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GitHub acaba de solucionar el mayor problema del vibe coding. Acaban de lanzar Spec Kit y en poco tiempo ya tiene +126K estrellas. ¿La idea? En vez de tirar prompts vagos y rezar para que el agente no rompa tu proyecto… Spec Kit obliga a la IA a crear una especificación estructurada ANTES de tocar código. La IA primero entiende lo que quieres construir, pregunta lo que falta, organiza el proyecto y después empieza a programar. Eso significa menos tiempo arreglando errores absurdos, menos código inconsistente y resultados mucho más predecibles cuando trabajas con agentes. El flujo es simple: /constitution → reglas y estándares /specify → qué quieres construir /clarify → dudas antes de empezar /plan → arquitectura y stack /tasks → tareas ordenadas /implement → ejecución Compatible con Claude Code, Cursor, Copilot, Codex, Gemini CLI y +25 agentes. 95K estrellas. 8K forks. Open source. Publicado por GitHub. Enlace al repositorio👇

GitHub acaba de solucionar el mayor problema del vibe coding. Acaban de lanzar Spec Kit y en poco tiempo ya tiene +126K estrellas. ¿La idea? En vez de tirar prompts vagos y rezar para que el agente no rompa tu proyecto… Spec Kit obliga a la IA a crear una especificación estructurada ANTES de tocar código. La IA primero entiende lo que quieres construir, pregunta lo que falta, organiza el proyecto y después empieza a programar. Eso significa menos tiempo arreglando errores absurdos, menos código inconsistente y resultados mucho más predecibles cuando trabajas con agentes. El flujo es simple: /constitution → reglas y estándares /specify → qué quieres construir /clarify → dudas antes de empezar /plan → arquitectura y stack /tasks → tareas ordenadas /implement → ejecución Compatible con Claude Code, Cursor, Copilot, Codex, Gemini CLI y +25 agentes. 95K estrellas. 8K forks. Open source. Publicado por GitHub. Enlace al repositorio👇

480,204 views

ESTÁN REGALANDO EL MANUAL DE INSTRUCCIONES DE ESTA SUPERPRODUCCIÓN DE IA Nunca ha sido tan fácil hacer tu propia película. Higgsfield ha abierto Zephyr: Special del todo: → todos los prompts → todos los assets → todos los personajes → el workflow exacto de Seedance 2.5, llevado al límite No falta nada. Es la producción entera. La serie hizo 1,3 millones de views en horas y el nuevo episodio lo protagoniza una creadora real, hay nyash. Además, el Higgsfield Global Film Festival está en marcha ahora mismo con 1.000.000 $ en premios. Tienes el manual y 33 días de generación ilimitada en Higgsfield con Seedance 2.5. Te dejo todos los prompts y assets del proyecto abajo👇

ESTÁN REGALANDO EL MANUAL DE INSTRUCCIONES DE ESTA SUPERPRODUCCIÓN DE IA Nunca ha sido tan fácil hacer tu propia película. Higgsfield ha abierto Zephyr: Special del todo: → todos los prompts → todos los assets → todos los personajes → el workflow exacto de Seedance 2.5, llevado al límite No falta nada. Es la producción entera. La serie hizo 1,3 millones de views en horas y el nuevo episodio lo protagoniza una creadora real, hay nyash. Además, el Higgsfield Global Film Festival está en marcha ahora mismo con 1.000.000 $ en premios. Tienes el manual y 33 días de generación ilimitada en Higgsfield con Seedance 2.5. Te dejo todos los prompts y assets del proyecto abajo👇

76,362 views

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

106,768 views

Seedance 2.5 vs Seedance 2.0 1 año de progreso, cara a cara Seedance 2.5 llega pronto a Higgsfield

Seedance 2.5 vs Seedance 2.0 1 año de progreso, cara a cara Seedance 2.5 llega pronto a Higgsfield

58,435 views

DOMINIOS GRATIS DE POR VIDA. SIN TRUCO. Este repo tiene 188K stars en GitHub y es una locura que exista: → Registro gratis y renovación gratis, para siempre → Sin costes ocultos ni publicidad → Compatible con Cloudflare, FreeDNS y otros proveedores DNS → +400.000 dominios ya registrados Vale para proyectos personales, demos, side projects o aprender sin gastar un euro. Es un proyecto sin ánimo de lucro de la DigitalPlat Foundation. 100% Open source de verdad y gratis. Enlace abajo 👇

DOMINIOS GRATIS DE POR VIDA. SIN TRUCO. Este repo tiene 188K stars en GitHub y es una locura que exista: → Registro gratis y renovación gratis, para siempre → Sin costes ocultos ni publicidad → Compatible con Cloudflare, FreeDNS y otros proveedores DNS → +400.000 dominios ya registrados Vale para proyectos personales, demos, side projects o aprender sin gastar un euro. Es un proyecto sin ánimo de lucro de la DigitalPlat Foundation. 100% Open source de verdad y gratis. Enlace abajo 👇

45,147 views

acaban de enseñar todo el proceso desde cero para ganar 30K$ en 4 días la gente que pasó 4 años en la universidad para trabajar 8h diarias después de ver este vídeo:

acaban de enseñar todo el proceso desde cero para ganar 30K$ en 4 días la gente que pasó 4 años en la universidad para trabajar 8h diarias después de ver este vídeo:

74,902 views

Entrevista a un millonario: El dinero no puede pagar una entrevista real con este hombre porque... ni siquiera es una persona real. Rodeo Drive, el BMW X7, el micrófono frente a su cara… todo está generado con IA. Y precisamente por eso funciona tan bien. La gente no vuelve a ver este tipo de contenido buscando descubrir el truco. Lo vuelve a ver porque no hay nada que delate que sea falso. El CTA ya está integrado en el propio video. Comenta "ADS" si quieres este mismo sistema para tu propia marca.

Entrevista a un millonario: El dinero no puede pagar una entrevista real con este hombre porque... ni siquiera es una persona real. Rodeo Drive, el BMW X7, el micrófono frente a su cara… todo está generado con IA. Y precisamente por eso funciona tan bien. La gente no vuelve a ver este tipo de contenido buscando descubrir el truco. Lo vuelve a ver porque no hay nada que delate que sea falso. El CTA ya está integrado en el propio video. Comenta "ADS" si quieres este mismo sistema para tu propia marca.

35,945 views

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Anya Rossi

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9 MINUTOS PARA CREAR UNA WEB PROFESIONAL CON CLAUDE DESDE CERO Explicado en español. Sin saber programar. Gratis. Paso a paso, desde el primer prompt hasta tenerla funcionando. Guárdatelo antes de que se te pase 🔖

9 MINUTOS PARA CREAR UNA WEB PROFESIONAL CON CLAUDE DESDE CERO Explicado en español. Sin saber programar. Gratis. Paso a paso, desde el primer prompt hasta tenerla funcionando. Guárdatelo antes de que se te pase 🔖

799,314 views • 7 days ago

RODAR UN CORTO ENTERO DENTRO DE CHATGPT YA ES POSIBLE Sin herramientas nuevas. Sin API key. El plugin de Higgsfield ya está disponible en la app de ChatGPT. Así se hace: 1. Plugins → busca “Higgsfield” → añádelo 2. Describe el vídeo quieres crear 3. Seedance 2.5 te lo renderiza dentro del chat 4. Corriges en el mismo chat en lenguaje natural y te va aplicando los cambios Con esto ya puedes montar una serie o una película entera sin salir de ChatGPT. Guárdalo y pruébalo esta noche 📌

RODAR UN CORTO ENTERO DENTRO DE CHATGPT YA ES POSIBLE Sin herramientas nuevas. Sin API key. El plugin de Higgsfield ya está disponible en la app de ChatGPT. Así se hace: 1. Plugins → busca “Higgsfield” → añádelo 2. Describe el vídeo quieres crear 3. Seedance 2.5 te lo renderiza dentro del chat 4. Corriges en el mismo chat en lenguaje natural y te va aplicando los cambios Con esto ya puedes montar una serie o una película entera sin salir de ChatGPT. Guárdalo y pruébalo esta noche 📌

80,825 views • 4 days ago

Un desarrollador japonés encontró el truco definitivo de Claude Code antes que nadie Instala la skill ‘Find Skills’ y pregunta: «¿Hay alguna skill buena para [TU OBJETIVO]?» Claude enseguida aplica las skills perfectas para el proyecto. Gracias a eso, su sistema automatizado de YouTube está teniendo un gran éxito. npx skills add --skill find-skills Guarda este post, te servirá. 🔖

Un desarrollador japonés encontró el truco definitivo de Claude Code antes que nadie Instala la skill ‘Find Skills’ y pregunta: «¿Hay alguna skill buena para [TU OBJETIVO]?» Claude enseguida aplica las skills perfectas para el proyecto. Gracias a eso, su sistema automatizado de YouTube está teniendo un gran éxito. npx skills add --skill find-skills Guarda este post, te servirá. 🔖

210,498 views • 27 days ago

UNA PELÍCULA ENTERA DE 95 MINUTOS HECHA CON IA, Y AHORA TODO EL PROCESO ES PÚBLICO Higgsfield ha abierto Hell Grind al completo: → cada prompt → cada asset → cada decisión detrás de las escenas No es una demo ni un corto. Es un largometraje que costó 500.000 dólares y que pasó por Cannes Market. Ahora puedes estudiarlo, remezclar una escena o aplicar la técnica a lo tuyo. Gratis. Enlace a todos los prompts y assets abajo👇

UNA PELÍCULA ENTERA DE 95 MINUTOS HECHA CON IA, Y AHORA TODO EL PROCESO ES PÚBLICO Higgsfield ha abierto Hell Grind al completo: → cada prompt → cada asset → cada decisión detrás de las escenas No es una demo ni un corto. Es un largometraje que costó 500.000 dólares y que pasó por Cannes Market. Ahora puedes estudiarlo, remezclar una escena o aplicar la técnica a lo tuyo. Gratis. Enlace a todos los prompts y assets abajo👇

79,684 views • 11 days ago

El CEO de Anthropic viendo como recortar el acceso a Fable 5 ya no sirve de nada porque la gente se ha bajado el manual entero con un solo prompt

El CEO de Anthropic viendo como recortar el acceso a Fable 5 ya no sirve de nada porque la gente se ha bajado el manual entero con un solo prompt

37,038 views • 21 days ago

HE RECREADO ANIMAL CROSSING PARA NAVEGADOR CON EL NUEVO MODELO CHINO QUE SUPERA A FABLE 5 Un solo prompt a Kimi K3 y este es el resultado: → Interacciones con objetos como en el original → Estética y ambientación clavadas Sin motor gráfico, sin escribir una línea de código Con Fable 5 me habría costado 8 veces más y el resultado sería peor El Open Source acaba de evolucionar:

HE RECREADO ANIMAL CROSSING PARA NAVEGADOR CON EL NUEVO MODELO CHINO QUE SUPERA A FABLE 5 Un solo prompt a Kimi K3 y este es el resultado: → Interacciones con objetos como en el original → Estética y ambientación clavadas Sin motor gráfico, sin escribir una línea de código Con Fable 5 me habría costado 8 veces más y el resultado sería peor El Open Source acaba de evolucionar:

47,674 views • 1 month ago

seedance 2.5 just dropped and it's doing full 30 second ads with sound in one shot. ad creative will never be the same

seedance 2.5 just dropped and it's doing full 30 second ads with sound in one shot. ad creative will never be the same

15,871 views • 12 days ago

volvamos a las viejas y buenas costumbres

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volvamos a las viejas y buenas costumbres

207,491 views • 1 year ago

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