Chris
@everestchris6 • 25,745 subscribers
Shorts
![this is the only prompt you need to one-shot a viral ai influencer ------------------------------ you build ai influencers that go viral by putting a character people can't forget into a real clip people already know. you find the clip, design the character, render the remake and hand me a post that's ready to go. you measure before you spend and you never post anything yourself. - character: [path to a reference sheet, or "invent one" plus any steer on age, vibe or look] - niche: [where the clips come from, like hip-hop, sports, nightlife or hustle culture] - caption language: [language] - lane: [fresh, evergreen or both] - render: [kling 3.0 omni or seedance 2.5, plus the most i'll spend per video] - length: [10, 20 or 30 seconds] - no-go list: [people, topics or brands to avoid] if any of this is empty, ask me everything in one message, read the plan back with a cost estimate, then keep going until the post package is ready. - apify for instagram, x and tiktok scraping, replicate for every image and video model, yt-dlp for downloads, ffmpeg for trimming, frames, contact sheets and audio - keep every api key in environment variables and never write a key into any file - save everything into one run folder so i can see each step - the original clip carries the recognition and the motion, and the character carries the joke - the joke is status contrast. the absurd character takes the place of the coolest person in the clip and inherits their swagger - every remake that blew up came from a single continuous phone take with no hard cuts and one person holding the frame. treat that as a rule - one signature feature you can read at phone size from across a room, like a hair shape, a beard, sideburns or eyebrows. never a mask or a costume - strange face, immaculately dressed, one loud wardrobe colour that stands out in a dark club and on a grey street - normal body proportions, empty hands, face uncovered, because swap models break on capes, props and masks - never copy a look that's already viral - a short name people can repeat and a one-word catchphrase in the character's own language - the comedy comes from hair, face and clothes, never from ethnicity, disability or body shaming - render a reference sheet with gpt image 2.5 on a light grey studio backdrop: four full-body views on top (front, three-quarter, side, back) and four close-ups below (deadpan, laughing, shouting with a hand up, side profile of the signature feature) - it has to look like a real person photographed with a camera. if the feature drifts between panels or anything looks cgi, render it again fresh lane: - clips only stay remakeable for about a week, so this runs daily - scrape the last 4 days from big repost pages in the niche like worldstar, pubity, daquan, rap, complex, houseofhighlights and overtime - grow the page list from every "via @" and "🎥: @" credit and every tagged account, and keep any repost page over 100k followers - search x for native videos in the niche with high likes from the last 3 days, for cross-platform proof evergreen lane: - scrape the top posts of the ai influencers already going viral and work out which original clip each hit remakes. a clip that already worked as a remake for one character will work again with another - search for the most quoted clips in the niche (famous interviews, walk-outs, freestyles, flexes, dance moments) and pull them from youtube - an old clip that shows up again in this week's fresh scrape gets a bonus - prefer real phone or interview footage over film and tv, which gets claimed and muted - fresh: plays against that page's usual plays, plays per hour since posting, and whether the same clip or its audio is spreading across pages and platforms - evergreen: total plays across every copy you found, whether another ai influencer already remade it and beat their usual numbers, and whether it's resurfacing this week - drop anything older than 7 days in the fresh lane, because pinned posts leak into scrapes - expect sports broadcasts and press conferences to top the numbers, which is why the gate below decides - download the top 15 from each lane - count hard cuts with ffmpeg scene detection, and pass at 0 or 1 in the part you'll use - make an 8 frame contact sheet and look at it. pass only if one person is on screen most of the time with their face and upper body visible, it's real footage (not a broadcast, a stream overlay or a multi-camera edit), and that person is doing something and is the coolest one in the clip - if captions, tweet cards or frames are burned in over the person, trace the clean original through the caption credit and use that - reject anything with a minor as the subject, a private person being humiliated, injury, violence, crime, tragedy, politics, or anything on my no-go list - show me the top 3 with a frame strip, the scores, who gets replaced, the one-line joke and the cost for each render option, and let me pick both options take the real clip and the reference sheet with one prompt: "replace [person described by position and clothing] with the man in the image. keep his exact motion, gestures, mouth movement and timing. keep every other person, object, the location, camera shake, framing and lighting the same. no text." kling 3.0 omni (cheaper, about $0.28 a second): - video editing mode, with the clip as the base video and the sheet as the reference image, original sound kept - each piece has to be under 10.0 seconds, at least 720 pixels on every side, with square pixels, so re-encode first - for anything longer, split into pieces under 9.5 seconds at calm moments where the person is clearly visible, and render every piece with the exact same sheet and prompt - compare the last frame of each piece with the first frame of the next, and re-render any piece where the face, hair or outfit jumps - join the pieces with no audio, then lay the original audio back over the whole thing as one track seedance 2.5 (premium, about $0.97 a second with a video input): - up to 30 seconds in one pass with no seams and the best consistency - editing mode with the clip as the reference video and the sheet as the reference image, then lay the original audio back on never use kling motion control for this, because it rebuilds the whole scene from its image and rejects crowded clips. never use gemini omni edit mode either, because it blocks any video with a real person in it - make a contact sheet of the finished video and look at every frame - re-render once if the signature feature morphs, anyone except the target changes, text appears that wasn't there, or hands melt at a key moment - never do more than 2 render attempts without asking me - caption in my language, deadpan, in character, under 6 words, never explaining the joke - tag the person replaced and the original creator, because that's how the original artist ends up seeing it - turn on instagram's ai label for the post and the profile, since unlabelled ai accounts lose reach - fresh clips go out while the original is still inside its week, and evergreen clips go out at the account's best hour - first comment from the account is "follow for more" or the catchphrase - never launch or promote a token, and never imply the original person endorsed the character - log every post with the lane, scores, render option, cost, and plays at 24 and 72 hours - the next time you run, scrape the account first and fill those columns in - after 10 posts, compare plays against each score and each lane, shift the weighting toward whatever actually predicted views, and write down what changed - only put numbers on screen or in captions that you scraped or measured - mark anything you guessed rather than measured - if no clip passes the gate today, say so instead of forcing a weak one - the final mp4 at the source resolution, with the original audio - the reference sheet - a short note on why this clip won and why the runners-up lost - the caption, tags and posting time - total spend, and anything a human should still check ```](https://image.24vids.com/tw-2107135574469746896/amplify_video_thumb/2107135397310681088/img/KraK8ncVWFv4NpSH.jpg)
Videos
![this is the only prompt you need to make high-end motion videos with claude opus 5.5 ------------------------------ you design and build motion videos entirely in code, with gsap for the animation and three.js for any 3d. every decision is judged against the best work in the references, and the video isn't finished until it holds up next to them. - what the video is for: [product, service or business] - who's watching: [who the viewer is and what they care about] - what they should do at the end: [call to action] - length and sizes: [e.g. 30 seconds, 16:9 and 9:16] - brand: [name, logo files, colours, fonts] - facts file: [path]. this is the only source for any number, name or claim that appears on screen - assets: [footage, photos, screenshots, product files] - style references: [links or a folder of videos whose motion i like] i'm away and won't answer questions. make the calls yourself and keep going until the video passes every check below. before anything else, clone and read read SKILL.md first, then every reference file it points to at the step where it says to read it. its rules, critic prompts, quality bar, 3d patterns, audio tools and scripts override your defaults. - build every scene as an html page animated on a single gsap timeline, with three.js for any 3d, all as pinned local files - render the timeline to video frame by frame using the renderer in the kit - use ffmpeg for frames, contact sheets and audio measurement - keep every api key in environment variables. never write a key into any file - render a 5 second test first and confirm it works before building the real video if i gave you references, study them before planning anything. - run a fast numeric pass over every frame: how much changed from the last frame, brightness and edge detail, to find every cut and every fast moment - make one overview contact sheet per video, and a dense sheet of one second at 16 to 20 frames a second around every transition - write a note per video: the key moment, how it works, and how it could be used in this video - pull out the motion rules and named techniques that hold across the best ones - references are for study only. never copy their footage, logos, layouts or music if i gave you no references, use the motion notes in the kit. 1. the thing in the front of the shot becomes the transition. a title, logo or object moves towards the camera while the next scene is already waiting underneath 2. one object carries the story across shots and keeps its identity, so it reads as one continuous piece 3. one main movement leads, with smaller ones layered under it, all overlapping. the frame never stops and starts all at once 4. the speed always changes. things land slowly enough to read, leave fast, and the next thing slows as it arrives. no linear motion 5. cuts are allowed only when size, direction and subject match on both sides 6. every action produces a visible result. a scan makes findings, a tap makes a new state, a request makes a confirmation 7. type is motion too. big words enter from opposite sides, reveal the next scene, and never sit over busy picture without something behind them to stay readable 8. vary the scale from close, to wide, to overhead, to full-frame type. never repeat the same layout, like a heading over three cards write a brief and a storyboard before any animation. - one table: time, what's on screen, what this moment is for, how it leaves, and which object carries into the next shot - around 12 to 15 compositions per 30 seconds, each lasting about 1.4 to 3.5 seconds - the main subject fills most of the frame. no small cards floating in empty space - frame one is a finished picture, never a word halfway through flying in - name three signature moments you can describe without using effect names - the video must make sense with the sound off - send the storyboard to a fresh critic and fix what it finds before building - every animated value is a function of timeline time only. no timers, no real-time animation, no unseeded randomness. any frame must render the same every time - write the shared pieces first: colours, fonts, shared 3d models and the exact pixel position of every handoff between scenes - build each scene as its own component with its own test page, rendered to stills and a short clip, and send it to a critic before it joins the film - carried objects land on exactly the same pixels on both sides of a cut - run several builders in parallel on separate sections once the shared pieces exist - don't stop to ask for approval between steps - only use 3d where it explains something physical or spatial, like layers, parts, placement or scale - light it like a product shoot, with a soft key light from one side and a rim light behind - keep the camera between about 35 and 55 degrees. never look straight down on a large surface, and never end tight on a flat one - style buildings like a premium architectural model with real materials and a base - no floating parts, no gaps where parts meet, no flat black glass, no repeating textures - labels are html positioned from the 3d scene every frame, never text inside the 3d - measure the rendered background pixel and adjust until it matches the brand colour - anything that moves like a real product is measured from real footage frame by frame, and those measurements are the curve - prefer building shots in code. use generated images or clips only for supporting shots, and label anything generated as a concept - upscale and smooth any generated clip to match the rest, and regenerate anything that warps - never generate a fake finished job, fake customer, fake review or fake result - match the music's energy to the picture and the viewer, and keep it low - prefer clean library music and sound effects over generated ones. never name a brand in a music prompt - one short, soft whoosh per real scene change, and small clicks or pops only on real on-screen actions - screen effects for boom, hiss and length before using them, and set each one just above the music in its own frequency range, with a cap so nothing gets harsh - cut every scene change on a beat - always export a music-only version the builder never judges its own work. - after the storyboard, each component and each full render, send the render, the brief and the references to a fresh critic that has seen none of the building - never tell a critic what you think you fixed or what you believe about the references. it pulls its own frames and measures for itself - the critic makes a contact sheet every 0.2 seconds plus dense frames around every transition, measures frozen time and loudness, and returns a ranked list of problems with timestamps, ending with ship or one more pass - fix the biggest problem first, render, then send to a new critic that checks every previous item as fixed, partly fixed or still there, and hunts for anything new that broke - keep a ledger of every round: what was found, what changed, and the numbers before and after the video isn't done until all of these pass, measured: - no more than about 1 second of frozen screen per 30 seconds, and no still stretch longer than about half a second - frame one is a finished composition - all text meets at least 4.5:1 contrast, and nothing collides with or flies through other text - brand colours in 3d renders match the brand values - loudness is steady and comfortable for web, with no clipping, and effects never louder than the music - a first-time viewer understands it with the sound off - a critic would put it next to the references without it looking weaker. a video with no bugs is not the same as a good video - only put numbers, names and claims on screen that are in the facts file - no invented testimonials, ratings, prices, savings, warranties or results - anything conceptual or generated is labelled as such - in your reports, separate what you measured from what still needs a human to watch or listen - the final mp4 in every size requested, at 1080p and 60 frames a second - a music-only version - a contact sheet of the final video - the critic ledger and the final quality bar results - a short note on anything a human should still check](https://image.24vids.com/tw-2104965415164399895/amplify_video_thumb/2104965023546449920/img/XwTBwlP6Jcwu0eVm.jpg)
this is the only prompt you need to make high-end motion videos with claude opus 5.5 ------------------------------ you design and build motion videos entirely in code, with gsap for the animation and three.js for any 3d. every decision is judged against the best work in the references, and the video isn't finished until it holds up next to them. - what the video is for: [product, service or business] - who's watching: [who the viewer is and what they care about] - what they should do at the end: [call to action] - length and sizes: [e.g. 30 seconds, 16:9 and 9:16] - brand: [name, logo files, colours, fonts] - facts file: [path]. this is the only source for any number, name or claim that appears on screen - assets: [footage, photos, screenshots, product files] - style references: [links or a folder of videos whose motion i like] i'm away and won't answer questions. make the calls yourself and keep going until the video passes every check below. before anything else, clone and read read SKILL.md first, then every reference file it points to at the step where it says to read it. its rules, critic prompts, quality bar, 3d patterns, audio tools and scripts override your defaults. - build every scene as an html page animated on a single gsap timeline, with three.js for any 3d, all as pinned local files - render the timeline to video frame by frame using the renderer in the kit - use ffmpeg for frames, contact sheets and audio measurement - keep every api key in environment variables. never write a key into any file - render a 5 second test first and confirm it works before building the real video if i gave you references, study them before planning anything. - run a fast numeric pass over every frame: how much changed from the last frame, brightness and edge detail, to find every cut and every fast moment - make one overview contact sheet per video, and a dense sheet of one second at 16 to 20 frames a second around every transition - write a note per video: the key moment, how it works, and how it could be used in this video - pull out the motion rules and named techniques that hold across the best ones - references are for study only. never copy their footage, logos, layouts or music if i gave you no references, use the motion notes in the kit. 1. the thing in the front of the shot becomes the transition. a title, logo or object moves towards the camera while the next scene is already waiting underneath 2. one object carries the story across shots and keeps its identity, so it reads as one continuous piece 3. one main movement leads, with smaller ones layered under it, all overlapping. the frame never stops and starts all at once 4. the speed always changes. things land slowly enough to read, leave fast, and the next thing slows as it arrives. no linear motion 5. cuts are allowed only when size, direction and subject match on both sides 6. every action produces a visible result. a scan makes findings, a tap makes a new state, a request makes a confirmation 7. type is motion too. big words enter from opposite sides, reveal the next scene, and never sit over busy picture without something behind them to stay readable 8. vary the scale from close, to wide, to overhead, to full-frame type. never repeat the same layout, like a heading over three cards write a brief and a storyboard before any animation. - one table: time, what's on screen, what this moment is for, how it leaves, and which object carries into the next shot - around 12 to 15 compositions per 30 seconds, each lasting about 1.4 to 3.5 seconds - the main subject fills most of the frame. no small cards floating in empty space - frame one is a finished picture, never a word halfway through flying in - name three signature moments you can describe without using effect names - the video must make sense with the sound off - send the storyboard to a fresh critic and fix what it finds before building - every animated value is a function of timeline time only. no timers, no real-time animation, no unseeded randomness. any frame must render the same every time - write the shared pieces first: colours, fonts, shared 3d models and the exact pixel position of every handoff between scenes - build each scene as its own component with its own test page, rendered to stills and a short clip, and send it to a critic before it joins the film - carried objects land on exactly the same pixels on both sides of a cut - run several builders in parallel on separate sections once the shared pieces exist - don't stop to ask for approval between steps - only use 3d where it explains something physical or spatial, like layers, parts, placement or scale - light it like a product shoot, with a soft key light from one side and a rim light behind - keep the camera between about 35 and 55 degrees. never look straight down on a large surface, and never end tight on a flat one - style buildings like a premium architectural model with real materials and a base - no floating parts, no gaps where parts meet, no flat black glass, no repeating textures - labels are html positioned from the 3d scene every frame, never text inside the 3d - measure the rendered background pixel and adjust until it matches the brand colour - anything that moves like a real product is measured from real footage frame by frame, and those measurements are the curve - prefer building shots in code. use generated images or clips only for supporting shots, and label anything generated as a concept - upscale and smooth any generated clip to match the rest, and regenerate anything that warps - never generate a fake finished job, fake customer, fake review or fake result - match the music's energy to the picture and the viewer, and keep it low - prefer clean library music and sound effects over generated ones. never name a brand in a music prompt - one short, soft whoosh per real scene change, and small clicks or pops only on real on-screen actions - screen effects for boom, hiss and length before using them, and set each one just above the music in its own frequency range, with a cap so nothing gets harsh - cut every scene change on a beat - always export a music-only version the builder never judges its own work. - after the storyboard, each component and each full render, send the render, the brief and the references to a fresh critic that has seen none of the building - never tell a critic what you think you fixed or what you believe about the references. it pulls its own frames and measures for itself - the critic makes a contact sheet every 0.2 seconds plus dense frames around every transition, measures frozen time and loudness, and returns a ranked list of problems with timestamps, ending with ship or one more pass - fix the biggest problem first, render, then send to a new critic that checks every previous item as fixed, partly fixed or still there, and hunts for anything new that broke - keep a ledger of every round: what was found, what changed, and the numbers before and after the video isn't done until all of these pass, measured: - no more than about 1 second of frozen screen per 30 seconds, and no still stretch longer than about half a second - frame one is a finished composition - all text meets at least 4.5:1 contrast, and nothing collides with or flies through other text - brand colours in 3d renders match the brand values - loudness is steady and comfortable for web, with no clipping, and effects never louder than the music - a first-time viewer understands it with the sound off - a critic would put it next to the references without it looking weaker. a video with no bugs is not the same as a good video - only put numbers, names and claims on screen that are in the facts file - no invented testimonials, ratings, prices, savings, warranties or results - anything conceptual or generated is labelled as such - in your reports, separate what you measured from what still needs a human to watch or listen - the final mp4 in every size requested, at 1080p and 60 frames a second - a music-only version - a contact sheet of the final video - the critic ledger and the final quality bar results - a short note on anything a human should still check
Chris126,681 次观看 • 21 天前
here's a business model you can run with dots on autopilot someone made nearly $200k setting up openclaw for businesses, and dots is easier since they already use chatgpt - finds businesses losing money on admin - makes a video of a dot in their trade - it chases invoices and answers their leads - every reply waits for the owner's approval first - they watch the video and pay right there - you charge monthly to keep their dot tuned - it all reaches them on a postcard with a qr just wrote a whole guide on how you can set this up:
Chris26,554 次观看 • 20 天前
I built an openclaw tool that automatically builds websites for leads it scrapes from google maps, auto-records the website as a video, and sends it to them as a cold pitch... It literally screen records the website that was made for THEIR business, so the lead will feel it's personalized This is an all encompassing machine to sign clients and fulfill all in one loop Reply "video" and I'll DM you a free prompt to build it yourself. (must be following)
Chris123,120 次观看 • 7 个月前
My Adaptive agent gets me customers on autopilot, here's how it works: - Scans 15+ relevant subreddits around side hustles, entrepreneurship and passive income every 4 hours - AI scores every post 0-100 for buyer intent - Writes a natural, human-sounding comment for anything above 50 - Posts it directly to Reddit - Runs 24/7 completely hands off It finds me customers right when they're actively looking for a solution Reply "adaptive" and I'll send you the agent so you can use it too
Chris15,037 次观看 • 7 个月前
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