Abdul Shakoor
@abxxai • 23,865 subscribers
Content Creator | AI Artist & AI Engineer | CEO @ Elegance | Follow for easy to digest content on AI and technology.
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![What if you could see what Da Vinci NEVER painted? I went INSIDE The Last Supper using Seedance 2.5 in Fish Creative Prompt👇 upload the painting image as first frame and use this video prompt [First-Frame.png] Create a 20-second vertical 9:16 image-to-video film, using the supplied image as the exact first frame and matching final frame. One continuous camera journey through the room, with macro detail, a gradual emotional reveal, an orbit behind the central figure and a seamless return. Build the supplied scene as complete 3D geometry while preserving its Renaissance oil-painted appearance. The table stands in real space, the tablecloth drapes over its edges, the food and vessels sit on its surface, and every figure has a fully dimensional body beneath their robes. As the camera passes around them, reveal the sides and rear surfaces hidden from the opening viewpoint. Retain the original brushwork, warm earthy colours, soft daylight and expressive faces. IDENTIFY AND PRESERVE THE FIGURES The central figure sits at the middle of the table. He has long wavy brown hair, a full brown beard and downcast, calm eyes. He wears a deep red robe with a rich blue mantle draped across his left shoulder and lap. His right hand rests palm-down on the tablecloth at the left of the frame; his left hand lies open, palm-up, beside a small glass of red wine. To his right (left of frame) sits a young apostle with long golden-brown hair, a green mantle over a red garment, his sorrowful gaze turned toward the centre. In front of him, a balding older man with a dark beard, wearing red and blue, leans in with a pointing gesture. A partly visible figure with curly hair sits at the far left edge. To his left (right of frame) a man with thick black curly hair and a dark beard, in a blue robe, turns to speak with a grey-bearded elder in an olive-green robe at the right edge, who raises both hands in an open, questioning gesture. Keep every pose, gesture, gaze direction and costume exactly as in the reference. No figure moves. THE ROOM AND TABLE A dark coffered wooden ceiling. A grey back wall with three tall windows opening onto a sunlit Tuscan landscape of blue hills, cypress trees, terracotta villas and a bell tower. Dark blue and gold damask panels on both side walls. A long table covered in white linen with a visible grid of fold creases, hanging almost to the floor. On it: scattered bread rolls and crumbs, pewter plates, a central plate of fish, the small glass of red wine, a bowl of green olives, a plate of red and green grapes at the right, a blue-and-white decorated bowl with bread at the left, and a dark glazed ceramic jug at the far left. Wooden trestle legs and the hems of robes are visible below the cloth. 0–3 SECONDS — ENTER OVER THE BREAD Begin on the exact supplied image for approximately half a second. The camera then flies forward into the room and descends toward the bread roll resting on the tablecloth just left of centre. Pass macro-close above it. Reveal the roll's rounded volume, cracked golden crust, flour-dusted ridges and the small crumbs scattered around it, each casting a tiny shadow on the linen. The nearest crust passes softly out of focus beneath the lens as the camera glides on. The tablecloth has physical relief: woven threads, raised fold creases and shallow dips where objects press into it. The bread falls behind the moving camera while the central figure stays fixed farther into the room. This changing perspective establishes real depth immediately. 3–7 SECONDS — GLIDE ACROSS THE TABLE TO THE WINE Travel low and smoothly across the linen toward the centre of the table, skimming past the rim of the fish plate. Reveal the plate's worn pewter edge, its curved depth and the painted fish resting inside. Continue to the small glass of red wine. Curve partly around it at macro distance, revealing the thickness of the glass, the flat surface of the wine, and daylight from the windows refracting through it as a soft red glow on the cloth. The glass crosses the near foreground, the open palm-up hand appears just beyond it, and the back wall shifts more slowly behind. Maintain forward momentum throughout. 7–10 SECONDS — RISE ALONG THE OPEN HAND AND MANTLE Rise past the open hand, revealing the gentle curve of the fingers, the creases of the palm and its weight resting on the cloth. Continue upward along the blue mantle where it falls across his lap and left shoulder. Travel close to the fabric without touching it. Show the painted texture, the deep blue folds as dimensional surfaces: raised crests catch the window light, undersides fall into shadow, and the red robe shows beneath the mantle's edge. The blue fabric passes beside the lens as his face comes into view above. 10–13 SECONDS — REVEAL THE CENTRAL FACE Curve inward and slightly upward toward his face. Approach a close view of his lowered eyes, calm brow, nose and the soft strands of his beard and hair. Preserve the exact face from the reference. Reveal the three-dimensional shape of the cheekbones and brow, and the subtle painted texture of the skin, fully connected to his neck and shoulders. Ease the camera's speed for approximately one second while continuing a gentle sideways drift. Let the stillness and quiet sorrow register. He does not move; the emotion comes from discovering the expression already present in the painting. 13–17 SECONDS — ORBIT BEHIND HIM TO THE WINDOW Continue past the outside of his face, over his blue-draped left shoulder, and orbit smoothly behind him into the narrow space between his back and the central window. Reveal the back of his long wavy hair, the rear folds of the blue mantle and red robe, and the thickness of his shoulders beneath the fabric. His shoulder passes close beside the lens as a soft foreground shape. Turn gently to look past him through the central window: the sunlit Tuscan hills, cypresses and villas gain real depth, the far hills hazy and the near trees sharper. Then continue the arc so the view swings back over his other shoulder, revealing from behind the backs of the apostles' heads, the young apostle's green mantle, and the whole table spread out before them toward where the viewer began. 17–20 SECONDS — RETURN TO THE ORIGINAL COMPOSITION Rise and retreat in one smooth arc over the table, passing above the grey-bearded elder's raised open hands at the right, then curving back onto the opening camera axis. Reveal all figures again in their exact positions. The bread, plates, wine glass, olives, grapes, decorated bowl and ceramic jug settle back onto the table as in the supplied image. The coffered ceiling, three windows and damask walls realign with the frame. Gently decelerate into the exact opening viewpoint, lens perspective, framing and lighting. End on a frame matching the supplied image so the next repetition flows directly into the opening movement. CAMERA, STYLE AND CONTINUITY Use one uninterrupted physical camera path: over the bread, across the table to the wine, up the open hand and blue mantle, to the central face, around behind him to the window, back over his shoulder and out to the original wide composition. Use natural motion blur and shallow depth of field during macro passes. Transfer focus smoothly to the next detail along the route. Foreground objects pass the lens because the camera moves around them; no figure changes pose, blinks, speaks or moves toward the camera. Maintain one coherent room with stable geometry and consistent warm daylight from the windows. Hidden surfaces belong to the existing figures, clothing, table and walls and match their visible design. Preserve the oil painting's brushwork, canvas texture and colour at every scale. No cuts, crash zooms, dissolves, flat canvas flyovers, wall-relief effects, scene morphing, additional people, new props, extra food, text or watermark.](https://image.24vids.com/tw-2110709089710088537/amplify_video_thumb/2110709056650481664/img/ukvVEwWcnRLDymfJ.jpg)
What if you could see what Da Vinci NEVER painted? I went INSIDE The Last Supper using Seedance 2.5 in Fish Creative Prompt👇 upload the painting image as first frame and use this video prompt [First-Frame.png] Create a 20-second vertical 9:16 image-to-video film, using the supplied image as the exact first frame and matching final frame. One continuous camera journey through the room, with macro detail, a gradual emotional reveal, an orbit behind the central figure and a seamless return. Build the supplied scene as complete 3D geometry while preserving its Renaissance oil-painted appearance. The table stands in real space, the tablecloth drapes over its edges, the food and vessels sit on its surface, and every figure has a fully dimensional body beneath their robes. As the camera passes around them, reveal the sides and rear surfaces hidden from the opening viewpoint. Retain the original brushwork, warm earthy colours, soft daylight and expressive faces. IDENTIFY AND PRESERVE THE FIGURES The central figure sits at the middle of the table. He has long wavy brown hair, a full brown beard and downcast, calm eyes. He wears a deep red robe with a rich blue mantle draped across his left shoulder and lap. His right hand rests palm-down on the tablecloth at the left of the frame; his left hand lies open, palm-up, beside a small glass of red wine. To his right (left of frame) sits a young apostle with long golden-brown hair, a green mantle over a red garment, his sorrowful gaze turned toward the centre. In front of him, a balding older man with a dark beard, wearing red and blue, leans in with a pointing gesture. A partly visible figure with curly hair sits at the far left edge. To his left (right of frame) a man with thick black curly hair and a dark beard, in a blue robe, turns to speak with a grey-bearded elder in an olive-green robe at the right edge, who raises both hands in an open, questioning gesture. Keep every pose, gesture, gaze direction and costume exactly as in the reference. No figure moves. THE ROOM AND TABLE A dark coffered wooden ceiling. A grey back wall with three tall windows opening onto a sunlit Tuscan landscape of blue hills, cypress trees, terracotta villas and a bell tower. Dark blue and gold damask panels on both side walls. A long table covered in white linen with a visible grid of fold creases, hanging almost to the floor. On it: scattered bread rolls and crumbs, pewter plates, a central plate of fish, the small glass of red wine, a bowl of green olives, a plate of red and green grapes at the right, a blue-and-white decorated bowl with bread at the left, and a dark glazed ceramic jug at the far left. Wooden trestle legs and the hems of robes are visible below the cloth. 0–3 SECONDS — ENTER OVER THE BREAD Begin on the exact supplied image for approximately half a second. The camera then flies forward into the room and descends toward the bread roll resting on the tablecloth just left of centre. Pass macro-close above it. Reveal the roll's rounded volume, cracked golden crust, flour-dusted ridges and the small crumbs scattered around it, each casting a tiny shadow on the linen. The nearest crust passes softly out of focus beneath the lens as the camera glides on. The tablecloth has physical relief: woven threads, raised fold creases and shallow dips where objects press into it. The bread falls behind the moving camera while the central figure stays fixed farther into the room. This changing perspective establishes real depth immediately. 3–7 SECONDS — GLIDE ACROSS THE TABLE TO THE WINE Travel low and smoothly across the linen toward the centre of the table, skimming past the rim of the fish plate. Reveal the plate's worn pewter edge, its curved depth and the painted fish resting inside. Continue to the small glass of red wine. Curve partly around it at macro distance, revealing the thickness of the glass, the flat surface of the wine, and daylight from the windows refracting through it as a soft red glow on the cloth. The glass crosses the near foreground, the open palm-up hand appears just beyond it, and the back wall shifts more slowly behind. Maintain forward momentum throughout. 7–10 SECONDS — RISE ALONG THE OPEN HAND AND MANTLE Rise past the open hand, revealing the gentle curve of the fingers, the creases of the palm and its weight resting on the cloth. Continue upward along the blue mantle where it falls across his lap and left shoulder. Travel close to the fabric without touching it. Show the painted texture, the deep blue folds as dimensional surfaces: raised crests catch the window light, undersides fall into shadow, and the red robe shows beneath the mantle's edge. The blue fabric passes beside the lens as his face comes into view above. 10–13 SECONDS — REVEAL THE CENTRAL FACE Curve inward and slightly upward toward his face. Approach a close view of his lowered eyes, calm brow, nose and the soft strands of his beard and hair. Preserve the exact face from the reference. Reveal the three-dimensional shape of the cheekbones and brow, and the subtle painted texture of the skin, fully connected to his neck and shoulders. Ease the camera's speed for approximately one second while continuing a gentle sideways drift. Let the stillness and quiet sorrow register. He does not move; the emotion comes from discovering the expression already present in the painting. 13–17 SECONDS — ORBIT BEHIND HIM TO THE WINDOW Continue past the outside of his face, over his blue-draped left shoulder, and orbit smoothly behind him into the narrow space between his back and the central window. Reveal the back of his long wavy hair, the rear folds of the blue mantle and red robe, and the thickness of his shoulders beneath the fabric. His shoulder passes close beside the lens as a soft foreground shape. Turn gently to look past him through the central window: the sunlit Tuscan hills, cypresses and villas gain real depth, the far hills hazy and the near trees sharper. Then continue the arc so the view swings back over his other shoulder, revealing from behind the backs of the apostles' heads, the young apostle's green mantle, and the whole table spread out before them toward where the viewer began. 17–20 SECONDS — RETURN TO THE ORIGINAL COMPOSITION Rise and retreat in one smooth arc over the table, passing above the grey-bearded elder's raised open hands at the right, then curving back onto the opening camera axis. Reveal all figures again in their exact positions. The bread, plates, wine glass, olives, grapes, decorated bowl and ceramic jug settle back onto the table as in the supplied image. The coffered ceiling, three windows and damask walls realign with the frame. Gently decelerate into the exact opening viewpoint, lens perspective, framing and lighting. End on a frame matching the supplied image so the next repetition flows directly into the opening movement. CAMERA, STYLE AND CONTINUITY Use one uninterrupted physical camera path: over the bread, across the table to the wine, up the open hand and blue mantle, to the central face, around behind him to the window, back over his shoulder and out to the original wide composition. Use natural motion blur and shallow depth of field during macro passes. Transfer focus smoothly to the next detail along the route. Foreground objects pass the lens because the camera moves around them; no figure changes pose, blinks, speaks or moves toward the camera. Maintain one coherent room with stable geometry and consistent warm daylight from the windows. Hidden surfaces belong to the existing figures, clothing, table and walls and match their visible design. Preserve the oil painting's brushwork, canvas texture and colour at every scale. No cuts, crash zooms, dissolves, flat canvas flyovers, wall-relief effects, scene morphing, additional people, new props, extra food, text or watermark.
Abdul Shakoor36,713 просмотров • 3 дней назад
omg...Seedance 2.5 can do real POV physics now one prompt on Fish Creative.. bookmark this 👇 Prompt: SEEDANCE 2.5 | TEXT TO VIDEO | SINGLE CONTINUOUS TAKE | 22s | 1080x1920 | 9:16 | 30fps | 1080p SCENE AND LOCATION A hidden volcanic spring canyon deep in a Pacific Northwest pine forest on a bright summer day. A narrow, deep gorge with steep, very high walls of dark gray basalt made of vertical hexagonal columns, streaked with tan and rust tones and covered in patches of bright green moss, ferns and small shrubs. At the bottom is a crystal-clear natural spring pool. The shallow edges glow bright turquoise and aqua, fading to deep sapphire blue in the center. The water is so transparent that the bottom is fully visible: honeycomb-patterned volcanic rock, mossy boulders, and two long pale submerged logs lying diagonally across the bottom. Two white waterfalls pour into the pool: a thin one at the far back of the canyon and a larger one spilling from the right-hand cliff wall, making white foam where it hits the water. Tall dark-green conifer and pine trees line the canyon rim. Above is a vivid clear blue sky with a few small white clouds. Hard, bright midday sunlight with strong contrast, and sun sparkles on the water. THE JUMPER A young man seen only from his own first-person view. Tanned bare feet and lightly hairy shins, and loose navy-blue swim shorts with a large mustard-yellow hibiscus flower pattern and white drawstrings. No shirt, no shoes, no gloves. His hands and forearms appear naturally in frame when he moves them. CAMERA AND REALISM First-person POV from a GoPro strapped to his forehead. It looks like real action-cam footage, not a cinematic camera. 16mm-equivalent ultra-wide lens with slight barrel distortion, and saturated but natural color. Use real action-cam behavior throughout: small head bob and micro-jitter from breathing and body weight, rolling-shutter wobble on fast moves, quick auto-exposure shifts between bright sky and the shaded canyon, a small sun flare on upward tilts, light sensor noise in the shadows, and wind buffeting that shakes the frame during the fall. The cliff is about 35 meters high. Gravity, body motion and water physics are fully realistic. 0-2s | THE EDGE (real time) POV looking straight down from the top of the basalt cliff. His bare feet stand on the rough, dark rock ledge at the bottom of frame, with the shorts visible at the lower edge. Both hands hover forward at the sides of frame. The turquoise pool, the submerged logs and the waterfalls are far, far below. His toes curl over the edge and small grit crumbles off. His right hand tosses a pink-and-white striped inflatable tube out over the drop; it tumbles down and lands as a tiny speck on the water far below. Wind, distant waterfall roar, upbeat chill electronic music starts. 2-4s | THE COUNTDOWN (real time) A quick nervous tilt down at the drop, a sharp exhale, then two fast steps back from the edge, with the ledge bouncing in frame. Young male voice, hyped: "Three, two, one!" 4-7s | THE TAKEOFF (natural slow motion, about 50% speed) Two running steps forward, then his last foot pushes off the ledge in slow motion. Rock grit kicks up and floats in the sunlight, the cliff edge slides away beneath his feet, his arms swing forward and out wide, and the whole turquoise canyon opens up below. The slow motion looks like a real high-frame-rate action-cam clip, not a frozen hang. Deep bass swell, stretched wind. 7-13s | THE FALL (real time, fast and continuous) The speed ramps smoothly back to normal and the stomach drops. 7-9s: The frame dips and wobbles, his arms flail slightly for balance at the edges of frame, and his feet kick at the bottom of frame. A loud yell: "Woooooo!" 9-11s: The basalt column wall, moss and ferns streak upward past the lens, and the right-side waterfall rushes by with spray catching the sun. Wind roars louder and the frame shakes from air buffeting. 11-13s: The glowing turquoise water rushes up and fills the frame, and the pink tube and submerged logs grow fast. His arms snap tight to his body and his legs lock straight for a feet-first pencil dive. The music builds to the drop. 13-14s | IMPACT A hard feet-first hit into the water and a white explosion of bubbles swallows the lens. Loud plunge splash, deep impact whoosh, and the music goes heavily muffled underwater. 14-17s | UNDERWATER (short, energetic, real time) A violent swirl of silver bubbles clears to reveal crystal-clear blue water, bright sun shafts cutting down from the surface, the pale submerged logs and honeycomb volcanic rock bottom below, and small fish darting away. His hands push into frame for one strong breaststroke pull, then fast kicks straight up toward the bright glowing surface, with bubbles streaming past the lens. No slow sinking. 17-19s | SURFACE BREAK The camera bursts through the surface, water droplets sliding across the lens, and bright sunlight floods in. The music snaps back to full clarity on the beat drop. His hand grabs the pink-and-white tube floating right beside him. 19-22s | THE REWARD POV bobbing on the turquoise water holding the tube, then a sharp tilt up revealing the towering basalt cliff, the tiny ledge he jumped from far above, the pine trees on the rim and the vivid blue sky, with the waterfall splashing on the right. Same voice, out of breath and triumphant: "Yeah, dude! That was insane!" Faint distant cheering. Music plays clean to the final frame. AUDIO Continuous upbeat chill electronic track: a bass swell on takeoff, a fast build through the fall, muffled underwater, then a clean drop on surfacing. Real ambient layers: wind that grows with speed, fabric flapping, heavy breathing, waterfall roar, splash, bubbles. Dialogue clear over the music. KEEP One continuous take, first-person only. The same shorts, feet and hands throughout, and the same canyon layout with two waterfalls, turquoise pool and submerged logs. The slow motion lasts only 3 seconds at takeoff. The fall is fast, real time and builds speed without pausing. Every beat is quick and punchy. AVOID Extra slow motion beyond the takeoff, hovering or floating mid-air, smooth cinematic gimbal movement, cuts to third person, showing the jumper's face, extra people, distorted hands or extra fingers, morphing cliffs, changing water color, text, subtitles, watermarks.
Abdul Shakoor83,975 просмотров • 22 дней назад
Live avatars used to feel like a FaceTime call with a statue. A1 from Vivix.AI makes that feel seriously outdated. Dracula throwing himself into a full-body dance, then picking up a candelabra and waltzing around the room with it? That’s a very different kind of call. The candelabra even keeps its shape as he moves. But honestly, the interruption part is what got me. i told him his dancing was too old-school and asked for something modern.. he changed course in the same scene. Still listening while he talks and moves. apparently even a centuries-old vampire has to deal with live feedback on his dance moves now lol. That’s what makes this feel alive to me. I can change my mind, tease him, and see that change what happens next, in real time. next i want to build a live dance battle game with him. Think you can teach Dracula a better move? 👇
Abdul Shakoor69,464 просмотров • 24 дней назад
Decart just dropped Lucy 2.5 and it completely changes what live video can do. This is their Live AI model that edits video as it streams, no post production needed. > add, replace, or remove anything mid stream > restyle entire scenes on the fly > generate realtime VFX with a single prompt > better prompt adherence and more realism than before > already live across streaming, e-commerce, and advertising We are officially in the era where AI does not just generate video, it directs it live.
Abdul Șhakoor207,955 просмотров • 3 месяцев назад
