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Oh, this was fun and a bit sad.
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But I want to bias you a little bit by ending the video with my VFX version and some epic human-made music.
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Enjoy.
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You've been keeping secrets?
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I've kept one secret from you.
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Yeah, I didn't want to tell you this.
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Vocabolario e note di pronuncia per questa lezione
Questo video contiene 257 frasi e 3106 parole da ripetere con lo shadowing. Il parlato dura 16:51. Chi parla va veloce, circa 184 parole al minuto: aspettati suoni legati e ridotti. Solo il 81% delle parole rientra nelle 3.000 più comuni dell’inglese, quindi il lessico è impegnativo.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| dragon sostantivo | /ˈdɹæɡən/ | drago, dragone |
| waterfall sostantivo | /ˈwɔːtəfɔːl/ | cascata, rapida |
| render verbo | /ˈɹɛn.dɚ/ | rendere |
| animation sostantivo | /ˌæn.ɪˈmeɪ.ʃən/ | ravvivamento, animazione |
| particle sostantivo | /ˈpɑɹtək(ə)l/ | granello, pezzetto |
| epic sostantivo | /ˈɛp.ɪk/ | epico |
| footage sostantivo | /ˈfʊtɪd͡ʒ/ | materiale filmato |
| simulation sostantivo | /ˌsɪm.jəˈleɪ.ʃn̩/ | simulazione |
| prompt verbo | /pɹɑmpt/ | incitare, guidare |
| cave sostantivo | /keɪv/ | caverna, grotta |
| reverse sostantivo | /ɹɪˈvɝs/ | contrario, opposto |
| interaction sostantivo | /ˌɪn.təˈɹæk.ʃən/ | interazione |
| drone sostantivo | /dɹoʊn/ | fuco |
| shake verbo | /ˈʃeɪk/ | scuotere, agitare |
| asset sostantivo | /ˈæsɛt/ | bene, proprietà |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| set up verbo | /ˌsɛt ˈʌp/ | preparare, installare |
| hold up verbo | ritardare, rallentare | |
| come up verbo | venire fuori, emergere | |
| figure out verbo | scoprire, rendersi conto | |
| find out verbo | scoprire | |
| give up verbo | arrendersi | |
| go through verbo | attraversare | |
| reach out verbo | protendersi |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect continuous have/has been + -ing — un’azione iniziata prima e ancora in corso | I've been waiting · You've been keeping |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | was ruled · is sponsored · can be replicated |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | has happened · have watched · I've seen |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | dragon, which is · render, which means · though, which means |
Pronuncia a cui fare attenzione
Chi parla usa 61 contrazioni e forme ridotte, come I'm, doesn't, they're. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: smooth /smuːð/, thirty /ˈθɝti/, theft /θɛft/, underneath /ˌʌndɚˈniθ/
- I suoni “sh” e “zh”: animation /ˌæn.ɪˈmeɪ.ʃən/, simulation /ˌsɪm.jəˈleɪ.ʃn̩/, interaction /ˌɪn.təˈɹæk.ʃən/, shake /ˈʃeɪk/, collision /kəˈlɪʒn̩/
- Parole lunghe — attenzione all’accento: animation /ˌæn.ɪˈmeɪ.ʃən/, interaction /ˌɪn.təˈɹæk.ʃən/, geometry /d͡ʒiˈɑ.mə.tɹi/, participate /pɑːˈtɪs.ɪ.peɪt/, collaboration /kəˌlæbəˈɹeɪʃən/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
- Registrati e confronta con l’originale, facendo attenzione a parole come dragon, waterfall, render.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.