BOUNCE BALL develops teamwork, reaction skills, & throwing with... accuracy. Primary focus = catching above and below the waist. Great activity from Kent Hamilton Wellington ES Patricia Cucklershow more

Hand eye coordination drills with 12oz, 14oz, and 16oz... weighted balls. The goal is to land every shot thrown, and on the main two knuckles. Timing & Precision. Bonus points if you can return the ball back to the pitcher. I love drills like this. They’re fun, require 100% attention and have great results. I want to be one of the most accurate strikers in the game. I’m looking to have an above average % on with punched landed and that requires a lot of reaction time & accuracy drills 💯🧠. Tag a friend that should try these! #boxing #workout #calisthenics #fitness #drills #fighting #boxer #boxersofinstagram #mmafighter Subscribe to me on youtube to watch more of my training & recovery leading up to my next big fight! 🔗 is in bio 🫡show more

UNITREE, US OPEN, ONE ROBOT AGAINST AN ACTUAL TENNIS... PLAYER, HERE'S WHAT THIS ACTUALLY TESTS Tennis, unlike table tennis, doesn't demand millisecond reaction, it demands trajectory prediction several meters ahead while the ball is still crossing the entire court. ※ ball flight time from serve to return at amateur pace is roughly a second, and in that window the system has to read speed, the bounce angle off the surface, and adjust leg position before contact ※ picking an actual tournament stadium instead of an empty court is a calculated move, the company wants to be associated with an event millions watch, not a lab test ※ the arm holding a racket is loaded differently than in table tennis, the swing is longer and the impact force is higher, meaning the shoulder actuator is working at a different strength range here Every new sport a humanoid steps into isn't a show, it's a public benchmark of its motor skills.show more

Following the amazing reaction to the Marble Curriculum yesterday,... we've decided to make it open source 🛰️👇 Everything a child learns in primary school. 1,590 concepts. 3,221 connections across 8 subjects, from Math and Science to Computing and Life Skills. Anchored in the US and UK curriculums, standard by standard (NGSS, Common Core, DfE). What you will find in the repo: every concept as structured JSON with its age band and the evidence a child must show to master it. Every prerequisite link marked hard or soft, with a written rationale. It's a true DAG you can compute learning paths on. Open license, you can build whatever you want with it. Now is a unique time in history to be building in education. Getting AI and kids education right is likely one of the hardest and most important problems to crack over the next decade and we need as many smart and creative minds behind it. We think a common solid basis, accessible to all and that can be built upon, is critical to move fast. That's why we're making this curriculum open source. It's not perfect but we know it's a robust basis, and we believe that sharing it openly is the fastest way to progress in this field. If you're building in education, share this around you and tell us in comments if you find this useful and if you want to contribute. We'll keep working and investing on it Marble App. Credit goes to Guillaume Boniface-Chang for building this. I just made it look pretty. Links below 👇show more

seedance 2.0 Our website is now live. prompt： Theme:... The final play in the atmosphere of the NBA Finals, a superstar's step-back three-pointer for the game-winning shot. Duration: 15 seconds. Frame: 9:16. Vertical screen. Style: Ultra-realistic sports live broadcast + cinematic bullet time replay of key moments. Core principle: Like a live broadcast, not a game, not a commercial studio shoot. 15-second storyboard: 0.0s - 2.5s Close-up sideline shot, the protagonist dribbles the ball at a 45-degree angle on the right side. The arena is packed, with a real score bar and countdown at the top. The camera shakes slightly, like a handheld stabilizer used with a telephoto lens for broadcasting. The rubbing of shoes and the suppressed cheers of the crowd can be heard. 2.5s - 5.0s The defender closes in, the protagonist dribbles and changes direction repeatedly, probing with his shoulder, the physical contact is obvious. The camera zooms in on the dribbling area above the chest and waist, sweat, breathing, and jersey movements are clearly visible. The basket remains visible in the upper part of the frame. 5.0s - 7.0s The protagonist suddenly stops and steps back, creating half a step of space. The timer has only 2 to 3 seconds left. The commentator's volume rises, and the audience begins to stand. This is a build-up of emotion, no slow motion. 7.0s - 8.5s: Jump and release, entering bullet time. The camera circles in a semi-circle from the protagonist's side and front, moving at an extremely slow speed. Focused close-ups: fingers flicking the ball, beads of sweat hanging in the air, jersey fibers, shoe soles leaving the ground, audience flashes, the backboard and lights creating a strong sense of spatial depth. 8.5s - 10.5s: Instantly returning to normal speed, the basketball arcs high towards the basket. The camera zooms in slightly, the net, rim, and scoreboard all in focus. The sound effects tighten, briefly lowering the ambient noise to make the basket more impactful. 10.5s - 12.0s: Swish through the net, the "swish" of the net is very clear, the buzzer sounds almost simultaneously. The score changes, the commentator explodes, the audience erupts. 12.0s - 15.0s: The protagonist lands, turns around, and roars or spreads his arms in celebration; teammates rush over, the audience erupts in cheers, and cell phone flashes fill the screen. The camera then switches back to a live broadcast style, retaining a slight sense of compression and the chaotic atmosphere of the scene, like capturing the actual moment after the match.show more

Fast food deserves fast production too. This KFC-style commercial... was built with Nano Banana 2 + Seedance on Creatify AI Prompt: [16:9 Cinematic Aspect Ratio | 15 Seconds | Ultra-Realistic, High-Production Ad Film] IMPORTANT CHARACTER CONSISTENCY NOTE: Only ONE single consistent character appears throughout the entire video the same uploaded reference woman in every single frame, from 0s to 15s. Do not duplicate her, do not generate a second version of her, and do not let her face, body proportions, or identity shift or morph at any point. Her facial features, face shape, skin tone, and eye color must remain exactly identical in every frame. WARDROBE & CONTINUITY LOCK: She wears a mustard-yellow knotted crop top, high-waisted denim jeans, and a light beige apron tied around her waist, sleeves slightly rolled up, hair tied in a loose bun with a few loose strands. The apron stays tied on for the entire video it must NOT disappear, change position, untie, or reappear differently in any shot. Her hairstyle, clothing, and accessories must remain 100% consistent from the first frame to the last, with no sudden changes in outfit, hair, or styling between cuts. NO GLITCH / NO ANOMALY RULE: The video must have zero visual glitches, no flickering artifacts on her body or face, no extra limbs, no duplicated objects, no morphing hands, no random object teleportation, and no unnatural warping during transitions. All elements must stay spatially consistent and appear/disappear only through natural, intentional actions never abruptly or without cause. VOICE & DELIVERY NOTE: She speaks in a natural British (Received Pronunciation / soft London) accent throughout. Her voice should carry real emotional texture not flat or robotic with natural breath, subtle vocal fry when tired, and a genuine laugh, not a scripted one. Pitch and volume should rise and fall based on her emotional state in each moment: 0–3s line ("I still have so much left to do..."): Low volume, low pitch, tired sigh-like tone, trailing off slightly at the end sounds drained and flat, almost muttered to herself. 3–5s line ("Okay, one bite won't hurt."): Slightly hushed, playful, a small guilty smile in her voice, pitch lifts a touch on "won't hurt" like she's convincing herself. 5–7s (no dialogue): Only a sharp, involuntary inhale/gasp sound as she bites breathy, high-pitched micro reaction, almost startled. 7–11s line ("Wait... did that seriously just happen?"): Voice rises in pitch and pace, breathless with disbelief, volume increasing toward the end of the sentence, genuine excitement creeping in. 11–15s line ("This isn't just chicken. This is cheat-day magic."): Confident, warm, higher energy and volume than any previous line, a light laugh embedded before she speaks, ending on an upbeat, slightly playful high note for "magic" full smile audible in the voice. PRODUCT NOTE (Bucket Appearance): The KFC packaging is a medium-sized cylindrical paper bucket, wider at the top than the base. It is white with two bold vertical red stripes on opposite sides. Centered on the front is the classic black-line illustration of Colonel Sanders' face bald head, glasses, thick mustache, and beard with a black bow tie beneath it, and the word "KFC" printed in bold black uppercase letters below the illustration. The bucket has a slightly textured, matte paper-cup finish with a rolled/folded rim at the top edge. It is filled generously with golden-brown, deep-fried crispy chicken pieces piled slightly above the rim, with visible crispy, ridged breading texture and light steam rising from it. This exact bucket design, color, size, and branding must remain identical and consistent in every single shot throughout the video. 0–3s: A bright, airy kitchen on a sunny morning white marble countertops, open wooden shelves stacked with jars, a large window above the sink letting in soft natural light, and fresh vegetables scattered across a cutting board. The young woman stands at the counter, visibly tired, chopping vegetables slowly for a salad, occasionally pausing to rub her wrist, surrounded by unwashed dishes, a grocery list stuck to the fridge, and a timer ticking on the oven for something else she's cooking. She mutters under her breath (per voice note above), "I still have so much left to do..." 3–5s: A knock at the door she wipes her hands on her apron (apron remains tied throughout), walks over, and returns holding the KFC bucket exactly as described above, light steam rising from the freshly delivered chicken. She sets it on the counter beside her half-made salad, lifts a golden, crispy fried chicken leg piece toward the camera. She grins and says softly (per voice note above), "Okay, one bite won't hurt." 5–7s: Extreme macro slow-motion shot as she bites into the crispy skin the crunch detonates with deep, cinematic intensity. The impact sends a burst of energy through the kitchen: the curtains above the sink billow outward, the vegetable peels and grocery list flutter into the air, the oven light flickers, and golden light particles swirl around her. Her hair sways loose from its bun in the sudden gust as time seems to hold still for a beat. Her outfit and apron remain exactly as before. Only her sharp inhale/gasp sound (per voice note above) no spoken dialogue. 7–11s: The energy settles into a vibrant, glowing atmosphere. The kitchen comes alive on its own vegetables chop themselves into neat piles, the salad bowl assembles itself, the oven timer stops with a satisfying ding as the dish inside finishes perfectly, and dishes stack themselves clean in the rack. She watches, stunned, and says (per voice note above), "Wait... did that seriously just happen?" Bold animated text sweeps across the bottom third of the frame: "Kitchen: Sorted." She remains the same single character in the same outfit throughout. 11–15s: She laughs, looks at the chicken leg piece in disbelief, then confidently raises the same KFC bucket toward the camera. The camera pushes in with bright, glossy cinematic lighting as she smiles wide and says (per voice note above), "This isn't just chicken. This is cheat-day magic." The scene ends on the same KFC bucket glowing in warm sunlight, with the logo appearing top-center and the tagline sliding in from the side: "KFC One Crunch. Zero Effort."show more

5-Month Methylene Blue Update I've been taking Methylene Blue... since October and I wanted to reflect on the first 5 months with it. I’ve been micro-dosing to experience the mental benefits, so usually 3-5 drops. In the first couple months the effects were truly mind-blowing. The cognitive enhancements felt like magic. My focus became laser-sharp, and my memory was spot-on, especially my visual recall. The enhancement of my mental-visual abilities was the most amazing change. I've always been a very visual person. If I had an idea, I could picture it much easier than I could explain it. Methylene Blue increased that ability tenfold. Verbalizing my thoughts became much easier as well. Methylene Blue is certainly a verbal lubricant; my words would flow off the tongue almost effortlessly (in a good way). So, 5 months in, those skills are still heightened, but the dramatics have worn off since I'm now used to these "Super Abilities" It's remarkable that I never felt like my cognitive abilities would decline if I missed a few days of Methylene Blue. The mental benefits were long-lasting. Methylene Blue is great to cycle on and off since the effects last. The thing that still feels like magic to this day is the motivation I get from a dose of Methylene Blue before a workout. The feeling I get from a large glass of water with honey or maple syrup, Himalayan salt, and Methylene Blue is pure drive. Drive, motivation, inspiration, and feeling like I can take on the world are what the above elixir provides. Not to be confused with energy like caffeine would give, it's a much deeper feeling of drive. It instills a mindset shift of "I'm going to do what I came here to do." Truly a life changing substance and I’m so glad I tried it. I’m happy I am learning about it so I can teach my friends and family about MB. I think everyone that can should be experiencing the laundry list of benefits from Methylene Blue. Check the first comment for helpful links. 15% off and a tool to search potential interactions. I want to know when you try it and what you think!show more

INF Gavin Kilen (Tennessee Baseball) will be a key... piece within a loaded Tennessee lineup this season. Earned the starting 2B job as a Freshman and contributed, but broke out last spring to the tune of a .330/.361/.591 slash line with 23 2B, 3 3B, 9 HR and 41 RBIs. Kilen is slightly undersized and has an average build at 5'11 and 180-lbs. Some room to fill out and add ~10 pounds or so. Relaxed, slightly crouched stance in the box with a medium high handset. Minimal load in which his hands drift slightly, leg lift leads into a small stride. Short, compact swing and takes a direct path to contact. Above-average hand speed, it's an operation that's tailored towards spraying line drives all over the yard. Kilen is a hit-over-power profile with an aggressive approach in the box. He has plus bat-to-ball skills and his feel for the barrel is evident. Last spring, Kilen worked a 93% IZ contact rate, including 95% against FB. His aggressive approach and somewhat free-swinger mentality does lead to some chase up against FB and secondaries down, but it hasn't been a hindrance to his production. Kilen pounces on pitches in the zone and steps in the box ready to hit. Would give his hit tool a 55. It's more gap power than it is over the fence power for Kilen, but he did tap into some more impact last season. Part of that is due to getting the ball up in the air more: between '23 and '24 he increased his FB+LD% from 44% to 51%. It will always play as slightly below average (fringy), but he did post a Max EV of 108.5 during the spring and 101.4 this summer. Kilen's HR impact and highest quality of contact comes to the pull side. Vast majority of his XBH power comes on pitches in the bottom-half of the zone, which makes sense given his bat path. Has shown the ability to work from gap-to-gap. Kilen was Louisville's every day SS last spring, but he'll slide over to 2B this season for Tennessee. I actually think that's where he profiles best defensively as a professional, where he has an average arm with some range. After seeing him at SS for a couple of summers, his actions and clock translate better at 2B. Kilen is a day 1 type this July with top-55 overall upside.show more

Grok Imagine text-to-video prompt: SCENE CONTEXT One continuous locked-off... wide shot inside a cluttered high-rise gaming apartment at night. A fully clothed adult man sits at his desk facing the monitor, absorbed in a computer game. An adult anime woman (age 22 or older) carrying a metal frying pan sneaks up behind him from frame-left, swings the pan hard and fast into the back of his head with a single whip-crack strike that knocks him out cold instantly, his head dropping hard onto the desk with a small bounce. She delivers a short Japanese line, then runs off frame-right while giggling. LOCATION MAP Foreground: edge of the desk and chair legs. Midground: the seated man at the gaming desk with dual monitors, keyboard, mouse, RGB lighting, and scattered energy-drink cans. Background: cluttered apartment wall with posters, shelves of figures, city-window view at night. The anime woman enters from frame-left rear, moves behind the man's chair, then exits frame-right. Warm practical room lamps mixed with cool blue monitor glow and red PC accent lights. FIRST FRAME / BLOCKING Wide shot already framed and locked. The man is seated center-right, torso facing the monitors, head slightly forward. The anime woman is partially visible at the far left edge of frame, body oriented toward the man, frying pan held low in both hands at waist height. Spatial relationship readable immediately: she is behind and slightly to his left, outside his peripheral vision. FORMAT MODE One continuous shot, the camera does not cut on its own. The frame stays identical from first second to last. OPTICS 47° neutral wide FOV, eye-level height matching the man's seated eye line, deep focus so both the desk and the space behind the chair remain sharp. No drift for the full duration. CAMERA Locked tripod, completely stationary, frame fixed for the entire 15 seconds. The operator stays hands-off after the first frame. ACTION 0.0s–3.5s — The man clicks the mouse and taps the keyboard with natural, focused movements, leaning slightly toward the monitor. The anime woman advances on light tiptoe steps from frame-left at about 3 km/h, body low, frying pan close to her torso, eyes fixed on the back of his head. 3.5s–6.0s — She reaches the position directly behind his chair and coils into a short compact wind-up: pan raised above her right shoulder, both hands gripping the handle, weight loaded onto her rear foot, hips turned slightly away like a batter ready to swing. 6.0s–6.5s — She uncoils and swings hard and fast: hips rotate first, shoulders whip through, the pan accelerates through a tight horizontal arc and reaches roughly 30 km/h at the moment the flat of the pan meets the exact center of the back of his head. The full swing takes 0.4 seconds from launch to contact, a single clean whip of motion. 6.5s–7.5s — Knocked out cold, lights out on impact. On the exact contact frame his eyes shut and every muscle releases at once. His head drops hard and fast, driven forward by the strike, and his forehead smacks the desk surface with a solid thud, bounces up once about five centimeters, and lands again, coming to rest cheek-down on the desk. His torso folds forward behind the falling head, arms flopping off the keyboard and mouse and settling limp on the desk. He is out cold and remains completely motionless from this point through the end of the shot, head down, dead to the world. 7.5s–10.5s — She lowers the pan to her side, stands upright behind the slumped man, and speaks her line with clear lip sync while looking down at his knocked-out body, chest rising with a satisfied breath. 10.5s–15.0s — She turns sharply to her right, takes three quick running steps toward frame-right at about 10 km/h, and exits the frame still holding the frying pan, body leaning forward into the run, shoulders bouncing with a giggle. PERFORMANCE Man: fully absorbed in the game until impact, natural micro-adjustments of hands and slight forward lean. From the contact frame onward he is unconscious dead weight: face slack, jaw loose, eyes closed, zero muscle tension anywhere in his body. After the head bounce settles he is a motionless heap draped over the desk, held perfectly still through the end of the shot, clearly out cold. Anime woman: bright adult face with clean 2D cel-shaded features, mischievous grin, tongue pressed to the corner of her mouth during the wind-up. The swing is committed and athletic: full-body rotation, arms extending through the arc, a small follow-through past the contact point before she checks the pan. After the hit her posture opens into a brief proud stance, then she pivots and runs with lively bouncing steps and a visible giggle that lifts her shoulders. Eyes stay alive with micro-saccades throughout. Playful older-sister prank energy, posture upright and comedic. PHYSICS The frying pan carries visible metal mass and inertia: it lags a fraction behind her hands at the start of the swing, whips through the arc with accelerating momentum, and stops dead on contact with a small vibration through the pan face and her forearms. The man's head falls as pure dead weight accelerated by the strike: fast drop, hard contact with the desk, one small five-centimeter rebound, then final settle with zero further motion. The desk registers the impact: a nearby energy-drink can jitters, the mouse shifts a centimeter. His torso folds forward behind the head and settles as a limp mass, no residual muscle movement afterward. Her hair and clothing trail the swing rotation with natural delay and settle after the follow-through. Her footsteps show clear weight transfer on the sneak and the exit run. LIGHTING Primary sources: warm 3200K practical desk and room lamps from upper left, cool monitor glow illuminating the man's face and hands, red PC case lighting under the desk. Soft natural falloff into the background. The pan catches a brief warm lamp glint as it whips through the swing arc, and the contact shadow of the pan and her arms sweeps across the man's back at the moment of impact. AUDIO Clear adult feminine Japanese anime voice with accurate lip sync delivering exactly: 「おやすみなさい！」 A sharp air-whoosh as the pan whips through its arc, ending in a single bright comedic metallic BONK on contact, followed immediately by a solid wooden thud as his head hits the desk and a lighter second tap on the bounce landing. Continuous quiet keyboard taps and mouse clicks up to the hit, then silence from the desk. Computer-fan hum, faint game audio from the speakers, quiet room tone, distant city ambience through the window. Her light footsteps on the floor, then a short bright giggle as she runs. Only the listed sounds and the single spoken line. STYLE Photorealistic cluttered apartment interior combined with a crisp, clean 2D cel-shaded adult anime character. Warm practical lighting mixed with cool monitor and red PC accents, natural contact shadows, light cinematic grain. Wholesome slapstick gaming-comedy tone, the energy of a classic anime frying pan bonk. POSITIVE LOCKS Camera remains completely locked and stationary for the full 15 seconds, identical framing first frame to last. The man keeps facing his monitors until the strike and is knocked out cold on the exact contact frame: head drops hard and fast, forehead smacks the desk, one small five-centimeter bounce, then final rest, body limp and motionless through the end of the shot. Single pan strike only, swung hard and fast with full-body rotation, the arc completed in 0.4 seconds. Anime woman is clearly adult (22+), modest casual gaming-themed clothing, 2D cel-shaded style only. Only the one scripted Japanese line is spoken.show more

Reading with your baby isn’t always as simple as... it might seem. Earlier this week, a parent asked how I’d advise reading to a toddler who may not have the attention span for a full book and who, when handling them, often tears the pages. I’m so glad you asked! This fantastic video, shared to TT a couple years back by hanzcakess, illustrates both the realities of - and several important lessons for - parents and caregivers when it comes to reading with infants and toddlers. First, when reading with very young children it’s important to begin with realistic expectations. At this little guy’s age (which I’m going to guess is around a year, give or take 2 months) babies‘ attention spans are VERY limited. Think 1-2 minutes tops. What does that mean for you? First it means that you’re unlikely to make it through an entire book. And that’s just fine. Rest assured that there’s still great value in the activity. Further, don’t be surprised if your child is more interested in interacting with (or at the earliest stages, even chewing on) the book itself rather than attending to the story it contains. That’s ok too. For both reasons, beginning with sturdy, laminated board books is well advised. Not only do these tend to be super short (with most intended to accommodate for babies’ brief attention spans), but they’re made to withstand the rigors of handling by infants and toddlers. Now, some might look at this video and (on first glance, at least) see primarily inattention. But not me! Here’s what I see: First, I see a completely normal toddler who’s already putting some really impressive book knowledge on display. Notice he’s advancing front to back and left to right as he turns pages sequentially. They’ve done this often. Also want to shout out what a truly fantastic job Dad is doing here. Notice that he’s totally letting his son dictate the terms the activity. He’s not insistent on completing the text, but goes with the flow as his son turns the pages. As the pages turn he’s helping to illustrate that the print on each one contains a unique message. And he’s singing the text! Brown Bear is a great book for this and many board books lend themselves particularly well here. Your baby isn’t judging your singing voice. Kudos on making the experience engaging. In light of all the above, don’t be afraid to stray from the text altogether as needed and use this time to simply engage in conversation about the pictures and introduce some new vocabulary. Finally, while lap reading is fantastic, at this age you may also find benefit in reading face to face, allowing your child to tune into your expressions alongside the book. Remember, there’s nothing your baby loves seeing more than you. Rest assured this stage doesn’t last forever. You’ll be snuggling up for longer sessions in no time. And while we’re on the topic of reading, I want to give a special shout out to my friends at Reach Out and Read, which is a fantastic program you may know from distributing books and sharing advice like this via your pediatrician’s office. Today I’m thrilled to be the guest on their newest podcast, discussing my book The Daycare Myth. I’ll include a link in the first reply below.show more

Successfully generated this with Seedance 2.5—without any face-related moderation... restrictions. The result is amazing! prompt： For the target video, at 0.00 seconds into the target video, (from [Shot 1]) is fully referenced. integrated_multimodal_description: [Shot 1] A continuous live-action first-person smartphone recording based entirely on . is the only visual reference for the adult female dancer's appearance, face, hairstyle, hair color, costume, body proportions, environment, room layout, wall, floor, lighting, color and initial spatial composition. Preserve the original visual identity and environment of . The camera closely reproduces the distinctive perspective of : a strong high-angle first-person smartphone POV looking substantially downward at the woman. The camera is clearly above her eye level. The top of her head, shoulders and upper body are visibly seen from above. Keep substantial ceiling visible in the upper part of the frame. Do not use an eye-level view, third-person view, orbiting camera or cuts. A single adult arm belonging to the camera operator enters naturally from the lower-right foreground. Show a connected forearm, wrist, palm and fingers. The hand is a moderate-size foreground element, not a giant object. Keep the hand primarily within the lower-right quadrant, occupying approximately 10–18% of the image area. The hand must never extend across the center, cover the woman's face or cover her torso. The woman remains the primary visual subject and the hand is only the foreground controller. Keep the woman physically close to the smartphone, approximately 1.0–1.2 meters away. Her full body occupies approximately 70–80% of the vertical frame. Do not pull the camera backward, do not place her deep in the room and do not progressively make her smaller. The foreground index finger directly controls the woman's dance movement. The woman does not independently freestyle. The hand is the visible movement cue and the woman's body immediately follows it. Maintain these exact control relationships throughout the entire video: UP → WOMAN RISES. DOWN → WOMAN LOWERS. LEFT → WOMAN MOVES LEFT. RIGHT → WOMAN MOVES RIGHT. For UP, the index finger moves clearly upward and the woman's body immediately rises. Her torso extends upward, her posture becomes taller, her arms naturally rise and her center of gravity moves upward. For DOWN, the index finger moves clearly downward and the woman's body immediately lowers. Her knees bend slightly, hips lower, center of gravity drops and torso lowers into a controlled dance position. For LEFT, the index finger moves toward screen-left and the woman's body immediately shifts and sways toward screen-left. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. For RIGHT, the index finger moves toward screen-right and the woman's body immediately shifts and sways toward screen-right. Her weight, torso and hips follow the same direction. The entire body movement must be clearly visible. LEFT and RIGHT must not become tiny hip twitches. The woman's body must visibly move from side to side. Keep the horizontal movement simple so the connection between finger direction and body direction remains unmistakable. The hand gesture and corresponding body movement are tightly synchronized. The woman's movement begins as the corresponding finger gesture begins and develops within the same musical beat. No noticeable reaction delay, no one-beat delay, no anticipation and no independent movement. The dance is a confident, sexy viral short-form influencer dance: energetic rhythmic hip movement, controlled waist isolation, subtle torso waves, attractive shoulder movement, pronounced but tasteful hip accents, confident posture, playful facial expression, direct eye contact and natural hair movement. The dance should feel like a polished viral social-media dance challenge. Make the movement sexy, stylish, rhythmic and visually captivating while keeping it non-explicit. During LEFT and RIGHT movements, maintain the direct horizontal hand control while adding sensual hip accents. During UP and DOWN movements, maintain the direct vertical hand control while adding smooth waist and body movement. Never sacrifice hand-to-body control for complicated choreography. Use a fast modern viral dance rhythm with strong clear beats. Command sequence: UP → DOWN → LEFT → RIGHT → LEFT → RIGHT → UP → DOWN → LEFT → RIGHT. Each command produces one clearly visible corresponding body movement. Do not add unrelated freestyle movements, spins, walking or complicated footwork. The index finger moves with strong, deliberate gestures. The wrist and forearm naturally follow the finger. Use short, clear upward, downward, leftward and rightward gestures. Do not use weak floating gestures. Keep the hand in the lower-right foreground and never allow it to dominate the center of the frame. Maintain one continuous handheld smartphone recording with subtle natural camera instability. Preserve the strong high-angle perspective and close composition throughout the entire shot. Do not zoom out, pull backward, lower the camera or lose either the hand or the woman's full body. At the end, use LEFT → RIGHT → UP. The woman performs a left body movement with a sensual hip accent, a right body movement with a sensual hip accent, then rises into a confident final dance pose. The hand remains in the lower-right foreground and does not move into the center. Hold the final pose briefly. overall_soundscape: Natural indoor room ambience, subtle foot movement, fabric movement and quiet smartphone handling sounds, preserving the acoustic character of . non_diegetic_music: A modern viral short-form dance track with strong punchy beats, crisp percussion and clear rhythmic accents. Each major beat provides a timing point for the hand gesture and its corresponding dance movement.show more

You spend years training for the World Cup, then... lose to a cat. This Cat vs Human Football match rivalry was created using GPT Image 2 + Seedance 2.0 on RoboNeo #Roboneo Prompt Create a 15-second cinematic FIFA World Cup 2026 sports-comedy commercial. Every scene must happen strictly in the exact sequence listed below. Do NOT skip, merge, shorten, combine, or reorder any scene. Maintain perfect character consistency across all shots. MAIN CHARACTER: Athletic western blonde female soccer player, age 24, blue eyes, long blonde ponytail, red soccer jersey #8, red shorts, red socks, professional football boots. ANIMAL HERO: Sleek athletic grey cat with green eyes wearing a matching red soccer jersey. OPPONENTS: Two muscular female football players wearing white uniforms. ENVIRONMENT: FIFA World Cup 2026 atmosphere. Massive packed football stadium during golden hour. Warm sunlight, dramatic lens flares, vibrant green grass, roaring crowd, FIFA World Cup branding, international supporters waving USA, Canada, and Mexico flags. Premium global football-event energy. STYLE: Photorealistic live-action sports commercial, realistic human anatomy, Pixar-quality cat animation, Nike-style energy, dynamic camera movement, cinematic lighting, ultra-detailed textures, realistic football physics except for the cat's comedic athletic abilities. DURATION: 15 seconds total. SCENE 1 (0:00–0:02) — WORLD CUP OPENING High aerial establishing shot of a massive FIFA World Cup 2026 stadium at golden hour. Visible FIFA World Cup 2026 banners around the stadium. Crowd packed with supporters waving USA, Canada, and Mexico flags. A recognizable host-city landmark is visible in the distance. The blonde player in red jersey #8 dribbles confidently across the pitch while the grey cat runs beside her. Camera slowly pushes forward. Warm sunlight washes over the field. Massive crowd roar. On-screen title card appears briefly: "FIFA WORLD CUP 2026". SCENE 2 (0:02–0:03) — GAME ON Medium action shot. Two muscular opponents in white uniforms notice the cat and immediately shift their focus toward stopping it. The cat glances toward the ball with determination. Quick cinematic push-in. Crowd anticipation rises. SCENE 3 (0:03–0:05) — CAT SPEED BURST Ground-level tracking shot. The cat explodes forward between players' legs at impossible speed. Grass, dirt, and turf particles spray upward. Intense acceleration effect and realistic motion blur. Stadium crowd reacts with surprise. SCENE 4 (0:05–0:06) — PLAYER REACTION Extreme close-up of the blonde player. She smiles confidently, then her eyes suddenly widen in genuine surprise as she realizes how unbelievably fast the cat is moving. Lens flare sweeps across frame. SCENE 5 (0:06–0:08) — HERO CAT Low-angle hero close-up. The cat locks eyes on the ball. Golden sunlight creates a glowing halo around its silhouette. Slow-motion moment. Crowd noise softens briefly while heroic music rises. Fur detail and jersey fabric rendered with ultra-realistic quality. SCENE 6 (0:08–0:10) — FIRST DODGE Wide action shot. One defender launches a tackle. The cat instantly sidesteps and slips perfectly between both defenders. The tackle misses completely. The crowd erupts with laughter and excitement. SCENE 7 (0:10–0:12) — SLIDE CHAOS Both opponents commit to aggressive sliding tackles simultaneously. Massive dirt explosion. The cat effortlessly avoids both slides with perfect timing. The defenders collide with each other and tumble dramatically. Realistic physics, comedic timing. Crowd reaction intensifies. SCENE 8 (0:12–0:13) — DRIBBLE MASTER Dynamic tracking shot. The cat skillfully dribbles the ball through the chaos with incredible close control. Opponents tumble helplessly in the background. The blonde player watches in amused disbelief. Stadium energy reaches its peak. SCENE 9 (0:13–0:14) — IMPOSSIBLE SHOT Dramatic low-angle shot. The cat crouches beside the ball and looks upward. Tension builds. Suddenly the cat launches into an impossible move and strikes the ball toward goal. Cinematic speed ramp. Ball rockets through the air toward the net. SCENE 10 (0:14–0:15) — WORLD CUP GOAL & BRAND PAYOFF Ultra-cinematic goal shot. The football smashes into the back of the net at high speed. The net deforms naturally and ripples realistically with detailed cloth physics. Goal frame shakes subtly from impact. Crowd instantly explodes in celebration. Fans wave USA, Canada, and Mexico flags. The blonde player throws her hands up in disbelief and joy. The cat lands heroically and looks toward the roaring stadium. Freeze frame on the celebrating cat. On-screen tagline appears: "IMPOSSIBLE IS JUST KICKOFF." FIFA WORLD CUP 2026 logo appears prominently with premium commercial-grade branding. End on triumphant crowd roar and stadium atmosphere. CINEMATIC NOTES: Strict chronological sequence. No scene skipping, merging, or reordering. Fast-paced sports-commercial editing. Warm golden-hour color grading. Dynamic camera movement throughout. Premium FIFA World Cup 2026 advertising quality. Realistic football and net physics. Massive crowd reactions escalating throughout the film. Consistent character appearance across every shot. Photorealistic visuals with cinematic lens flares and broadcast-quality production values. Final goal must feel epic, emotional, and unmistakably FIFA World Cup 2026.show more

Seedance is absolutely insane for animation. Made in Runway... Full Prompt: 15-second cinematic animated short, premium stylized 3D feature-film quality, charming rounded character design, expressive faces, snappy timing, fluid body motion, polished bedroom environment, warm natural window light, soft bounce lighting, realistic cloth and hair motion, shallow depth of field, cinematic lensing, playful magical tone, clean composition, strong silhouette posing. character: Hero Bread boy SHOT LIST WITH TIMING 0.0 - 3.0 sec Medium shot. Interior bedroom. 8-year-old boy sitting on bed, arm stretched forward, palm open toward a single pen on desk in front of him. He strains hard trying telekinesis. Face tense, eyes squinted, body shaking with effort, subtle bed bounce. Audible grunts. Camera slowly pushes in on boys face. 3.0 - 5.0 sec Cut to wide shot of full room. Bed on one side, desk with a pen on it. Posters, books, scattered toys, lived-in kid bedroom. Boy continues forcing powers toward pen. Curtains flutter slightly. Camera locked with slight handheld energy. Pen in foreground with the boy out of focus in the background. 5.0 - 7.0 sec Cut to close-up of boy’s face. Extreme concentration. Teeth clenched, cheeks puffing, eyebrows compressed. He gives one final powerful grunt. Tiny facial tremble, comedic over-effort. 7.0 - 8.5 sec Cut to macro close-up of a pen on the desk. Silence beat. Then the pen nudges forward only a few centimeters with tiny scrape sound. a small movement. 8.5 - 11.0 sec Cut back to medium shot of boy. He notices tiny movement but interprets it as failure. Expression falls. Long disappointed sigh. Arm drops limp. He flops backward onto bed dramatically, mattress compresses and rebounds. He stares at ceiling. 11.0 - 15.0 sec One beat of stillness. Then sudden fast crash zoom backward from boy, through bedroom, smashing out the window in one continuous camera move. Pull rapidly into huge exterior reveal: the entire house is floating 20 feet above the ground, gently hovering in the air above the street of houses which are on ground level. Trees and yard below. Subtle debris drifting downward. House tilts slightly. Golden sunlight. End on wide heroic comedic reveal. STYLE NOTES Fast readable cuts, strong anticipation and payoff, expressive animation arcs, clean eye lines, comedic timing, whimsical realism, smooth camera transitions, polished render quality. NEGATIVE PROMPT text, watermark, logo, extra limbs, creepy face, broken anatomy, jittery motion, flicker, noisy render, dark scene, horror tone, low detail, stiff animation, warped room geometry, duplicate objects, camera stutter. #seedance #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #madewithrunwayshow more

Created with seedance 2.0 on Pollo AI Duration: 15... Seconds Style: Live-action + ultra-photoreal miniature human composite comedy short film. First-person breakfast POV vlog. 8K Ultra HD, vertical 9:16, handheld camera with subtle natural movement, cinematic shallow depth of field. Every object is completely real: wooden breakfast table, giant fluffy pancakes, maple syrup, butter, blueberries, coffee mug, flowers, plants, and the miniature woman. Everything shares identical photographic lighting, reflections, realistic textures, and contact shadows. Bright outdoor apartment balcony during golden morning sunlight with a soft breeze moving nearby curtains and plants. Character: Aria Lin — a 22-year-old adult East Asian woman, exactly 15 cm tall. Mature facial features, fair skin with realistic pores, deep brown almond eyes, black waist-length hair with fluffy air bangs and one loose braid over her left shoulder. Wearing a fitted white sleeveless tank top, fitted blue jeans, white thick-soled sneakers, and a thin gold bracelet on her right wrist. Same face, hairstyle, outfit, proportions and size throughout. No CGI, no cartoon, no doll, no figurine. ──────────────────────── 00:00–00:03 | Shot 1 – Pancake Summit First-person breakfast POV. A giant stack of fluffy pancakes towers above the breakfast table like a mountain. Aria uses a tiny dessert fork as a climbing tool, carefully climbing the soft pancake edge. She reaches the top, looks around proudly at the giant breakfast landscape, then raises both arms with a victorious smile as warm sunlight illuminates her face. SFX: Morning birds, gentle breeze, soft ambience. ──────────────────────── 00:03–00:06 | Shot 2 – Maple Syrup River A real human gently pours warm maple syrup from above. The syrup slowly flows around her like a beautiful golden river. Aria instantly jumps onto a fresh strawberry slice and rides it like a tiny surfboard, gliding smoothly along the flowing syrup while laughing. Golden reflections shimmer across the syrup. SFX: Maple syrup pouring. Soft flowing liquid. ──────────────────────── 00:06–00:09 | Shot 3 – Butter Ice Slide A giant butter cube slowly slides across the warm pancake. Aria quickly jumps onto the butter and slides across its smooth surface like an ice skater. She spins once playfully before landing perfectly with both arms stretched outward. The butter leaves a glossy trail behind. SFX: Soft sliding. Light laughter. ──────────────────────── 00:09–00:12 | Shot 4 – Blueberry Bounce A giant blueberry gently rolls toward her. Instead of running away, she hops onto the blueberry. The blueberry bounces naturally across the pancake while she balances with both arms and laughs like she's riding a giant adventure ball. The camera follows smoothly with cinematic motion. SFX: Soft bouncing. Happy laughter. ──────────────────────── 00:12–00:15 | Shot 5 – Breakfast Champion A real human gently places a shiny coffee spoon beside the pancake. Aria confidently climbs onto the spoon. She raises her tiny dessert fork like a victory trophy. She waves happily toward the camera. Makes a playful "OK" hand gesture. Smiles brightly. Morning sunlight glows behind her while flowers gently sway in the background. Final 0.3 seconds: Freeze-frame with perfect scale contrast between the tiny chef, giant spoon, pancake mountain, blueberries, maple syrup, and warm golden morning light. SFX: Soft magical chime. Morning ambience fades naturally. ──────────────────────── Strict Requirements • Same adult woman throughout. • Height remains exactly 15 cm. • Same face, hairstyle, outfit and proportions. • Full photorealism only. • Outdoor breakfast balcony environment only. • Realistic sunlight, shadows, reflections and contact shadows. • Smooth cinematic camera transitions.show more

Seedance 2.0 on FlovaAI =================== Prompt: [Reference Identity Lock]... Image 1 is ONLY the main female protagonist. Her face, hairstyle, body type, and outfit must match Image 1 exactly and stay consistent for the entire video. Image 2 is ONLY a uniform reference. All four opponents wear the school uniform shown in Image 2. Never swap, merge, duplicate, or blend identities. The protagonist's identity comes ONLY from Image 1. The four opponents have NO reference images. They are defined by the text descriptions below. The four opponents must not resemble the protagonist, and they must not resemble each other. All five characters must remain clearly distinct and recognizable until the end. [Priority Order] 1. Preserve the protagonist's identity from Image 1. 2. Keep the four opponents visually distinct from her and from each other. 3. Maintain one continuous shot with no cuts. 4. Keep the classroom layout spatially consistent. 5. Make the action fast but readable and physically connected. 6. Keep the tone as a Korean school action drama, stylish but grounded. Korean school action drama classroom fight scene — 15 seconds, ONE CONTINUOUS SHOT, NO CUTS. A single uninterrupted handheld shot. No cuts, no scene transitions, no montage. The camera should feel handheld, with micro-jitters, slight rolling shutter, and raw unstable realism. The camera must physically travel through the same classroom space. Every transition must be motivated by camera movement, not editing. Whip pans are allowed, but they must not hide a cut. Do not teleport the camera or characters. The classroom layout and character positions must remain spatially consistent. Audio: No music. Only realistic school and classroom ambient sounds: old fluorescent light hum, distant hallway noise, ceiling fan, shoes scraping the floor, desks dragging, chair legs screeching, cloth friction, dull body impacts, and breathing that gradually becomes heavier. Breathing continues throughout the scene and keeps building. Lighting: Late afternoon in a Korean high school classroom. Mixed cool fluorescent light and warm sunlight through the windows. Dust floating in the sunlight. Soft fan shadows moving across desks and school uniforms. Main character: The Korean female high school student from Image 1, age 17–18. Cold, emotionless, calm, and intimidating. She barely speaks and does not scream during the fight. She remains composed from beginning to end. Her movements are efficient, explosive, and precise. Even if her frame is not large, she dominates through speed, timing, and accuracy. Main outfit: Exactly the outfit shown in Image 1. Do not change its colors, design, or details. Her jacket or outer layer is either removed and hanging on a chair, or worn in a slightly messy way. The action must be non-sexualized and combat-focused. Fabric movement, dust, sweat, wrinkles, and impact response should feel realistic. Opponent rules: Four Korean female high school students, all wearing the Hanlim Multi Art School uniform shown in Image 2. They have no reference images. Define them strictly by these descriptions and keep each one consistent: Opponent A: short black bob with straight bangs, medium build, round face. Opponent B: long straight hair tied in a high ponytail, tall and lean, sharp jawline. Opponent C: shoulder-length hair with side-swept bangs, slim build, narrow face. Opponent D: long wavy hair worn loose, slightly stocky and broad-shouldered. A, B, C, and D must each keep clearly different faces, hairstyles, body shapes, and silhouettes. They must not resemble the protagonist, and they must not resemble each other. No face duplication, no face merging, no identity confusion. Environment: An empty classroom at Hanlim Multi Art School, a Korean performing arts high school in Seoul. Green chalkboard, chalk tray, worn wooden desks, plastic chairs, classroom clock, class schedule poster, discipline/life-guidance posters, cleaning tools, blinds or curtains, wall study materials, and a slightly scuffed floor. Desks and chairs should react naturally to impacts, sliding, shaking, and collapsing when hit. Camera framing rules: Even during kicks, framing should stay around chest-level or eye-level. No low-angle shots under the skirt. Do not focus on legs, thighs, underwear, or fetish-like details. All action framing must prioritize faces, upper-body motion, impact, and spatial choreography. Continuous action and camera choreography: From 0 to 15 seconds, the fight continues without any cuts. The action should be stylish but readable, and every movement must be physically connected. 0–3s: The camera starts behind the protagonist at a slightly low handheld angle, drifting left through the classroom aisle. Opponent A grabs the protagonist's shoulder roughly and says in Korean: "야, 너 지금 뭐 하자는 거야?" The protagonist silently turns and lands one hard straight punch to A's face. At impact, use a very brief 15% slow motion: cheek ripple, dust particles, deep thud. A falls sideways into a desk. The camera dips slightly from the shock, then whip-pans right without cutting. 3–6s: Opponent B charges in from the right. The protagonist steps forward instead of retreating. A short body shot to the stomach. Immediate uppercut to the chin. Without pausing, she drives forward into a flying knee to B's chest. B is thrown backward across or into a desk. The camera follows the forward motion low, then rebounds upward with the impact. 6–9s: Opponent D attacks with two fast punches. The protagonist deflects both strikes with her arms, then flows into a turning backfist to D's face. As D staggers, she continues the same rotation into a spinning back elbow that lands hard on D's jaw or temple. D crashes sideways into two or three desks. The camera arcs around her shoulder and jitters slightly at each impact. No cuts. 9–12s: Opponent C rushes in from the chalkboard side. The protagonist clearly grabs C's collar with her left hand. C's face must be fully visible from the front and clearly different from the protagonist. The protagonist lands one short, hard punch to C's face, then immediately throws a powerful high kick or flying high kick into C's chest. The force sends C backward into the green chalkboard. The protagonist remains in the foreground and never touches the board. The protagonist's face should be side-profile or partially obscured. C's face should be clearly visible from the front at the moment of impact. Their faces must never overlap in frame. Use a very brief 20% slow motion at the chalkboard impact: chalk dust bursts outward, and C slides down the board. The camera pushes up with the impact, then tilts down as C slides. 12–15s: Through the chalk dust, the camera hard-pans right. D makes one final charge. The protagonist sidesteps and lands a tight uppercut to D's chin, followed immediately by a cross. D crashes into a row of desks, causing a chain reaction of collapsing desks and chairs. The camera drifts forward slowly. The protagonist adjusts her loose tie or ribbon and brushes chalk dust off her shoulder. Her expression stays cold and serious. She walks past the camera and exits the frame. Dust floats in the sunlight. Natural ending. =================== Made with Flova #FlovaAI #FlovaCPPshow more

The goal isn’t to make AI look perfect. It’s... to make you forget you’re watching AI in the first place. Seedance 2.5 on DomoAI official Prompt A young Korean woman @[Image 1](image_1) is casually organizing her small apartment kitchen and dining area alone. (Image) provides only her face and hairstyle; She is the only person who appears throughout. @[Image 1](image_1) The environment is a compact, lived-in apartment kitchen connected to a small dining space. The room feels naturally cluttered but comfortable: a few grocery bags near the counter, dishes drying beside the sink, a half-open cabinet, a small wooden dining table with a ceramic mug and unopened mail, a dish towel hanging unevenly from the oven handle, a refrigerator covered with a few small magnets and handwritten notes, and a couple of reusable shopping bags resting near the doorway. Warm orange evening sunlight enters through partially open blinds, creating realistic patches of light across the floor and countertops. Her behavior is quiet, casual, and completely unperformed. She is simply doing ordinary household chores when she unexpectedly notices something behind the refrigerator. The sequence should feel like an authentic personal phone recording rather than a professionally produced commercial or cinematic scene. SHOT 1 — 0–2s: She wipes down the kitchen counter with a slightly damp cloth while casually moving a few everyday objects out of the way. The camera is handheld from a slightly low side angle, as if someone casually holding a phone while standing nearby. The framing is imperfect and slightly tilted. She quietly hums under her breath while cleaning. Audio: cloth rubbing against the countertop, faint refrigerator hum, distant neighborhood ambience. SHOT 2 — 2–4s: As she reaches toward the floor to pick up a reusable shopping bag, she notices something small wedged behind the refrigerator. She pauses and leans down to see it better. The camera quickly tilts downward and moves closer with a natural handheld wobble. She quietly says: "어? 저게 뭐야?" ("Huh? What's that?") Audio remains completely live and imperfect. SHOT 3 — 4–6s: She crouches beside the refrigerator and reaches one hand into the narrow gap behind it. She struggles slightly to reach the object, shifting her body and pulling the shopping bag out of the way. Her sweatshirt naturally wrinkles and moves with her body. The camera moves closer from above her shoulder, briefly losing focus before refocusing on her hand. She murmurs: "잠깐만…" ("Wait a second…") SHOT 4 — 6–8s: She finally manages to pull the object free. It is an old pair of wired earphones tangled into a small knot, clearly something she had forgotten months ago. She holds them in front of her and looks genuinely confused for a moment. She turns the earphones over in her fingers, inspecting them naturally. She says softly: "이게 왜 여기 있어?" ("Why is this here?") No exaggerated reaction. SHOT 5 — 8–10s: Close handheld shot from slightly below eye level. She suddenly recognizes the earphones and gives a small, genuine laugh. Her expression changes from confusion to amused realization. She says: "아… 예전에 쓰던 거네." ("Ah… these are the ones I used to use.") The camera gently drifts closer, with realistic smartphone autofocus briefly shifting between her face and the earphones. SHOT 6 — 10–13s: She looks around the messy kitchen and realizes there are still several things left to organize. She gives a tiny tired sigh, places the old earphones on the dining table beside the mug, then picks up the cloth again. She quietly mutters with a faint smile: "정리할 게 왜 이렇게 많아…" ("Why is there so much to clean up…") She immediately continues wiping the counter. SHOT 7 — 13–15s: The camera slowly backs away toward the entrance of the apartment, still handheld and slightly shaky. She continues casually cleaning the kitchen without acknowledging the camera. The warm evening sunlight remains visible through the blinds while the apartment feels naturally quiet and lived-in. The final moment should feel completely ordinary, as though the recording simply happened to capture a tiny unexpected discovery during a normal evening.show more

RHP Jacob Mayers (LSU Baseball) is an interesting arm... in this year's Draft class. Was outstanding as a true Freshman and pitched his way to a 2.02 ERA with 105 Ks to 58 BB across 75.2 innings en route to taking home Southland Conference Pitcher of the Year honors and being named a First Team Freshman All-American. Took a bit of a step back in 2024 and compiled a 4.58 ERA with an SLC-leading 106 Ks to go along with 76 BB in 70.2 IP. Mayers has a projectable, high-waisted frame at 6'5" and 205-pounds. He doesn't have the cleanest or simplest delivery and he'll struggle to repeat it at times. Mayers has a somewhat abbreviated arm stroke and attacks from an over-the-top slot with present arm speed. Front side will sometimes fly open which has led to command issues, but there's some pretty low hanging fruit to clean up in his operation going forward (Ex: getting more into his lower-half, refining it to become more repeatable). Adding strength and explosiveness will be key. Mayers' fastball is his bread-and-butter pitch. It sits in the 92-95 range, but has been up to 97 out of an outlandish 7-foot release height. His release height is certainly a contributing factor here, but the pitch also averaged an eye-popping 24.3" of ride and nearly 2,400 rpm. Mayers threw his heater a whopping 91% of the time and was still able to generate a 35% whiff rate, including a 30% (!) IZ whiff rate, on it. There are plenty of outlier traits, but his command is below-average. If he can up his competitive pitch % and stay in and around the zone on a more consistent basis, it will make it that much more effective. While his FB is the money-maker of his arsenal, Mayers will occasionally mix in a gyro SL in the low-80s that lacks teeth right now. He's still gaining a feel for the pitch and there is work to be done on it going forward, but it could be a potentially above-average offering in the future. 40/45 currently. One of the biggest question marks with Mayers is the development of a third pitch. He mixed in a handful of mid-to-upper-80s and a couple piqued my interest; one showed some fade to the arm side and another flashed late tumbling life. It's clear he isn't comfortable throwing it yet, but this could be the pitch to develop at least to the point where it's serviceable. Mayers right now is very much a work in progress and all signs right now point to him ending up in a relief role long term. However, he's a very fun, moldable ball of clay to try and develop and get the most out of. As the low hanging fruit continues to get cleaned up—whether it be at LSU or in pro ball—polish will hopefully follow. 5th-8th round pick right now. (📽️: Nicholls Baseball)show more

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 👇show more

Seedance 2.0 on Higgsfield AI delivers some of the... best camera motion, consistency, and creative control I've seen in AI video generation. Full Open-sourced prompts & assets below: SCENE CONTEXT A bright summer afternoon on the coastal road: the young man drives the mint scooter down toward the sea with the young woman riding behind him, arms around his waist — an easy, happy ride past the railway crossing along the water. ACTIVE REFERENCES >> — young woman, 20 years old, 165 cm tall, slender, straight dark brown hair with side-swept bangs pinned by a small black clip, freckles across her cheeks and nose. 100% matches the reference. >> — young man, 22 years old, 178 cm tall, lean, sun-tanned, messy dark hair under a tan baseball cap worn backwards. 100% matches the reference. >> — vehicle: vintage mint-green scooter with a brown leather saddle, chrome mirrors and silver wheels. 100% matches the reference. >> — location: coastal road curving downhill past a railway crossing with yellow-and-black crossbuck signs, utility poles and wires, stone embankment walls, an orange convex traffic mirror on a pole, the open sea with white-capped waves behind. LOCATION MAP The road from >> curves downhill through the midground toward the railway crossing, the sea filling the background beyond it. Stone embankments rise on both sides, the orange convex mirror stands on the right shoulder in the near foreground, utility poles line the curve. Their path: down the curve, past the crossing, along the water toward screen-left. Primary light: bright seaside daylight, sun high, wind off the sea. FIRST FRAME AND SPATIAL BLOCKING The first visible frame already contains >> rolling down the curve with both riders aboard — >> driving, hands on the grips, >> seated close behind him, arms wrapped around his waist, her head just above his shoulder, a full head shorter than him. No empty establishing frame, no delayed reveal. He drives in every segment; she is always the passenger. FORMAT MODE Controlled four-segment multi-shot sequence: one INSERT CUT and two HARD CUTS. Real-time motion at an easy unhurried scooter pace. Every segment is shot handheld — no static shot anywhere in the sequence. OPTICS LENS LOCK SEGMENT 1 = 47° diagonal field of view, standard normal lens character, camera 12 to 15 meters at the roadside, the scooter and both riders full in frame with the crossing and sea behind, straight lines rectilinear, no fisheye. Soft vintage lens rendering: gentle edge softness, mild halation in the bright sky and sea glare, even brightness across the whole frame — no vignette, corners stay as bright as the center. This rendering applies to every segment. LENS LOCK SEGMENT 2 = 29° diagonal field of view, short telephoto character, camera 3 to 4 meters tracking alongside from a following vehicle, close two-shot of their faces and shoulders, the sea streaming soft behind them. LENS LOCK SEGMENT 3 = 29°, camera 1.5 to 2 meters, tight insert on her hands clasped at his stomach, the mint body and brown saddle below, road surface blurring past. LENS LOCK SEGMENT 4 = 47°, camera 10 to 12 meters behind the orange convex mirror on the right shoulder, the mirror large in the near foreground reflecting the road, the real scooter passing through the frame and receding along the sea. No drift mid-segment. CAMERA Handheld in every segment with no exceptions — a real operator at the roadside and in a following vehicle: the frame breathes with shoulder sway and soft micro-tremor visible in every second, small late reframes chasing the scooter and easing back; the tracking shot carries gentle road vibration on top of the hand movement; the insert trembles slightly more; the mirror wide breathes slower but never freezes. No tripod stillness, no gimbal smoothness, no stabilization anywhere. On top, the footage behaves like an old film print running through a projector: constant subtle gate weave, faint exposure flicker, occasional tiny dust specks and hairline scratches, image soft and slightly diffused like an aged 16mm print — never sharp, never digitally clean, no vignette or darkened corners at any moment. ACTION TIMING 0.0s to 3.5s — Roadside wide: the mint scooter putters down the curve at an easy pace, leaning gently with the bend; >> relaxed at the grips, >> pressed close behind him, her hair and skirt hem streaming in the sea wind; they pass the yellow-and-black crossing signs with the white-capped sea glittering beyond. 3.5s HARD CUT 3.5s to 6.5s — Tracking close two-shot: she rests her chin almost on his shoulder and says something teasing into his ear — lips moving without audible words; he barks a laugh, shaking his head, cap holding snug; she grins wide against the wind, bangs whipping, eyes squinting happily. 6.5s INSERT CUT 6.5s to 8.5s — Tight insert: her hands clasped over his stomach, fingers laced, giving a little squeeze as the scooter sways through a bend; the mint body flexes light reflections, the road surface streams underneath in soft blur. 8.5s HARD CUT 8.5s to 12.0s — Wide past the orange convex mirror: the tiny reflection of the scooter slides across the round mirror in the foreground a beat before the real scooter enters and crosses the frame, unhurried, the two of them small against the vast bright sea; she tips her head back and laughs into the wind as they recede along the coast; the engine putter fades. PHYSICS The scooter carries real combined weight: soft suspension compression over road seams, a gentle lean into each bend with both bodies tilting as one, slight throttle sway she counterbalances by gripping tighter; engine vibration trembles through their sleeves; wind at riding speed streams her hair, his tee and her skirt hem backward continuously with fabric flutter; the sea wind adds gusts; the convex mirror reflection tracks their motion with true optics. LIGHTING Bright seaside daylight only — no artificial light. Aged film print look: the sky and the glittering sea bloom into a soft white-gold haze with visible halation rings, gentle glow hanging in the air, creamy highlights rolling off softly. Faded pastel grade of an old print: lifted milky blacks, warm ivory and honey tones over softened sea blues, the mint scooter body reading as a gentle washed pastel green, the orange mirror and yellow-black signs as warm muted accents — never oversaturated; slightly yellowed whites, low contrast, colors gently washed as if the print has aged for twenty years, heavy visible film grain crawling in every frame, delicate haze. Exposure stays natural across the frame — no added vignette, no darkened edges or corners. The whole image reads as an old 2000s Japanese film discovered on a dusty reel. No crisp modern digital look, no cool color cast. AUDIO SFX only, with the worn texture of an old optical soundtrack — slightly muffled, faint constant hiss: the soft putter of the small scooter engine rising and fading with the throttle, wind buffeting past, waves breaking below the road, gull cries, her bright laugh snatched by the wind, the faint tick of the engine at the far end. No music, no intelligible spoken words, no captions, no score. POSITIVE LOCKS Identities lock 100% to >> and >> in every segment — same outfits as their references throughout, her natural 165 cm and his 178 cm with true relative proportions, his cap staying backwards and snug at riding speed in every shot. >> drives in every segment; >> rides pillion with her arms around his waist from first frame to last, hands unclasping never. The scooter stays 100% >> — mint-green body, brown saddle, chrome mirrors — in every shot. Road geography stays consistent with >> across all cuts: downhill curve, crossing signs, embankments, orange mirror on the right shoulder, sea always beyond the road; travel direction constant toward screen-left. Handheld breathing holds in every single segment, and the aged-film texture holds identically throughout: grain, gate weave, flicker, dust, halation and faded grade never weaken, frame stays vignette-free with even corner brightness; no segment turns rigid, stabilized, sharp or digitally clean. Only these two people appear; the road stays otherwise empty, no cars, no train.show more