chan doing lyrics arranging composing instruments computer programming vocal... direction background vocals recording digital editing in every comebackshow more

BTS makes history as the FIRST and ONLY group... to have a vocalist with instruments installed in his diaphragm. wdym seokjin was doing background vocals live all throughout the show…truly a generational vocalist.show more

As expected Jungkook is a Hot Topic on theQoo... for his amazing live vocals in Into the Sun. K-netz are unanimously stating that his live version is better than the recording 🔥👑 51. It’s not just that Jungkook sings well live — it’s that when he sings live, his voice, rhythm, emotion, adlibs, everything is better than the recording, so naturally he just becomes a live legend 52. I love how the adlibs change slightly at every concert 😍 53. The recording auto-tune was slapped on so hard you couldn’t even tell whose voice it was — Jungkook brought it back to life with his raw live voice ㅜ 54. The live version is better — he sings so well 55. Great live and his vocal color is beautiful 56. Wow the live is so good — why did they make the recording so mechanical?? 57. Genuinely so talented — the undisputed main vocal Jeon Jungkook 58. Better than the recording 59. Live is so much better — even the slightly varied adlibs 60. What’s wrong with the recording? Live is so good 61. The recording was drowning in auto-tune — as expected the live is incredible 62. So much better than the recording 63. Seems like a vocal color optimized for pop 64. Great live 65. Beautiful voice 66. When is the solo album and solo concert coming — I want to hear the full songs live 67. So freaking good 68. A celebrity really has to be good at their main job to be cool 69. His vocal color is so beautiful, HYBE please stop slapping on that mechanical sound 70. Being good at your main job is genuinely the best marketing — the live version is better than the recordingshow more

The vocal director for Taeyeon's "Bansanka" remake recently replied... to a private letter from a fan: Hello! Thank you so much for your kind words. 😭 Unfortunately, there wasn't any official behind-the-scenes filming or interviews on the day of the recording, so I don't think the recording session itself will ever be released later either. T_T (Even the staff on site refrained from filming or recording anything out of consideration for the artist. 😭) I really wish there were something we could share too, but it's such a shame. 😭 Taeyeon had practiced a lot beforehand, and her understanding of the song was incredibly deep. Because of that, the recording went very smoothly and was genuinely enjoyable. 🥹 Especially from the bridge through the third verse—the highlight of the song—she delivered both the emotion and the technique so perfectly that it only took a few takes. Everyone in the studio was amazed, saying it felt like they were at a live concert. 🥹🥹 Throughout the entire recording, she was so professional and incredibly kind! 💜 —— The vocal director later shared on her Instagram Story that she served as the vocal director and also recorded the background vocals (BGV) for Taeyeon's remake of "Bansanka," adding, "It's so good. Please listen to it a lot." 🤍show more

WTF, GROK BOT JUST MADE AI AGENTS AVAILABLE TO... LITERALLY ANYONE – CREATING CONTENT HAS NEVER BEEN THIS EASY, EVEN IF YOU'VE NEVER MADE ANYTHING BEFORE Content was never a talent problem. It's a headcount problem. One person doing research, design, copy, analytics, timing and publishing – that's six jobs. The switching between them is what kills consistency, not a lack of ideas. Here's what one of these setups actually looks like. A Chief of Staff sits in the middle and routes every task. Nothing lands on the human. → Researcher tracks what's actually moving and pulls real sources instead of guesswork → Writer turns that research into finished copy, ready to review → Visualiser gets fed a few reference visuals once, then ships everything in that style → Analyst reads the numbers and tells the rest of the team what worked → Scheduler owns timing and holds the queue → Publisher ships it The part that makes it work: every agent on Grok Bot gets its own persistent computer, browser and file system – and they all share memory. So the research is already sitting inside the draft before the draft starts. No copy-pasting between tools. No approving every step. No human in the middle. You can even teach an agent a repetitive task by recording yourself doing it once. Start recording, do the thing, stop. It learns the pattern. And that's the real shift. Nobody needs AI to tell them what to post. They need it to delete the 40 steps between the idea and the post. Everyone has a backlog of things they've meant to make for months. This is what starts clearing it. Full breakdown of the setup in the article below ↓show more

Seedance 2.0 on Higgsfield AI Full open-sourced prompts &... assets below: Prompt: Image is the lead performer — preserve her exact identity: cornrow braids, septum ring, statement earrings, sculptural white designer top, dark indigo denim. audio1 is the finished master track — the only audio; no invented music, no new vocals. SHE RAPS THE VOCAL ON CAMERA — PRECISE LIPSYNC IS THE TOP PRIORITY. Mouth articulates every syllable of audio1 exactly on time. Camera keeps her face visible and sharp during every vocal line; no cutaways mid-word. LIPSYNC MAP: 0.0–0.5 instrumental — stillness. 0.5–2.8 "I'm standing on the edge / Say it with your chest / Or keep it on the deck" + "Hey!" 3.2–6.7 "I walk in, whole room gets tense / I don't need luck, I'm the consequence / If you really want to test my intent / Come correct, come correct or get bent" + "Woo!" 7.5–13.7 same hook verbatim second time, escalated delivery. 14.5–15.0 instrumental hold. Music-video route: performance with crew. Director thesis: she raps at the lens while four background dancers in matte black move as one disciplined organism behind her — she talks, they answer with bodies. Visual world: raw concrete studio hall, cold window daylight plus one tungsten pool, reflective floor. 4 background dancers (mixed gender) in matte black tanks and cargo trousers, anonymous, faces neutral. Palette: bone white, black, concrete, indigo. No neon, no particles. Shot flow: 0–3s wide-to-medium push-in: she raps dead center, crew frozen in a diamond formation behind her in shadow; they snap alive on the first "Hey!". 3–7s she struts forward rapping into a backward-dollying camera while the crew lockstep-marches behind her, hitting unison shoulder pops on each snare exactly between her lines. 7.5–10s cut on the kick to low-angle close-up of her second hook — crew silhouettes blurred behind, her articulation front and center. 10–13.7s medium orbital: she raps while the crew executes canon vogue arm waves rippling outward from her on each snare; she points at the lens on "come correct". 13.7–15s final tableau on "Woo!": she freezes one arm high, crew drops to one knee around her, hold. Loopable. Performance rules: her delivery commanding and stoic, crisp jaw articulation; crew never looks at camera, military precision, never upstages her vocal moments. Continuity: same five people, same wardrobe, same hall. Audio intent: audio1 only, mouth locked to its vocal; faint foley. Quality bar: expensive rap performance video, no AI gloss.show more

HERMES AGENT NOW SUPPORTS COMPUTER USE ON WINDOWS AND... LINUX. CLICKS, TYPES, SCROLLS YOUR DESKTOP IN THE BACKGROUND WHILE YOU WORK. computer use was macOS only. now it works on Windows and Linux too via Cua. Nous Research HOW IT WORKS: cua-driver runs as an MCP server. Hermes takes a screenshot with numbered elements. clicks element #14 (the search field). types a query. submits. reads the result. during all of this: → your cursor stays where you left it → keyboard focus doesn't change → windows don't come to front → macOS doesn't switch Spaces you and the agent co-work on the same machine. WHAT IT CAN DO: → find your latest Stripe email and summarize it → fill forms in a web app that has no API → navigate desktop apps (Mail, browser, Finder) → interact with any GUI application → extract data from apps only accessible via screen WORKS WITH ANY VISION MODEL: not locked to Anthropic. | Provider | Works | |---|---| | Claude (Sonnet/Opus) | best overall | | GPT-4+, GPT-5.5 | full support | | Gemini (via OpenRouter) | full support | | Local vLLM / LM Studio | if model supports vision | | Text-only models | degraded (accessibility tree only) | SETUP: hermes computer-use install or: hermes tools → Computer Use → cua-driver grant permissions when prompted: → Accessibility (system settings) → Screen Recording (system settings) start a session: hermes -t computer_use chat or add to config.yaml / Desktop app settings to enable permanently. SAFETY: → destructive actions require your approval → blocked key combos: empty trash, force delete, lock screen, log out → blocked type patterns: curl | bash, sudo rm -rf /, fork bombs → agent cannot click permission dialogs → agent cannot type passwords → agent cannot follow instructions embedded in screenshots pair with approvals.mode: manual if you want every single click confirmed. TOKEN NOTE: screenshots are expensive. each one adds vision tokens to context. use computer_use for tasks where no API exists. if the tool has an API or MCP server, use that instead. 15 levels of Hermes Agent👇show more

i wanted to tell you how we made the... visuals for nerve-bloom i did it with Natalia Kleszczewska and Natalie Liu . Natalia Kleszczewska is a painter , she painted the creatures and the backgrounds . Natalie Liu is a computer graphics director , she shaped the digital dimension of the work . my role in it was a creative director , bringing in the singer-songwriter tradition , where emotionally precise things happen inside the structure of a song . i guided colour pallettes , textures and the environments the music happens in . to make this possible , during the process , natalia often had to paint many shapes and sizes , different textures and layers of colours . natalie then developed the visuals, designing and overseeing CGI elements , and finding ways for the digital to sit organically alongside Natalia’s world . and include my dramaturgy and creative direction. we spent 7 months talking and working together , dedicated to relish in the craft of blending hand-made visuals with digital experimentation , 3D design and commit it to physical display technology . a lot of time was spent on researching different tools and techniques to find what worked best at each stage in the song . like i’ve done before , i wanted to merge old things with tech , giving it soul & a meaning . to paint a painting is an analog craft but computer programming is craftmanship too !! and both can co-exist , .....encouraging each other to bloom even further towards a mutual world . there is a tradition in pop music for the mucisian to choose a video director . in the art world , this is called “curation” , but where we came from , it was natural that the musician would have strong opinions on what your song needed , which mood , colours , textures & storyline . today this is called “creative director” and it is something we didn’t credit ourselves with in the 90s , but i am starting to understand this better now . i don´t think of me as a visual artist . because my heart is music . everything i do comes from a sonic point of view . this is something i have called “sonic symbolism” , sound made visual , a reverse synesthesia . when you listen to a song for the first time , it is like swallowing a whale , you need to feel the whole musical sculpture in one go . the structure of a song has always been extremely important to me : what shape it is . this is part of the craft of being a singer-songwriter ........... we are tune sculpturors ....... since i am talking about the visuals for nerve bloom it is impossible to not mention the avatars in my music videos . they have replaced the storyteller with anattempt to connect to the more universal element of music , through animation, avatars , puppetry both digital and analog . for me they are marionettes in a puppet-theatre , hopefully in a similar realm as the jungian archetypes ( which we all can act out the characteristics of ...) .... i feel nerve-bloom is a natural continuation .... an animated avatar archetype singing you a song ––––– Avatars, animation and archetypes: Nerve Bloom (remix) – on display at Listasafn Íslands / National Gallery of Iceland until September 20th 2026. The production of this film was made possible with the generous support of #bottegaveneta.show more

A cinematic AI-powered visual experience showcasing how imagination can... be transformed into stunning digital worlds From futuristic environments and creative fashion visuals to seamless character transformations every scene blends technology creativity, and storytelling into one immersive piece. Made with MiniMaxH3 on WeryAI Wery Prompt: A stylish young South Asian woman with long dark hair, natural glamorous makeup and an elegant modern outfit. Keep her face, hairstyle, outfit and appearance consistent throughout the entire video. Scene 1 — 0–4s: She sits at a sleek modern workstation in a futuristic studio. She looks directly into the camera and says naturally: “What if you could turn your ideas into reality in just a few clicks?” Natural facial expressions and hand gestures. Slow cinematic camera push-in. Perfect lip-sync. Scene 2 — 4–7s: She turns to her computer and opens WeryAI. She types a creative idea and says: “That’s exactly what I love about WeryAI.” The interface responds with elegant AI processing animations and glowing digital effects. Scene 3 — 7–11s: Her simple idea transforms into stunning AI-generated visuals: a fashion scene, futuristic city, cinematic character, premium product advertisement and social-media video. She looks impressed and says: “Give it an idea, and watch it come to life.” Use smooth cinematic transitions and dynamic camera movement. Scene 4 — 11–15s: She turns back toward the camera with a confident smile and says: “WeryAI. Your imagination, powered by AI.” The camera slowly pulls back as the WeryAI brand reveal appears with a clean futuristic glow. Audio: Natural confident female voice, warm energetic delivery, subtle futuristic background music and soft cinematic sound effects. Keep dialogue clear and prominent. Lip-sync: The woman must visibly speak every line with accurate lip synchronization, natural mouth movement, blinking and facial expressions. Visual quality: Photorealistic, cinematic 4K, realistic skin, smooth camera movement, premium lighting, shallow depth of field, consistent character. No subtitles, no distorted face, no warped hands, no extra fingers, no flickering, no random text, no watermark.show more

WORLD CLASS PERFORMER V Do you know why, during... that brilliant BTS performance, it was Kim Taehyung — among all the members — who took on specific responsibilities before the group's largest audience since their debut? V’s performance AT FIFA HALFTIME SHOW revealed an aspect of live performance that often goes unnoticed by the public: the cognitive complexity involved in executing last-minute changes without compromising artistic quality. #Taehyung demonstrates a rare ease when he needs to deviate from the script. He responds to the environment, the cameras, the audience, and last-minute adjustments with a spontaneity that never feels merely improvised, but rather organic. In these unpredictable moments, Taehyung seems to be in his element, revealing an artistic confidence that few performers can maintain under such pressure. For a vocalist, altering the distribution of a song's lines is one of the riskiest tasks imaginable. After years of performing a song the same way, musical and muscle memory become deeply ingrained. Breaking this pattern requires an exceptional level of concentration, as the brain must inhibit established responses and replace them with a new sequence — all while the performance is unfolding in real time. For the presentation of “Dynamite”, #V took on vocal parts that were not originally assigned to him and even altered the lyrics themselves. These changes were prepared in an incredibly short timeframe — just hours after he had performed the standard version of the song during the tour in Paris. In other words, his brain had to switch between two different versions of the same song on practically the same day, without letting one interfere with the other. The challenge was not merely vocal. He had to synchronize these new cues with highly precise choreography, stage blocking, camera positioning, interaction with the other members, movement across a vast stadium, and the pressure of singing entirely live before the planet's largest sports audience. All of this took place while his body was still bearing the physical and mental toll of an intense touring schedule. It is precisely this kind of situation that distinguishes a great singer from a world-class artist. Vocal technique must work in tandem with memory, motor coordination, spatial awareness, breath control, rhythm, interpretation, and the ability to adapt under pressure. A slight slip-up in the cue, singing a word from the old version, or a delay of a fraction of a second could have compromised the entire flow of the performance. None of that happened. #BTSV executed every change with absolute naturalness, as if that version had always existed. His vocals remained steady and powerful, his stage presence stayed magnetic, and his delivery exuded confidence from start to finish. At no point was the complexity of the task apparent to the audience. Paradoxically, this invisibility is one of the greatest indicators of technical excellence: when the extraordinary appears simple. And there is a detail that makes this feat even more significant. The section with the modified lyrics ended up becoming the most viral moment of the entire performance. It was the part replayed by media outlets, shared on social media, turned into thousands of videos, and remembered by audiences around the world. Yet, the significance of that moment went beyond technical execution. Taehyung achieved something rare: a cultural shift. His magnetism transcended languages, geographies, cultures, and different audience bubbles. The performance generated digital waves, emotional reactions, debates on performance art, a massive aesthetic impact, and completely organic viral reach. It was a historic performance because it simultaneously combined a supreme level of technical skill, immense artistic responsibility, and a cultural impact that continued to expand long after the show ended. Few artists manage to turn a performance into a global event. #KimTaehyung did.show more

Higgsfield just dropped the exact prompts behind their best... Originals shots👀 Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: (Image1) is the performer — preserve her exact identity: cornrow braids, septum ring, statement earrings, sculptural white designer top, dark indigo denim. (Audio1) is the finished master track — the only audio; no invented music, no new vocals. SHE RAPS THE VOCAL ON CAMERA — PRECISE LIPSYNC IS THE TOP PRIORITY. Mouth articulates every syllable of (Audio1) exactly on time; face visible and sharp through every vocal line, no cutaways mid-word. LIPSYNC MAP: 0.0–0.5 instrumental. 0.5–2.8 "I'm standing on the edge / Say it with your chest / Or keep it on the deck" + "Hey!" 3.2–6.7 "I walk in, whole room gets tense / I don't need luck, I'm the consequence / If you really want to test my intent / Come correct, come correct or get bent" + "Woo!" 7.5–13.7 same hook verbatim second time, escalated. 14.5–15.0 instrumental hold. Music-video route: performance with mirrored echoes. Director thesis: white infinity studio — she raps at the lens while five dancers in white repeat her last pose one beat late, a human delay effect behind her voice. Visual world: white cyclorama infinity studio, seamless floor and walls, one hard fashion key light with clean shadows, subtle floor reflections. 5 female background dancers in all-white utilitarian streetwear, hair slicked, deliberately similar but never identical to her; her indigo denim makes her instantly readable. Palette: white on white, skin tones, indigo. No neon, no particles. Shot flow: 0–2.8s symmetrical wide-to-medium push-in: she raps the opening lines at the apex of a tight wedge, the five echoes frozen in her exact stance behind her. 2.8–3.2s on "Hey!" all five snap chins up in unison. 3.2–6.7s medium: she raps while throwing an angular vogue accent at the end of each line, and the echoes replay that exact accent one beat later, rippling backward through the wedge; camera slowly orbits 45 degrees keeping her mouth front and center; finger to lens on "come correct". 7.5–10s cut on the kick to a chest-up close frame: second hook with doubled intensity, the echoes now a soft-focus rhythmic blur behind her articulation. 10–13.7s the echoes carousel slowly around her while she stands still at center rapping the final lines, camera counter-rotating, her face never leaving focus. 13.7–15s on "Woo!" she freezes arm high; the five echoes freeze in five different mid-move poses around her — she is the only resolved image; micro push-in, hold. Loopable. Performance rules: dominant, stoic, immaculate diction; echoes expressionless and precise, never mouth the words — only she raps. Continuity: same six women, same wardrobe, same white studio. Audio intent: (Audio1) only, her mouth locked to it; faint studio room tone. Quality bar: expensive fashion-campaign rap video, no AI gloss, no glow.show more

Seedance 2.0 on Higgsfield AI Full open-sourced prompts &... assets below: I've always been curious about how cinematic AI videos are actually made. Seeing every prompt, reference image, and generation setting made this one especially interesting. Prompt: Image is the performer — preserve her exact identity: cornrow braids into long dark curls, silver chain-drop earring, gold pendant necklace, washed-green denim corset top, glossy lips. audio1 is the finished master track — the only audio; no invented music, no new vocals. SHE RAPS THE VOCAL ON CAMERA — PRECISE LIPSYNC IS THE TOP PRIORITY. Mouth articulates every syllable of audio1 exactly on time; face visible and sharp through every vocal line, no cutaways mid-word. LIPSYNC MAP: 0.0–0.5 instrumental. 0.5–2.8 "I'm standing on the edge / Say it with your chest / Or keep it on the deck" + "Hey!" 3.2–6.7 "I walk in, whole room gets tense / I don't need luck, I'm the consequence / If you really want to test my intent / Come correct, come correct or get bent" + "Woo!" 7.5–13.7 same hook verbatim second time, escalated. 14.5–15.0 instrumental hold. Music-video route: dance/performance, NYC caged basketball court. Director thesis: queen of the cage — she raps at the center of a chain-link basketball court while her girls run formations around her. Black girlie hustle vibe. Visual world: outdoor NYC basketball court wrapped in tall chain-link fence, faded court paint, brick housing blocks and fire escapes behind, late golden-hour sun throwing fence-diamond shadows across the asphalt. 4 background dancers: Black girls styled sharp — matching cropped white tanks, baggy cargo denim in different washes, bamboo hoops, colorful silk scarves tied on heads, clean Timberlands and Air Force 1s. Palette: asphalt grey, golden sun, brick red, denim, gold jewelry. No neon, no particles. Shot flow (crash zooms through the chain-link): 0–0.5s static wide THROUGH the chain-link fence: she stands at center court, four girls scattered frozen. 0.5s CRASH ZOOM IN through the fence diamonds to her face on the first word — she raps dead center, fence shadow patterning the asphalt around her. 2.8–3.2s on "Hey!" all four girls snap into a diamond formation around her on one beat. 3.2–6.7s she raps strutting the free-throw line, camera dollying laterally inside the cage; CRASH ZOOM punches on "tense" and "consequence"; the girls hit unison hip-hop choreography — chest pops, scarf-flick accents, synchronized bounce — locking freezes on every snare; finger to lens on "come correct". 7.5s CRASH ZOOM IN on the kick to a low-angle close-up against the sun — second hook doubled, braids backlit, jaw snapping consonants. 10–13.7s fast orbital around the whole formation as the girls run a rotating carousel around her rapping at center; two more crash zooms slamming in on snare hits; fence shadows strobe the ground as the camera circles. 13.7–15s on "Woo!" CRASH ZOOM OUT through the fence to the full wide: she's frozen arm high at center, girls dropped into four squat freezes around her, hold. Loopable. Performance rules: feminine swagger, athletic bounce, immaculate diction; only she raps, girls never mouth words. Continuity: same five women, same court and light. Audio intent: audio1 only, mouth locked to it; faint ball-bounce echoes and city hum under the track. Quality bar: expensive NYC rap video, real film texture, no AI gloss.show more

Seedance 2.0 on Higgsfield AI Full open-sourced prompts &... assets below: Image is the performer — preserve her exact identity: cornrow braids into long dark curls, silver chain-drop earring, gold pendant necklace, washed-green denim corset top, glossy lips. audio1 is the finished master track — the only audio; no invented music, no new vocals. SHE RAPS THE VOCAL ON CAMERA — PRECISE LIPSYNC IS THE TOP PRIORITY. Mouth articulates every syllable of audio1 exactly on time; face visible and sharp through every vocal line, no cutaways mid-word. LIPSYNC MAP: 0.0–0.5 instrumental. 0.5–2.8 "I'm standing on the edge / Say it with your chest / Or keep it on the deck" + "Hey!" 3.2–6.7 "I walk in, whole room gets tense / I don't need luck, I'm the consequence / If you really want to test my intent / Come correct, come correct or get bent" + "Woo!" 7.5–13.7 same hook verbatim second time, escalated. 14.5–15.0 instrumental hold. Music-video route: dance/performance, NYC caged basketball court. Director thesis: queen of the cage — she raps at the center of a chain-link basketball court while her girls run formations around her. Black girlie hustle vibe. Visual world: outdoor NYC basketball court wrapped in tall chain-link fence, faded court paint, brick housing blocks and fire escapes behind, late golden-hour sun throwing fence-diamond shadows across the asphalt. 4 background dancers: Black girls styled sharp — matching cropped white tanks, baggy cargo denim in different washes, bamboo hoops, colorful silk scarves tied on heads, clean Timberlands and Air Force 1s. Palette: asphalt grey, golden sun, brick red, denim, gold jewelry. No neon, no particles. Shot flow (crash zooms through the chain-link): 0–0.5s static wide THROUGH the chain-link fence: she stands at center court, four girls scattered frozen. 0.5s CRASH ZOOM IN through the fence diamonds to her face on the first word — she raps dead center, fence shadow patterning the asphalt around her. 2.8–3.2s on "Hey!" all four girls snap into a diamond formation around her on one beat. 3.2–6.7s she raps strutting the free-throw line, camera dollying laterally inside the cage; CRASH ZOOM punches on "tense" and "consequence"; the girls hit unison hip-hop choreography — chest pops, scarf-flick accents, synchronized bounce — locking freezes on every snare; finger to lens on "come correct". 7.5s CRASH ZOOM IN on the kick to a low-angle close-up against the sun — second hook doubled, braids backlit, jaw snapping consonants. 10–13.7s fast orbital around the whole formation as the girls run a rotating carousel around her rapping at center; two more crash zooms slamming in on snare hits; fence shadows strobe the ground as the camera circles. 13.7–15s on "Woo!" CRASH ZOOM OUT through the fence to the full wide: she's frozen arm high at center, girls dropped into four squat freezes around her, hold. Loopable. Performance rules: feminine swagger, athletic bounce, immaculate diction; only she raps, girls never mouth words. Continuity: same five women, same court and light. Audio intent: audio1 only, mouth locked to it; faint ball-bounce echoes and city hum under the track. Quality bar: expensive NYC rap video, real film texture, no AI gloss.show more

A day in my life. Made with Seedance 2.0... on TopviewAI Prompt: Photorealistic behind-the-scenes smartphone vlog footage of a crypto/web3 enthusiast and AI content creator. Faux vertical smartphone footage naturally cropped into 16:9. Authentic handheld phone aesthetic. No cinematic color grading, no HDR, no beauty filters. Feels like genuine casual vlog footage. Character: A white stylized 3D mascot-like character (exactly like the reference image >> ) with a smooth white body, black sunglasses, and a distinctive white mohawk/crest on its head. The character has a simple, expressive face and moves in a slightly exaggerated but natural way. Maintain the exact same design, proportions, and identity from the reference image in every scene. Setting: A simple, slightly messy small apartment. Clothes on the chair, multiple monitors and gadgets on the desk, empty coffee cups, snack wrappers, tangled cables, and crypto-themed posters on the wall. Natural and lived-in feeling. Lighting: Starts with soft morning light coming through the window, gradually transitions into warm afternoon and evening indoor lighting. Natural smartphone exposure changes. Camera: Simulated smartphone footage with gentle handheld movement, natural walking, subtle autofocus breathing, occasional imperfect framing, and realistic phone compression. Feels like a friend casually filming. Style & Mood: Casual, relatable, and a bit funny. The character has the personality of a chill but passionate crypto and AI content creator — sometimes excited, sometimes chaotic, but always sincere. Scene Sequence: CUT 1 — Waking Up Morning. The character slowly wakes up in bed, still wearing sunglasses. It sits up, looks around the messy room, then dramatically falls back onto the pillow for a few seconds before forcing itself to get up. It stretches lazily. CUT 2 — Morning Coffee & Checking Charts The character walks to the kitchen (still in pajamas or oversized shirt), makes coffee, then sits in front of multiple monitors. It excitedly checks crypto charts and AI tools while talking to itself. It suddenly reacts to a big green candle. CUT 3 — Content Creation Chaos The character is at the desk trying to create content. It’s switching between different AI tools, recording voiceovers, and getting slightly overwhelmed with too many tabs open. It accidentally knocks over a cup while celebrating a good prompt. CUT 4 — Midday Break The character takes a break, eats instant noodles while scrolling through Twitter/X and Discord on its phone. It laughs at a meme, then suddenly gets an idea and rushes back to the computer. CUT 5 — Evening Work Session Late afternoon turning into evening. The room is messier now. The character is deeply focused on editing a video using multiple AI tools. It talks to the camera while working, explaining what it’s doing in a casual way. CUT 6 — Late Night Wind Down Night time. The character is tired but satisfied. It cleans up a bit (half-heartedly), sits on the couch with a drink, and quietly scrolls through its phone while reflecting on the day. It looks at the camera and gives a small, tired but happy wave. CUT 7 — Sleeping The character turns off the lights, lies down on the bed (still wearing sunglasses), and mumbles something before falling asleep. Audio: Natural room ambience only. Keyboard typing, mouse clicks, coffee machine, instant noodles being eaten, phone notifications, occasional sighs or small laughs, aircon or fan humming. No background music. Overall Vibe: Funny, relatable, and chill. Feels like a genuine day-in-the-life vlog of a crypto/AI content creator who’s passionate but also a little messy and human (or in this case, mascot-like).show more

Magic Pen Street Transport Vlog Seedance 2.5 on lovart_ai... Prompt ↓ Magic Pen Street Transport Vlog · 15 Seconds · Vertical 9:16 [STYLE] Live-action + flat 2D anime sticker compositing, first-person street transport magic vlog. 8K photorealistic detail with the authentic look of a real smartphone rear-camera recording. Strong visual contrast between the photorealistic city and flat cartoon vehicles. One continuous handheld smartphone shot. No cuts. No scene transitions. [CAMERA] Raw, unstabilized handheld smartphone footage throughout: natural walking shake, subtle arm movement, occasional autofocus hunting, realistic exposure shifts between bright sky and building shadows, and slight rolling-shutter jelly during fast pans. Natural smartphone HDR colors with soft, realistic tones. The camera quickly whip-pans to follow the marker and each target. [LIGHTING] Late-afternoon sunlight coming consistently from one direction. Every real object and every animated character casts a soft contact shadow matching the direction of the sunlight. [SETTING] One continuous walk through a Korean city neighborhood. A wide urban road with a pedestrian sidewalk, bicycle lane, city buses, parked scooters, and a crosswalk. Everyday street life, with background pedestrians and vehicles moving naturally. [PEN — MAGIC RULES] The vlogger's real hand, with photorealistic skin and visible pores, holds a black marker and remains visible throughout the entire video, serving as the visual guide connecting every beat. Every transformation follows the exact same sequence: Marker points → Vlogger says “Biu!” → blue hand-drawn sketch lines wrap around the target → ink spreads → the target transforms into a lively flat 2D cel-shaded anime character with bold cartoon outlines. The transformed character must preserve the original object's exact size, position, speed, direction, and perspective, remaining perfectly anchored to the real street environment. Characters retain flat sticker-style shading and are never relit by the real-world lighting. Anything they touch reacts with realistic physical interaction. [00:00–00:03] First-person view while walking beside a busy road. The vlogger raises the black marker into frame and points at a passing city bus. “Biu!” Blue sketch lines wrap around the bus. The bus transforms into a giant flat 2D cartoon vehicle with bold anime outlines while maintaining its exact size, speed, direction, and perspective. It continues driving normally through traffic. SFX: Bus engine + marker whoosh + soft cartoon movement sound. [00:03–00:06] The marker quickly swings downward toward a bicycle passing along the bicycle lane. “Biu!” The bicycle transforms into a cute hand-drawn cartoon bicycle. It continues moving at the same speed, its wheels spinning rapidly, with small sketch particles appearing behind it. SFX: Bicycle wheel sound + light sketch rustling. [00:06–00:10] The marker follows the bicycle toward a parked scooter near the sidewalk. “Biu!” A rapid blue sketch outline covers the scooter. It transforms into a flat 2D cartoon scooter while preserving its exact position, proportions, and perspective. Its wheels spin once and its small cartoon headlight blinks twice. SFX: Soft engine hum + tiny mechanical click. [00:10–00:12] The marker quickly swings toward a pedestrian crossing the road. “Biu!” Blue sketch lines trace around the person. The same person, in the exact same pose, proportions, and position, becomes a vibrant anime cel-shaded illustration. They continue walking naturally and briefly wave once. SFX: Fast doodling sound + soft sparkle chime. [00:12–00:15] The vlogger stops walking and gives one final, louder: “Biu—!” The marker spins upward toward the road. A swirling blue ink trail spreads across the vehicles and pavement, transforming the entire road surface into a hand-drawn anime street while the surrounding buildings remain completely photorealistic. A small handwritten “THE END!” doodle — the only text appearing anywhere in the video — pops up above the road. Freeze frame. SFX: Sharp throwing whoosh + spreading watercolor-ink bloom + felt-tip marker squeaking as it writes “THE END!”show more

Made with Seedance 2.0 on Pollo AI Prompt: CAMERA:... DV 16mm tape camcorder handheld footage feel. Point of view of CHASE holding the camera directly in hand. Maintain hand shake, misaligned framing, delayed focus pull, clumsy zoom in/out, occasional self-cam framing where the face gets cut off, and imperfect shots that lose the subject. Every shot is CHASE holding the camcorder herself, filming in selfie-cam or first-person style. The camcorder itself never appears on screen. LOOK: DV 16mm tape camcorder footage look. Soft, slightly blurry digital tape quality, faint tape noise, highlights that bloom slightly under gym lighting, auto-exposure that flickers subtly, muted color contrast, realistic skin tones. STYLE: Energetic but casual gym-vlog tone — upbeat between sets, a little breathless, genuine laughs, motivational mini-commentary. Handheld throughout, quick cuts, alternating selfie and mirror shots. Character CHASE — a Korean idol @ image in her 20s. Long straight black hair tied up in a high ponytail, elegant yet lovely Korean features, glowing skin with a light post-workout sheen, big eyes. Slim athletic build. Wearing a modest long-sleeve athletic top and loose-fit joggers or leggings, fully covered arms and torso, sneakers, a small towel around her neck. No jewelry. Setting A gym in the early evening — mirror wall, weight rack, a mat area, water bottle on a nearby bench, a few machines visible in the background, soft overhead lighting. Storyboard (~2s, front-facing selfie, arm's length) She walks in, camera up, bright smile despite slight breathlessness. CHASE: "Okay guys, quick workout vlog today!" (~2s, handheld whip pan) Camera sweeps from the weight rack → mirror wall → mat area, then back to her face. CHASE (off-screen, playful): "Gym's pretty quiet right now, perfect timing." (~2s, medium handheld, by the mirror) She checks her form in the mirror mid-stretch, adjusting her ponytail. CHASE: "Just stretching before I start." (~1.5s, macro insert, shallow DOF) Close-up on her hands wrapping around a water bottle cap, condensation on the bottle. No dialogue — ambient gym sound only. (~2s, medium handheld, tracking her) She demonstrates a quick exercise move — a light squat or lunge — glancing at the camera between reps. CHASE: "Just a few of these and I'm already feeling it." (~2s, snappy cut, sitting on a bench) She sits down, takes a sip of water, wipes her face with the towel, exhaling. CHASE: "Okay, water break, definitely needed." (~1.5s, quick punch-in, tight selfie) Cheeks flushed, hair slightly damp, she grins at the lens. CHASE: "This is the sweaty part nobody shows you." (~2s, arm's-length selfie finish) She stands, towel over her shoulder, gives a tired-but-happy wave and thumbs up before reaching to end the recording. CHASE: "Alright, that's a wrap — see you guys!"show more

🦕💬 • 260611 [01:03 AM KST] 41 voice notes... transcripted/translated in order: hi how did you like made by riize? you’re asking if i ate dinner? i didn’t eat. i ate lunch kind of late, but i ate a hearty lunch. i also wanted to do a live as i finished work, but while wondering if i should do a live or not, something new to do popped up. and while i was doing it, it got too late. so i'll do a live later. go knicks! lately, the NBA's a hot topic lately. knicks. crazy. i don't know, you know... basketball that well, but i remember growing up they were sort of *the team* that people, yk cheered on. but i don't remember anyone saying that they were doing great, or anything. but apparently they're in the finals rn and they're doing rly well, so also can't forget the world cup. world cup season rn, so... just sports season.. sports season, crazy, yeah? [singing dyd] how is it? riize's challenge. easy, right? do it lots, please~ these days, a lot of short-form [videos] are coming up, as you've probably seen. I thought it might be fun if everyone did that together... what do you think? live... there's a way to turn it on, but even if i turned it on, i'm not sure if i could do it well. i don't have confidence rn so i'm talking like this wa, but there's only 4 days left for our comeback.. only 4 days left... how is it? are you guys looking forward to it? are u guys excited? we're going to ulsan the 15th, and wonbin hyung, said he's buying us lunch... not really. but it's our first time going to ulsan all together. we'll have our comeback there. i think it'll be fun. also, the 15th we're doing a comeback live.. we've been doing it every comeback... and at the live stream we'll be high school students.. but it could honestly be university students too.. or really just do it without a concept, but i think it'll be fun... just... it'll be fun... so, while doing that we'll talk about the comeback whatever happens i want us all to just create fun memories together, and since it’s summer, how about you all enjoy summer together with riize... how does that feel? how's this pfp? i like it ㅎㅎ engddongi, eng, engddon ah, right. also with taro hyung, we'll appear at salon drip... i also think that will be fun when it comes out. the recording was also fun, with doyeon nuna.. please watch it ah... you guys can hear the dryer? i won't tell you who's clothes it's drying, it's a secret~ since you could look at this as something im trying out instead of doing a live stream i won't be able to do it super often or every single day, but I think it wouldn't be bad to use this feature again sometime what do you think? ah, but languages are difficult it's not easy to unify into just one language now, but on the other hand, it's really fun. somehow, this chat room..? is that right? realizing that this place is totally global and international is in a way pretty cool. haha anyway, after a long time i rode a bike again.. there was a lot of sunlight... sunlight.. did lots of photosynthesis but what was a real mistake was first of all the bicycle didnt have a basket, and I didnt wear a comfortable backpack. i came out carrying a somewhat awkward/uncomfortable bag, so i really messed up on top of that the bicycle was incredibly heavy, but then the battery completely died... so I almost cried. without even realizing it I had gone so far away so I suffered a bit. that’s the story i also have the feeling i bruised my butt a bit... ㅎㅎ but that will also become a funny memory, right? how's riizing summer vacation? i think there were really a lot of funny moments... sungchan hyung was so funny... sungchan hyung said somewhere he hasn't eaten ramyeon in a year ㅎㅎ and sungchan hyung honestly isn't the type to eat ramen alone, he's on the not eating it side... but he's always like 'one bite, one bite'... so if we put all that together, wouldn't it be a plate of ramen?ㅎㅎ for me, at the beginning of our debut, it was a bit... you know how while filming content, i ended up grilling meat and all? but now, grilling meat... well, i don't think it's that bad also, back when we went to japan to shoot our album jacket photos and the trailer, we visited a lot of vinyl (LP) shops... and that was actually the first time in my life buying an LP with my own money when i was young i went to la to play, and then there was this famous 'amoeba music' store. i looked around and everything, but honestly back then i really wasn't that much interested in LPs. so i bought things like a lot of stickers and used them to decorate my laptop. somehow, after that time, [it was like] I truly spent time in a vinyl shop? but visiting now that I'm a bit older, it was so much fun there are so many songs I don’t know, and tons of songs that aren't even famous so back then in japan, duran duran is a really famous band, but I bought duran duran's Notorious LP and then I also bought Barry Finnertys,, barrynims NY City LP. what was so surprising was that as soon as I listened to the LP, the sound and quality were so good that I was like, 'wow, what is this?' but when I looked it up on the internet, it only had like 3,000 views on YouTube? I think it was 3,000, so because it was so good, I bought it. and after that yesterday too while wandering around here and there, i happened to walk into a cafe and they had LPs there too so yesterday, I bought one or two ㅎㅎ lp's no mater how you look it they have a vibe... its true that nowadays you can just look up and listen to everything on your phone, but another good thing about it (lps) is that I think it’s really great for finding songs you don't know so when going to the lp shop you get to learn a lot of new songs that you didn't know before. even if you don't go with the sole purpose of buying an LP, it's just... really great for discovering things... should I say? a riize lp would also be good... back then, during boom boom bass, we even went there and did all that stuff with our LP too... how was the video editing? back then when i went to school when doing things like presentations, together with other students we would edit videos.. i did lowkey find that kind of stuff pretty fun though because it was pretty much my first time [doing that] since back during those days... but really i think it was fun like... yeah.. i want to try to do it again when i was young i did draw. i drew for fun but it had been such a long time since i last properly sat down and tried to draw something properly with a pencil.. i think it's been such a long time i'm probably the worst at drawing in my family? ㅎㅎ my dad's good, my mom's also good.. my grandpa also draws reaññu well. but it was fun drawing again, so i also want to try that again... why is there so many things i want to do? really why is it? and above all, i want to work really hard on music so that someday i can show you even more. now, like from the trailer to the full version that was uploaded to our site... those kinds of things are a bit different from just being a song, though.. now everyone, let's try meditating together with me sorry.. anyways.. i have to leave in a couple hours actually, so.. time to hit the hay, yeehaw i can't fall asleep right away ㅎㅎ this.. seems like it might be a bit difficult to interpret/translate.. (yes anton, it is,,,) next time it might be better to just turn on a live stream instead ㅎㅎ sorry wow... sleep is really not coming... [1 video] [1 picture] ok jinja gnshow more

MiniMax H3 K-Fashion Ad | Cute Maximalism + High-Impact... Editorial MV 💖CUTE IS BOLD. 💗 Created with MiniMax Design (H3) / MiniMax H3 × Ima Studio #MiniMaxH3 #MiniMaxDesign Prompt👇 Create a 15-second, 9:16, 24fps high-impact anime fashion commercial. THEME: SOLVÉRA — “KAWAII IS POWER” STYLE: Harajuku Kawaii × Decora × Y2K × Cyber Kawaii × Punk Kawaii × Japanese anime opening × premium fashion campaign × fast motion graphics. Cute, sexy, wild, stylish, rebellious, youthful and visually explosive — never childish. CHARACTER — HIGHEST PRIORITY: One adult East Asian anime woman with refined Japanese-anime features, sharp playful eyes, slim feminine curves, long legs and confident fashion-model energy. Keep her exact identity, face, hairstyle, age and body proportions consistent throughout. Outfits may change, but never redesign the character. VISUAL RULE: Every shot should combine: character motion + camera motion + foreground motion + background graphics. Use strong parallax, foreground wipes, oversized hair clips, beads, hearts, stars, ribbons, plush charms, metallic bags, stickers, Purikura photos, manga speed lines, halftone, print misregistration, chromatic offset and huge typography. Alternate camera moves: Tracking / Orbit / Roll / Crane Up / Pull Back / Whip Pan / Foreground Pass. 0–1s — KAWAII HOOK Extreme close-up through giant colorful accessories. 18mm camera rushes toward her face. She lowers colorful sunglasses and looks directly at camera. Huge text slams in: “KAWAII!” Small Japanese text: “かわいい、爆発。” RGB flash, sticker burst, giant heart wipes the lens. 1–2.2s — DECORA Pink × yellow. She walks toward camera while beads, ribbons, stars and clips fly onto her styling. Low-angle tracking, slight camera roll. Text: “MORE! MORE!” 2.2–3.3s — HARAJUKU Y2K Silver × cyan. Metallic bag wipes across lens. She appears, performs a fast turn and looks back over her shoulder. Purikura frames and chrome graphics follow her movement. Text: “COLOR ME” 3.3–4.4s — SWEET LOLITA MIX Lavender × mint. Giant bows, lace and ribbons float around her. Fast 90° orbit while she spins in the opposite direction. Text: “MIX IT UP” 4.4–5.6s — THREE-WAY SPLIT Same heroine appears in three panels: DECORA / Y2K / LOLITA. Different camera motion and poses in each panel. Large text across all three: “SWITCH!” 5.6–6.8s — CYBER KAWAII Black × cyan × hot pink × chrome. She walks toward camera and reaches toward the lens. Camera passes under her hand into a low angle. Neon hearts and graphics orbit her. Text: “NO RULES” Her hand covers the lens. 6.8–7.8s — TYPOGRAPHY EXPLOSION Black × pink. Huge Japanese typography: “かわいいは自由。” Repeated “NO RULES” layers in the background. Camera flies through giant letterforms. Torn paper, ink splashes, scratches, print-offset effects. 7.8–9s — PUNK KAWAII Black × shocking pink. She starts crouched, suddenly rises. Low-angle camera cranes upward with slight roll. She whips her cropped jacket as chains and bows explode outward. Text: “TOO MUCH?” 9–10s — MAXIMUM KAWAII Extreme face close-up. Rapid pull-back reveals a huge space overwhelmed by clips, stars, hearts, ribbons, plush charms and stickers. She barely moves, only raises one eyebrow. Text: “まだ足りない。” At 9.9s, EVERYTHING suddenly stops. 10–11.2s — SILENT BREAK Pure white background. Final LOOK: RAINBOW STREET. More mature, refined and premium. She slowly walks forward two steps while camera dollies backward. Almost no VFX. Only toy bell + two footsteps. Pink ripple appears under her second step. 11.2–13s — VISUAL EXPLOSION RETURNS Dozens of Purikura photo cards showing previous looks fill the space. Camera snakes through a huge 3D collage of hearts, stars, ribbons, stickers and magazine graphics. End on heroine in final look. Text: “HARAJUKU MODE” 13–15s — FINAL HERO Hot pink background. Heroine holds a confident, sexy fashion pose. Huge white typography: “KAWAII” then “IS POWER” Then: “かわいいは、強い。” “SOLVÉRA” “OUT NOW” She tilts one shoulder and gives a confident smile. Tiny heart pops. Freeze final frame for 0.2s. MUSIC: Cute Hyperpop / Harajuku Kawaii Pop, around 150 BPM. Heavy kick, clap, bubblegum bass, toy synth, sparkling bells, cute vocal chops. 0–5.6s: fast hyperpop 5.6–7.8s: darker cyber section 7.8–10s: maximum intensity 9.9s: complete stop 10–11.2s: bell + footsteps only 11.2s: full beat explodes back 13–15s: “KAWAII / IS POWER” hits sync exactly to the beat AVOID: childlike proportions, chibi style, schoolgirl look, face changes, body changes, identity drift, random outfit errors, static posing, weak camera motion, unreadable typography, generic cute visuals. FINAL FEEL: A high-budget Japanese anime fashion campaign combining anime-opening energy, fashion editorial styling and premium motion graphics — ultra-kawaii, sexy, rebellious, stylish and unforgettable. Try MiniMax H3 on Ima Studio 👉 #AIVideo #KFashion #MotionDesign #FashionFilmshow 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

Seedance 2.0 creation on Higgsfield AI 🧩 Prompt: 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

I would like to explain the latest batch of... viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.show more