FULL SEND!! Corn Growing Season Challenges CaseIH Magnum 380CVX... Tractor doing Side Dress Ammonia with John Deere 2510H 23-row High-Speed Anhydrous Ammonia Bar. Corn growing fast... But not fast enough for Brian Pettyshow more

It's nail night! This little man has huge paws... and fast growing nails. He's been carefully introduced to the Dremel and doesn't fear it all. However sitting still long enough is a challenge for him so instead of spending a lot of time getting them really short, he gets just a little buzzed off and a bite of chicken or other high value treat every nail. Because it's a fast session they get done at least once a week. We start off with a quick sniff and paw touches on the Dremel so he's reminded it's a safe thing and essential to getting the treats. As he gets older and has more patience, he'll get longer, better trims and they won't need to be done as often but short sessions now keep him from getting frustrated and starting to really dislike the process. You really don't want an adult 120 pound rottweiler hating nail trims. #PuppyLife 🎥 Kenji doing his pre-pawdicure routineshow more

Bryson DeChambeau hasn’t played since the Ryder Cup and... he won’t be again until LIV Golf Riyadh in February. He says he’s been speed training through the off season though and has a target of reaching a comfortable 200mph ball speed. He’s also been playing table tennis with America’s number 1, Kanak Jha. Speaking to Tom Hobbs from Flushing It Golf, Bryson said: “I’m not playing until Riyadh. I’m going to be going in hot though. I’m sneaky working on my game really hard. “I'm going to start ramping up my speed again. I ramped up my speed in November, got it to where I was pumping over 190 quite efficiently with some slow golf balls and stuff. I got to 200 quite a bit. “I haven’t done much recently though. I was playing some ping pong actually the past couple of days with the number one USA player, Kanak Jha. He's so much fun. Ping Pong is my favourite sport, so I got to learn a little bit from the best in the U.S. He’s twenty first in the world. So nobody's really gotten that high from the U.S. which is sweet. “But I'll get back to speed training right after Christmas and going into the new season, I want to be close to 200. So that's my goal. I’ll just get to a place where I’m super comfortable swinging fast.” The last time Bryson went after speed he gained an enormous amount of mass. He’s come back down through the weights though over the last few seasons and is much healthier for it. But, if Force = Mass x Acceleration, will he look to add more mass again and what’s more important, increasing acceleration or gaining mass? “They're both very important. If you don't have any mass, you can't accelerate it. It's a symbiotic relationship. It's actually more like F equals M V squared, that’s more of the velocity side of it. “You can accelerate too, but what I would say is the most important thing is it's not necessarily the mass or the acceleration, it’s the ability to put pressure onto the club. So you're able to apply pressure and control that through your grip strengths around a circle, that's probably the more important piece. Applying controlled pressure to the golf club like grip pressure. “It's not that you just accelerate the club, because you have to learn how to control the face through that motion as well. So it's all, you know, you can say it's acceleration, but it's a lot of grip pressure stuff. The more you control the grip pressure and how you're moving that grip, I would say that’s more the answer to your question. “And I guess at a certain point there’s dimishning return with, you know, going up in the mass and even down in the mass. There is a sweet spot for swinging a golf club. If you get a speedstick, there's just not enough mass behind it to create the smash factor necessary, and vice versa if it is too heavy, you can’t swing it that fast. “I'll always say swinging and accelerating the club is probably the most important, but the real answer is applying the most pressure to the golf club. The grip pressure. You’re not gripping it tighter, but your hand force into it pulling it and then throwing it around the corner.” Continues in comments thread below. Bryson DeChambeau Crushers GC LIV Golfshow more

🇮🇹🇩🇪 OPINION: ITALY’S FACTORIES ARE BEATING GERMANY AND FRANCE,... AND IT’S NOT ABOUT PRICE... IT’S ABOUT POWER For years, we were told Germany’s engineering and France’s design were unbeatable. Turns out, Italy’s been quietly lapping them in exports. Growing twice as fast as Germany and triple France in the last decade. Not because it’s cheaper. Because it’s better. High-quality goods. Smart production. Tight design. From fashion to food to pharmaceuticals, Italy’s manufacturing is winning where it counts: *global demand*. And this isn’t some lucky streak. Italy’s industry is now the second biggest in Europe, eighth in the world, and pulls in a €120 billion surplus that literally keeps the country’s energy running and books balanced. Factories here invest more, carry less debt, and pay better salaries than both the public sector and services. The tiny firms are shrinking, sure. But the big ones are getting sharper, faster, and richer. The industry’s scaling up, not tapping out. And while Germany stalls and France fumbles, Italy’s holding its own despite sky-high energy costs, a tech transition, and an EU that still doesn’t quite get it. Now Confindustria (Italy’s main industry association and manufacturing think tank) says the next leap is full digital: AI, automation, smart everything. The blueprint’s right there. Italy just needs the political class to stop dragging its feet and back the winners. Because here’s the quiet truth no one wants to admit: Meloni's economy is outperforming Europe’s darlings and doing it with style. Source: il messaggeroshow more

I just ran Gemma 4 31B on @CerebrasSystems at... 1,800+ tokens/sec and it's multimodal. For context: that's 35x faster than a typical GPU endpoint, and the first token (reasoning included) lands in 1.5 seconds. This isn't a benchmark slide, I recorded the inference live. Prompt I used: "Create a simulation of an iPhone. Include at least one working dummy note taking app, a functional notification pulldown, high quality graphics, single HTML file, any libs via CDN." - Generation time: 3 seconds. - Notes app worked. - Notification panel worked. - Rendered first try. This is what wafer-scale inference unlocks, not just "faster," but a different category of product. When generation is this fast, you stop waiting and start iterating in real time. Why this matters: Gemma 4 31B is Google DeepMind's flagship open weight model, Apache 2.0 licensed, dense (not MoE), and built for efficiency over raw parameter count. It scores close to Claude Haiku 4.5 on the Artificial Analysis Intelligence Index (30 vs 29) but runs ~18x faster on Cerebras. It's also the first multimodal model on Cerebras's platform, meaning you can now feed it screenshots, documents, charts, and UI states at wafer scale speed. # Applications I'm most excited about: - Screenshot → Insight: Drop in a dashboard or document screenshot, get structured findings back instantly. no waiting, no batching. - Live UI generation: Full interactive interfaces (like my iPhone sim) generated and rendered in under 2 seconds. - Screenshot -> Patch: Feed it a broken UI + console error, get a minimal code fix and verification steps back. - Computer use & agentic loops: See -> reason -> act - verify, fast enough to keep a human in the loop instead of waiting on the model. - Long context summarization: Full research reports condensed into decision ready summaries you can read and requery in one sitting. The bigger unlock isn't the speed number itself, it's that agentic and multimodal loops (see -> reason -> output -> tool call -> verify -> retry) finally run in real time instead of feeling sluggish. As Logan Kilpatrick (Logan Kilpatrick) put it: "If every model was doing 2,000 tokens per second, you wouldn't build the same product and just have it be faster, you'd build different products." Gemma 4 31B is live now on Cerebras Inference Cloud in public preview. If you're building multimodal, agentic, or real time apps, this is worth testing today. What would you build with such insane inference throughput?show more

Today I’ve been doing a lot of thinking, and... this is from my heart. Thank you Dad for being a wonderful father. Thank you Mom for being truly the best mother! I love you Jessica. It was a blast growing up with you. I wish I could see you all more. Thank you to all my family; aunts and uncles on my father’s side and my mother’s side. Thank you to Adalis for the 17 best years of my life. Thank you Camila for making life exponentially more enjoyable. Thank you to all the pastors who opened their platforms to me at 19,20,21,22. Guys that probably think I forgot about them like Dr. Samuel Bombara, Doug Sayers, and David Sanville. Thank you for helping me get started. Thank you to every pastor who opened their church to me to preach in the last 21 years. I’m filled with gratitude for your kindness. Thank you to Dr. Rodney Howard Browne. My life took an upward turn when I met you. You have been a true, caring friend and mentor. Thank you to our Revival Today family. You’ve never wavered in working to reach the lost. Thank you to our Revival Today Church family in Pittsburgh and now Fort Worth. You hold a dear place in my heart! Thank you to everyone who threatened to kill me for not actually killing me. We all have bad days. But mostly, I want to thank whoever is reading this. You have likely baked me something, encouraged me, or shown me kindness in some way. I hope you know how much I appreciate you. You send me ice cream. You send things you’ve made that express your love, and many times there’s no name attached, so I have no way to thank you. So thank you. You warm my heart. Thanks for caring about me and what I do. Thanks for treating me like your own brother or son. At the risk of sounding creepy, I wish I could hug you today. In 43 years I’ve had very few negative encounters with anyone. People have been so nice to me for no reason. Thank you. But most of all, I don’t know if you read Instagram or not, but thank you Jesus. You saved me. You called me. And then you took me all over the world. I have had so much fun telling people about you and your Word. You’ve kept me extremely healthy and so full of joy. Thank you for 43 years of life. I owe you everything.show more

These honeybees are enough for them. Seedance 2.5 on... TapNow Prompt ABURAME INSECT SWARM VS ARMED MAFIA DURATION: 10 seconds ASPECT RATIO: 16:9 LANDSCAPE FPS: 24 FPS with brief 60–120 FPS slow-motion moments FORMAT: Cinematic Live-Action STYLE: Ultra-photorealistic REAL LIVE-ACTION, high-budget Japanese action thriller, photorealistic human character, realistic insect VFX, cinematic 8K, realistic physics, extremely dynamic camera movement, intense choreography, bright clear daytime. --- CHARACTER — FLEXIBLE USE THE CHARACTER FROM THE PROVIDED IMAGE REFERENCE. The character can wear ANY outfit or character design. Maintain the exact: - Face - Hairstyle - Body proportions - Skin tone - Clothing - Accessories - Overall appearance NO CHARACTER REDESIGN. The character possesses a supernatural ability to control thousands of insects. --- LOCATION — MODERN JAPANESE CITY A busy modern Japanese city street during bright daytime. Narrow urban road surrounded by Japanese buildings, convenience stores, restaurants, apartment buildings, vending machines, parked vehicles, overhead electrical cables, Japanese street signs and pedestrians. Several dark-colored cars are parked around the street. A group of armed mafia-style criminals surrounds the character. The environment must feel like a realistic Japanese live-action action movie. --- ⚔️ ACTION TIMELINE 0–1.5 SEC — MAFIA ATTACK The character stands in the middle of the street. A group of armed mafia members suddenly raises their firearms and attacks. Muzzle flashes appear as they fire toward the character. The character immediately reacts and moves sideways at high speed. CAMERA: Start with a wide street shot. Immediately perform a rapid handheld push-in toward the character. As the gunfire begins, execute a fast whip-pan following the incoming attack, then rapidly track the character's evasive movement. Keep the attackers in front of the character, clearly visible as the threat. --- 🔥 CRITICAL SLOW MOTION #1 As the first projectiles pass extremely close to the character: TIME SLOWS TO 15–20%. The character twists their body and narrowly avoids the incoming attack. Camera performs a fast 180° orbit around the character. Muzzle flashes, smoke, dust and flying debris become highly detailed. After approximately 0.5 second: SNAP BACK TO FULL SPEED. --- 1.5–3 SEC — INSECT AWAKENING The character lands and immediately extends one hand. A deep buzzing begins. Small black insects emerge from beneath the character's clothing. Hundreds become thousands. The insects rapidly pour from the sleeves, collar and back. CAMERA: Fast low-angle push-in toward the character. Extreme close-up of several realistic insects. Then the camera rapidly pulls backward as the swarm expands around the character. The mafia continues attacking from the front, forcing the character to defend against multiple attackers. --- 3–5 SEC — SWARM COUNTERATTACK The character suddenly thrusts one hand toward the mafia. The entire swarm launches forward like a gigantic living black wave. CAMERA: Aggressive whip-pan from the character's hand directly toward the mafia. Immediately transition into a high-speed tracking shot flying alongside the insect swarm. The swarm races down the street. Mafia members attempt to aim and fire, but the insects rapidly surround their weapons and bodies. --- 🔥 CRITICAL SLOW MOTION #2 — SWARM IMPACT The first wave reaches the mafia. TIME SLOWS TO 15–20%. Camera moves extremely close to the attackers. Thousands of insects fly past the lens. The mafia members attempt to shield their faces as the swarm completely surrounds them. Muzzle flashes become frozen momentarily inside the moving insect cloud. Individual insects are clearly visible. SPEED RAMP → FULL SPEED. The swarm suddenly expands outward. The attackers stumble backward and lose their formation. --- 5–7.5 SEC — INSECT HUNT Several mafia members attempt to retreat between parked cars. The character makes a sharp hand gesture. The insect swarm splits into multiple streams. Each stream rapidly pursues a different attacker. CAMERA: Extremely fast side-tracking shot. Camera moves between parked cars. Rapid whip-pans connect each attacker. Use short handheld impact shakes whenever the swarm hits. The character remains in the background controlling the entire swarm. --- 🔥 CRITICAL SLOW MOTION #3 — TOTAL SURROUND All remaining mafia members are suddenly surrounded by the insects. TIME SLOWS TO 20%. Camera performs a dramatic 360° orbit around the giant swarm vortex. The attackers are barely visible inside. Dust, loose paper and clothing move naturally from the pressure of the swarm. The character closes their fist. HARD SPEED RAMP → FULL SPEED. The insect vortex violently contracts. The mafia members are thrown backward onto the street. --- 7.5–9 SEC — SWARM RETURNS The character opens their hand. The entire insect swarm immediately reverses direction. Thousands of insects race back toward the character. CAMERA: Camera rapidly tracks backward while facing the character. The swarm flies directly past the camera, creating an immersive fly-through effect. Then the camera performs a rapid 360° orbit around the character. The insects spiral around the body before disappearing beneath the clothing. --- 9–10 SEC — FINAL SHOT The character stands calmly in the middle of the Japanese street. The mafia members are down in the background. No gore. Smoke and dust slowly settle. A few insects fly through the sunlight. CAMERA: Low-angle shot from street level. Smooth crane-up combined with a slow cinematic push-in toward the character's face. Final insect passes directly across the lens. CUT TO BLACK. --- 🎥 CAMERA PRIORITY The camera must NEVER feel static. Use: - Rapid tracking - Whip-pans - 180° orbit - 360° orbit - Low-angle tracking - Fast push-in - Fast pullback - Side tracking - Handheld impact shake - Speed ramps - Motion blur - Brief 60–120 FPS slow motion IMPORTANT: Slow motion is reserved ONLY for the three critical moments. The rest of the sequence stays fast and energetic. COMBAT BLOCKING The mafia always remains in front of the character during confrontation. The character never turns their back toward the attackers while defending. The camera must clearly establish the spatial relationship: CHARACTER → INSECT SWARM → MAFIA The attackers must remain visually readable even during the fastest camera movement. --- 🔊 AUDIO NO BACKGROUND MUSIC. Realistic cinematic SFX only: - Japanese city ambience - Footsteps - Gunfire - Muzzle flashes - Weapon handling - Bullet impacts against cars and pavement - Clothing movement - Increasing insect buzzing - Thousands of wings - Fast swarm movement - Wind pressure - Impact sounds - Dust and debris During slow motion, the gunfire and insect buzzing become deep and detailed, then rapidly return to full intensity during the speed ramp. --- ❌ NEGATIVE PROMPT No static camera, no slow camera throughout, no excessive slow motion, no random camera movement, no floating camera, no impossible camera physics, no character redesign, no face drift, no hairstyle change, no costume change, no cartoon, no anime rendering, no cel shading, no game graphics, no plastic CGI, no giant insects, no unrealistic insects, no teleportation, no disappearing enemies, no duplicated characters, no blood, no gore, no excessive destruction, no character facing the wrong direction, no mafia suddenly appearing behind the character, no text, no subtitles, no logos, no watermark.16:9.show more

Bedroom chaos turns into midnight confidence with a seamless... transition that hits right on the beat. Seedance 2.5 on DomoAI official Prompt FORMAT 10 seconds, 2 shots. Shot 1: Indoor bedroom, 0.0–5.0s. Shot 2: Outdoor night street, 5.0–10.0s. Transition: seamless hard cut exactly on shoe impact. Style: photorealistic live-action, premium cinematic commercial, realistic movement/physics, authentic handheld cinematography. SHOT 1 — INDOOR BEDROOM | 0.0–5.0s ENVIRONMENT Minimalist young woman's @[Image 1](image_1) private bedroom in daylight; clean, modern, intimate, naturally lived-in. Large curtain several meters behind Sharon, simple desk/console farther behind, minimal personal objects and subtle decoration. Enough depth for subject separation. Background softly out of focus; Sharon remains sharp and readable. CAMERA / LIGHTING Eye-level handheld, medium-wide/full-body framing with room for lateral movement and shoe actions, moderate shallow depth of field. Soft natural daylight, natural skin tones, soft highlights, gentle realistic shadows, warm clean atmosphere. Camera is operated physically with Sharon: lateral tracking, short push-in, reactive pull-back, quick pans, tilts and reframing. Never perfectly smooth or automated; movement is quick, light, imperfect and physically motivated by her actions. ACTION + CAMERA 0.0–1.1s — Sharon enters from RIGHT holding TWO SHOES, one in each hand, and walks toward center. Camera: handheld lateral tracking LEFT, physically stepping sideways while keeping medium-wide framing. 1.1–1.8s — Sharon @[Image 1](image_1) stops near center, raises one shoe toward camera as if showing it, then brings it toward her nose. Camera: short handheld push-in; keep face and shoe sharp. 1.8–2.4s — Sharon smells the shoe, immediately recoils with surprised disgust, pulls her face away and gives a short head shake. Camera: small reactive pull-back, then immediately settle toward her face. 2.4–3.0s — Sharon casually throws the first shoe toward the side of the room. Camera: quick reactive pan following the shoe briefly, then fast pan back to Sinta; believable handheld imperfection. 3.0–3.8s — Sharon shifts sideways, focuses on the second shoe, and throws it vertically upward. Camera: tilt up following the shoe; as it reaches the top of its trajectory, quickly tilt back down toward Sinta while keeping awareness of her and the descending shoe. 3.8–4.4s — Sharon tracks the descending shoe with her eyes, adjusts footing, rotates slightly sideways and prepares a high side kick. Camera: short lateral handheld adjustment keeping body and falling shoe in frame; subtle natural Dutch tilt may develop. 4.4–5.0s — Shoe descends into kicking range. Sharon performs a fast, precise HIGH SIDE KICK: leg extends sharply sideways, torso rotates slightly, supporting leg grounded, arms naturally counterbalance, eyes locked on the shoe. Full real-time. Camera: quick handheld lateral reposition and reactive pan following the kick; frame momentarily shifts with the force. EXACT MATCH CUT — 5.0s Hard cut at the exact moment Sharons extended foot contacts the airborne shoe. The kick is still at full speed and the cut happens DURING the action. Outdoor shot continues the same body direction, leg extension, torso rotation and momentum. SHOT 2 — NIGHT / QUIET CITY STREET | 5.0–10.0s ENVIRONMENT Relatively quiet modern urban street at night with broad paved roadway, streetlights, scattered storefronts, illuminated windows, trees, signage and distant buildings creating layered practical lighting. Sparse distant traffic. Spacious, cinematic, quiet. A WHITE SPORT MOTORCYCLE is behind Sinta and slightly toward one SIDE of frame, not centered directly behind her. Open street creates a clear diagonal path from Sharon to the motorcycle. LIGHTING / OUTFIT Naturalistic night lighting: warm streetlights mixed with cooler ambient city illumination, realistic highlights on black riding outfit, natural reflections on white motorcycle and asphalt, cinematic contrast with realistic exposure. Sharon wears a coordinated black-and-white motorcycle riding set: fitted black racing jacket with clean white shoulder/sleeve panels; fitted black short riding pants with subtle white detailing; compact black knee/shin protection; black motorcycle gloves with small white accents; clean white low-top sport sneakers; white crew socks to mid-calf; loose natural hair; no helmet. Motorcycle: white sport motorcycle. CAMERA Handheld kinetic cinematography. Operator physically follows Sharon using diagonal tracking, short arc movement, reactive panning, slight push-in and quick reframing. Never a perfectly programmed path; camera reacts to her changing body direction. ACTION + CAMERA 5.0–5.5s — HARD CUT. Sharon appears outdoors continuing the indoor side kick: kicking leg extended, torso rotated, momentum continuing. White sport motorcycle partially visible behind her toward one side. Camera immediately reacts. Camera: quick handheld pan/reframe catching the continuing kick trajectory. 5.5–6.3s — Sharon lowers her kicking leg naturally and does not stop. She moves DIAGONALLY across frame toward the motorcycle, forward-diagonal rather than straight backward/sideways, gradually turning torso and hips toward it while moving. Camera: handheld diagonal tracking with slight forward tracking plus lateral shift; keep Sharon dominant while motorcycle remains visible near the side. 6.3–7.2s — Sharon continues diagonally; body progressively rotates toward motorcycle. This is a traveling diagonal turn, NOT a stationary turn-in-place. Feet keep carrying her forward while torso rotates. Camera: short handheld arc around Sharon while continuing diagonal tracking; slight angle change and subtle pan to keep her centered; motorcycle remains partially visible at the side. 7.2–8.0s — SLOW MOTION BEGINS. Sharon is already mid-diagonal movement toward motorcycle. Body continues diagonal rotation; loose hair swings naturally; jacket moves with rotation; movement becomes elegant and cinematic. Camera: slightly smoother handheld character, subtle handheld push-in combined with short arc; stay physically close; motorcycle remains visible toward the side. 8.0–8.4s — Gradually return to normal speed. Sharon completes diagonal rotation and now faces motorcycle more directly. Camera: normal handheld movement; quick reframing keeps Sharon and motorcycle visually connected. 8.4–10.0s — Sharon moves confidently toward the white sport motorcycle, purposeful and energetic. Motorcycle stays slightly off-center. Camera: handheld forward tracking, maintaining medium-wide framing, subtle push-in, then small reactive pan toward motorcycle as Sharon reaches it. End with Sharon immediately beside the motorcycle. SPEED PRIORITY 0.0–5.0s: full real-time; shoe throw and high side kick are fast; match cut at full-speed impact. 5.0–7.2s: full real-time immediately after cut. 7.2–8.0s: subtle slow motion only during diagonal body rotation toward motorcycle. 8.0–10.0s: normal real-time. MATCH CUT PRIORITY Cut exactly on impact. Preserve across the cut: leg extension, torso rotation, body orientation, movement direction, screen position and continuous physical momentum. Location, time of day, lighting, wardrobe and motorcycle may change entirely through the hard cut. The transition must feel instantaneous, physical, stylish and seamless. #DomoAI #DomoAICPPshow more

Would you survive 10 seconds against her? 💀 Seedance... 2.5 on MakeUGC prompt CONTINUOUS ACTION CHARACTER IDENTITY LOCK Image1 = Image1 . Preserve the exact reference face, hairstyle, skin tone, body proportions, outfit Image2 , and accessories. One consistent human character. Fully unarmed. No weapons. VISUAL STYLE Premium Hong Kong action cinema blended with grounded Hollywood stunt choreography. Upscale urban bar at night, glass entrance, dark wooden counter, tables, chairs, bottles, warm practical lighting, realistic glass fragments and environmental destruction. Athletic adult male opponents in distinct outfits. Natural skin texture, realistic body weight, practical stunt impacts. No anime, no video-game visuals, no CGI-looking humans. OPENING LOCK — LOADED FIST TO IMMEDIATE IMPACT The video opens at the exact instant Image1 wearing Image2 has just smashed through the glass entrance. Her body has already crossed the threshold. she lands with flexed knees, torso rotated, ONE HAND TIGHTLY CLENCHED INTO A FIST AND LOADED BESIDE HIS SHOULDER, elbow bent, shoulder engaged, hips already wound up. NO WALKING IN. NO LOOKING AROUND. NO SLOW FIST PREPARATION. NO PAUSE. The first athletic opponent is already charging within striking distance. Naldi immediately drives off the floor and unleashes a devastating cross. Her rear foot pivots, hips rotate violently, and shoulder drives through the target. The fist makes clear contact before the opponent recoils backward into a wooden table. CONTACT → IMPACT → REACTION. Every event is visibly connected. Full-speed glass breach and punch. No slow motion during the opening. COMBAT — HEAVY BOXING Heavy crosses, crushing hooks, compact body shots, rising uppercuts, overhands, shovel hooks, evasive slips, explosive pivots, powerful roundhouse kicks, driving front kicks, and advancing combinations. Every attack uses full-body mechanics: foot pressure, hip rotation, shoulder drive, weight transfer, and natural recovery. Heavy impact does not mean slow movement. Naldi accelerates rapidly between strikes while maintaining balance and physical continuity. FAST MOVEMENT LOCK Sharon moves with exceptional physical speed, but he NEVER teleports. Every reposition must be physically performed through visible footwork, a fast pivot, a lateral burst, an evasive slip, a short explosive step, or a continuous change of direction. Use rapid angle changes, sharp acceleration and deceleration, tight rotational mechanics, and immediate re-entry into striking range. Her feet may briefly blur during extreme acceleration, but her body remains anatomically coherent and follows a continuous trajectory. NO instantaneous position changes. NO disappearing and reappearing. NO supernatural movement. NO energy effects or trails. 00:00–00:01.5 — EXPLOSIVE GLASS BREACH / HEAVY CROSS sharon bursts through the glass entrance, landing with knees compressed and right fist already loaded beside his shoulder. An opponent lunges from one step away. Without pausing, sharon slips outside the incoming punch and explodes forward with a devastating right cross, driven by violent hip rotation and full-body weight transfer. Clean fist-to-jaw contact. Full-speed explosive impact, no slow motion. The opponent crashes backward into a wooden table, breaking it under his weight. Naldi immediately advances toward the next attacker. Camera: Aggressive front-left tracking, sharp impact jolt, continuous movement. Every collision has visible physical cause. 00:01.5–00:03.0 — CROSS / HOOK / BODY SHOT A second opponent attacks with an aggressive right punch. Naldi slips outside the punch using a sharp head movement and a short lateral step. He fires a heavy left hook, pivots on his planted foot, and follows with a crushing body hook. Before the opponent can recover, Naldi changes angle with two rapid physical steps and delivers a powerful cross. The opponent staggers into the bar counter as bottles tumble and shatter. Three distinct attacks, three readable contacts, continuous forward pressure. 00:03.0–00:04.5 — OVERHAND / RISING UPPERCUT A third opponent attacks from Naldi's flank. Naldi rapidly pivots toward him, ducks under the incoming punch, and launches a powerful overhand. He immediately changes level and drives into a rising uppercut. Brief 0.25-second slow motion at uppercut contact, capturing natural sweat movement and the opponent's physical recoil. Snap back to full speed as the opponent collides with a cluster of chairs. Naldi is already moving toward the next threat during the opponent's recoil. 00:04.5–00:06.0 — FAST ANGLE CHANGE / COUNTER A fourth opponent charges from the opposite side. Naldi uses explosive footwork to cut diagonally across the floor, slips past the incoming punch, and rotates tightly into a crushing hook-cross combination. The movement between positions must remain continuous and physically visible. The opponent attempts to block the second strike, but the punch breaks through the guard and forces him backward against the counter. Naldi plants, pivots, and immediately redirects toward the next attacker. Camera whip-pans during the directional change, briefly overshoots, then reacquires the physical punch contact. 00:06.0–00:08.0 — MULTI-ANGLE PRESSURE Two athletic opponents actively attack Naldi from separate directions. Naldi blocks one punch with a compact forearm guard, counters with a heavy cross, then uses a fast pivot and lateral step to avoid the second opponent's hook. He answers with a crushing shovel hook to the torso, followed by an explosive uppercut. The second opponent attempts to grab Naldi but misses as Naldi circles physically around the attacker's shoulder and immediately delivers another heavy hook. The attackers remain active and attempt to recover; neither behaves like a stationary punching bag. The first opponent crashes into a table. The second stumbles into chairs after the uppercut. Each collision follows visible contact. 00:08.0–00:10.0 — FINAL POWER FINISHER The final opponent charges with a heavy right hook. Naldi slips outside the punch with a sharp lateral step, plants his rear foot, and drives a crushing body hook into the opponent. He immediately transfers his weight upward and unleashes a devastating rising uppercut. The uppercut connects cleanly. A 0.3-second cinematic slow-motion beat captures the contact and the opponent's torso recoiling. SNAP BACK TO FULL SPEED. The opponent crashes backward onto a wooden table, which collapses under his weight. Naldi follows through naturally, settling into a relaxed, loose fighting stance with slightly bent knees, effortless footwork, and hands hanging loosely but ready to strike. His shoulders stay relaxed, body subtly swaying with casual confidence as he turns toward the remaining threat. The camera keeps moving at the cut. No rigid guard, no stiff posture, no victory pose. SPEED RAMP — SELECTIVE, NOT CONSTANT Full-speed action is the default. Opening glass breach and heavy cross: full speed, no slow motion. First slow motion: 00:03.0, ramp 0.25-second cinematic accent at rising uppercut contact. Second slow motion: 00:08.0–00:10.0, ramp 0.3-second cinematic accent at final uppercut impact. Exactly two ramp cinematic slow-motion accents. Immediately return to full speed after each accent. Use realistic motion blur during ultra-fast transitions without obscuring the actual mechanics of the strikes. CAMERA Dynamic handheld pursuit, aggressive lateral tracking, low-angle movement, predictive whip-pans, impact-reactive camera shake, and rapid reframing. Follow Naldi's actual physical trajectory. The camera may lag slightly behind sudden acceleration, but must reacquire the attack clearly. Use medium-wide framing for footwork and kicks, tighter framing for selected punches, and wider shots for environmental collisions. Avoid repetitive orbiting, static tripod shots, excessive close-ups, and permanent Dutch angles. AUDIO NO MUSIC. NO DIALOGUE. Realistic glass shattering, shoes scraping across wood, rapid footwork, clothing snaps, heavy breathing, punch whooshes, deep body-shot impacts, furniture cracking, bottles breaking, and bodies colliding with tables and chairs. Each strike follows the sequence: movement → physical contact → impact sound → opponent reaction. Briefly muffle ambience during the two selected slow-motion accents, then snap back to full-speed audio. STRICT REALISM / NEGATIVE PROMPT No teleportation, disappearing, reappearing, instantaneous position changes, supernatural movement, energy trails, lightning, glowing fists, smoke effects, afterimages, clones, weapons, weak punches, childish kicks, repetitive two-hit combinations, robotic choreography, passive opponents, contactless impacts, premature reactions, exaggerated flying bodies, floating movement, excessive slow motion, static camera, repetitive orbiting, anime, game visuals, plastic skin, broken anatomy, blood, gore, subtitles, logos, watermark. CORE DNA: GLASS BREACH → LOADED-FIST HEAVY CROSS → FAST CONTINUOUS FOOTWORK → CRUSHING BOXING COMBINATIONS → UPPERCUTS → PHYSICAL ANGLE CHANGES → TWO CONTROLLED SLOW-MOTION ACCENTS → RELENTLESS HEAVY PRESSURE → RELAXED, LOOSE FIGHTING STANCE.show more

Why is the market selling off today? (Save this).... The semi selloff right now is being driven by a mix of macro fear, profit taking and investors questioning how quickly all of this AI spending will actually pay off, not because demand for AI infrastructure suddenly disappeared. The market is basically trading this chain reaction, the ongoing US Iran escalation pushes oil higher, higher oil keeps inflation elevated, sticky inflation keeps Treasury yields high and that increases the risk of the Fed staying hawkish or even hiking again. That is a terrible setup for semis because many of these companies are valued on the massive earnings investors expect them to generate years from now. When yields rise, those future earnings become worth less today which is why the highest multiple AI and semiconductor names usually get hit first. (I don't think there will be a hike this year). This is also why everything is moving together right now. Nvidia, Micron, Nebius, SanDisk, Broadcom and Applied Optoelectronics are all completely different businesses, but institutions are not separating memory, networking, optics, compute and cloud infrastructure at the moment. They are reducing exposure to the entire AI trade, taking profits in the names that have already run the most and moving into a more defensive position potentially ahead of the Fed. There is also growing pressure around hyperscaler capex. Microsoft, Meta, Amazon and Google are still spending enormous amounts on GPUs, data centers, networking and power but the market is starting to ask when all of that spending will actually turn into revenue and free cash flow. Investors are no longer satisfied with hearing that AI capex is growing. They want proof that the returns are arriving fast enough to justify the valuations already priced into the entire AI ecosystem. That creates a weird situation where hyperscaler capex can continue rising while semiconductor stocks still fall. The market is not asking whether AI spending is growing anymore but rather asking whether it is growing fast enough to beat the expectations already baked into these stocks. Crowded positioning is another major factor. Semis and AI infrastructure stocks have been some of the biggest winners in the market so institutions are sitting on huge profits and many funds own the exact same names. When macro risk increases, investors usually sell the most liquid winners first. That does not mean demand for memory, optics or custom chips suddenly collapsed but rather means investors are locking in gains and reducing risk. Tariffs add another layer because even when they are not directly placed on chips, they can still raise the cost of servers, electrical equipment, cooling systems, construction materials and the overall data center buildout. That makes AI infrastructure more expensive while also adding another source of inflation. Then you have Jensen Huang’s letter to the White House this morning about open weight AI models, which I think is one of the most important long term developments here. Nvidia, Meta, Microsoft, Palantir and several other companies are pushing Washington not to place broad restrictions on open weight AI. OpenAI and Anthropic were notably absent because open models are much more of a threat to their business models. OpenAI and Anthropic benefit from a world where a few closed frontier labs control the best models and companies have to pay them through subscriptions and APIs. Open weight models weaken that advantage because businesses can download a model, customize it for their own use and run it on their own infrastructure or through a neocloud. That is bad for OpenAI and Anthropic because it puts pressure on pricing, margins and the idea that they will control the intelligence layer of the economy but it is very good for the AI ecosystem as a whole over the long run. But the question is what does this mean for all the OpenAI and Anthropic commitments? so that's adding to the fear as well. But with that being said open models make AI cheaper and more accessible. Instead of AI being controlled by a few giant labs, thousands of startups, universities, governments and regular businesses can deploy models themselves. That spreads AI adoption across the entire economy and creates a much larger infrastructure opportunity and that is exactly why Jensen cares. Nvidia does not need OpenAI or Anthropic to win. Nvidia just needs more people using AI. Whether the model comes from OpenAI, Anthropic, Meta, Mistral, Kimi or some startup nobody has heard of yet, it still needs GPUs, memory, networking, data centers and electricity. So open weight AI could actually weaken the model companies while making the infrastructure layer much bigger. More open models mean more companies running inference. More inference means more GPUs. More GPUs mean more HBM, optical transceivers, switches, data centers and power. That is bullish for Nvidia Nebius, Micron, Broadcom , Marvell and Applied Optoelectronics over the long run. So my take is that the current semi selloff is being driven mostly by macro uncertainty, higher oil, rising yields, Fed fears, tariffs, crowded positioning and questions around the return on hyperscaler capex. The underlying AI infrastructure thesis has not suddenly broken. We are not broadly seeing hyperscalers cancel GPU orders, slash capex, abandon data center projects or report that AI demand has collapsed. What has changed is the valuation investors are willing to pay while the macro environment remains unstable. The market is lowering the price it is willing to pay for semiconductor growth but is not necessarily saying that growth is gone. And while Jensen’s open weight push may be bad for OpenAI and Anthropic, it could be one of the best things possible for the AI ecosystem over the long run because it creates more models, more developers, more competition and ultimately much more demand for the infrastructure underneath all of it. Nothing about the AI thesis has changed for me, so I will be going shopping and taking advantage of this sale while the market is selling everything together. I am an analyst at Milk Road Pro, and if you want to see exactly what I am buying, you can join for just $1 using the link below.show more

I spent a month in Shenzhen visiting factories and... robotics companies, and the contrast with the U.S. was striking. While Figure and Boston Dynamics hide their humanoids behind closed doors, Chinese companies have massive showrooms open to the public. But what really stood out wasn't just the transparency, it was how good they are at selling. Take UBTech: they've already sold 1,200 humanoid units at $200k each to factories. And here's the kicker, these robots aren't even that useful yet. They can only pick up and drop boxes at 1/10th the speed of a human, and factories still need to hire system integrators to train them for specific tasks. My theory is that these factories are terrified of getting left behind in the robotics/AI wave. They're investing in new tech not because it's ready, but because they can't afford to wait. The second surprise was the breadth of their robotics portfolio. These companies aren't just building humanoids, they're deploying service robots everywhere: restaurants, hotels, apartments. Consumer robots are cleaning houses, pools, pet waste, dishes. They're covering the entire spectrum. But the education piece shocked me most. I picked up what I thought was a high school or college robotics textbook, it was for primary school. The government mandated AI and robotics education starting in elementary school. Almost every single school in China now has AI and robotics curriculum, complete with education robots so kids can learn by building. They're creating a generation that grows up fluent in robotics and AI. China owns the supply chain and the hardware stack. But here's what I think people are missing: the race isn't just about who can build robots faster or cheaper. The U.S. advantage has always been in the layer between hardware and human, the interaction design, the software intelligence, the intuitive interfaces that make complex technology feel natural. China is building the physical infrastructure, but they're also learning fast. Every deployed service robot, every classroom full of kids building with education kits, every factory running humanoids, that's all data collection at scale. The window for the U.S. to establish its wedge is narrowing. It's not enough to be better at AI or software anymore. We need to be building the integration layer, the intelligence that makes physical AI actually useful, not just impressive in a showroom. Because right now, China isn't just manufacturing robots. They're manufacturing a robotics-native culture, and that might be the most defensible moat of all.show more

john wick seedance text to video prompt： [STYLE /... CINEMATIC SETUP] A 10.5-second, 16:9 photorealistic AAA action-game cinematic rendered at real-time speed with no slow motion. The setting is a cramped, cluttered late-night Asian restaurant connected to a rain-soaked street. Cyan-green fluorescent light, red neon and warm practical lamps create a high-contrast mixed-light environment, with reflections across wet floors and pavement. Shoot with a 35mm spherical lens, shallow-to-moderate depth of field and cinematic motion blur appropriate to the actual speed of movement. Use close shoulder-mounted and handheld coverage, connecting seven short close-combat shots with fast hard cuts. The camera instinctively pans, retreats or drops with each block, takedown and collision while keeping the action and contact points readable. No dialogue, no subtitles and no BGM. Generate only synchronized rain, appliance hum, urgent footsteps, fabric movement, body impacts, gunshots, metal contact and breaking glass. [IMAGE REFERENCES] No external still-image reference. Follow the written character and environment descriptions consistently. If the platform supports reference video, use the supplied video only as a reference for editing rhythm, camera distance, action direction and lighting atmosphere, not for copying a specific actor’s identity. The protagonist remains the same lean, agile man in his early forties throughout the sequence: neck-length black hair swept back, a short beard, a tired but focused face, a slightly wrinkled black suit, white shirt and narrow black tie, all carrying faint rain and wear marks. Preserve his face, hairstyle, body proportions, clothing and screen direction across all seven shots. Keep every opponent visually distinct: a man in a blue work uniform, a bald man in a navy jacket, a heavy man in a black jacket, a bald counter attacker, a red-headband attacker, a red-jacketed armed attacker and a heavy man in a dark green coat outside. [TIMELINE SECOND BY SECOND] 0–1.9s: [Shoulder-height medium close-up, tight lateral handheld tracking, real-time speed] The protagonist stands on screen left, pinning the blue-uniformed attacker against a glass refrigerator with his left forearm and palm. He delivers two compact, weighted elbow and palm-heel strikes. Each impact drives the attacker’s head into the refrigerator door, loosening his white headband and leaving a small blood trace on the glass; the attacker finishes sliding down the door while the protagonist remains standing. 1.9–4.3s: [Medium shot transitioning into a high-angle overhead, shoulder-mounted drop, real-time speed] Hard cut near the restaurant’s rear entrance. The bald attacker in a navy jacket locks the protagonist from behind. The protagonist lowers his center of gravity, traps the attacker’s arm and rotates his hips, throwing him heavily over the shoulder onto the wet floor. The camera drops with them into an overhead view. Kneeling across the attacker’s torso, the protagonist draws a compact black pistol and fires one downward shot; recoil travels through his wrist and the attacker jolts once before becoming still. 4.3–5.9s: [Tight medium shot, lateral handheld follow, real-time speed] Hard cut with both men already upright. A heavy attacker in a black jacket swings from screen right. The protagonist slips outside the punch, allowing it to pass close to his face, circles behind the attacker and locks his shoulder and neck off balance. He presses the pistol close to the side of the attacker’s head and fires. The muzzle flash briefly illuminates both faces; the attacker’s head and shoulders snap backward and his body begins to collapse. 5.9–7.9s: [Counter-height medium close-up, subtle handheld push-in, real-time speed] Hard cut to the restaurant counter. Another bald attacker bends forward and clamps around the protagonist’s waist. The protagonist pins the attacker’s head and neck under his left arm while grabbing a short, rigid pointed utensil from the counter. He drives two compact downward thrusts into the upper shoulder and side of the neck. Each contact bends the attacker’s knees further; a restrained amount of blood marks the shirt and counter edge before the attacker hangs helplessly beneath the protagonist’s controlling arm. 7.9–9.0s: [Two-person medium close-up, fast pan with a short retreat, real-time speed] Hard cut as the red-headband attacker rushes into close range. He throws a wide hook from screen right. The protagonist raises his forearm to block, catches the wrist and pulls it outward, then drives a palm heel and forearm into the attacker’s face. The camera retreats with the impact as the attacker loses his balance and staggers toward the rear right of the frame. 9.0–9.9s: [Low-angle wide shot, slight arc around the action, real-time speed] Hard cut to a wider section of the restaurant. The red-jacketed armed attacker advances from screen left. Holding a long black firearm with both hands, the protagonist uses it as a blunt weapon and swings horizontally from right to left. The weapon strikes the attacker’s upper chest and shoulder, rotating his torso, crossing his feet and sending him off balance toward screen left. 9.9–10.5s: [Exterior rainy-street medium shot, fast parallel tracking, real-time speed] Hard cut outside the restaurant. The protagonist already controls a heavy attacker in a dark green coat and uses his forward momentum to drive the man’s head and upper body into the side window of a parked black station wagon. The glass bursts inward at the contact point, scattering both large and fine fragments. The attacker folds through the broken window while the protagonist regains stable footing beside the car, ending with glass fragments still falling. [STYLE & QUALITY BOOSTERS] Maintain the protagonist’s face, black suit, white shirt, tie, hairstyle and body proportions through every hard cut. The pistol, pointed utensil, injuries and blood marks must appear only in their designated shots and must never morph or change ownership. Throws, recoil, strike reactions, loss of balance and window breakage must show believable weight, inertia and precise contact. Apply motion blur only to rapidly moving arms, weapons, glass fragments and camera-relative backgrounds. No sudden face or costume changes; no extra fingers, fused limbs or inverted joints; no morphing weapons, utensils or vehicles; no foot sliding or rubber-like collision reactions; no blood, bullet damage or glass fragments appearing before physical contact.show more

Unpopular opinion about El Salvador. A TON of workers... here are lazy as hell and i do hope this message reaches many Salvadoreños in the United States. You leave the job site, little will get done and yes tools and materials will disappear. I said it. If you’re going to build a home, start a business, or just hire a few helping hands for that side project, get ready to fire fast. Put in systems of checks and balances, hire solid management, use cameras, and lock up materials. If you have the time or money you or someone you really trust must manage the project on SITE. I’ve hired thousands of people throughout the last few 6 years while personally living in 9 Latin countries and El Salvador has been one of the hardest to work in. El Salvador also happens to be my favorite country at the moment with my favorite people. It’s beautiful, small, has a Chuck E cheese for my daughter but most important, it’s safe for my family. So why is it so damn hard to work with people here? I think it’s because of the civil war. This is going to sound crazy coming from a president of a non profit but free money destroys people. It enables them. It ruins their will to work ultimately creating a lazy and slothful person Over 2.5 million people from El Salvador live in the United States. MANY of them send money every 2 weeks to their aunts, uncles, brothers and sisters, nieces and nephews to “help” them. This has turned into dependency. It has created a cycle of entitlement rather than self-sufficiency. “Why would I work for 10 hours in the sun when I can tell my aunt that I need money for medicine?” There are kids here with no desire to self educate, no desire to work, because they’re sucking the tit of their families in the United States or Canada. 2 of my hardest workers who show up early, never miss a day are these two men in this video. No arms, and an elderly who just wants to work. Their speed compared to a young healthy man is slow in comparison but their will and desire to work is unwavering. They’re inspiring. They are happy at work. They don’t complain. They’re not rich working for me but they are ok. I believe they are hard workers because they were never a part of a welfare system given to them from family in the states. I also believe that the civil war has created a massive divide between the wealthy and the poor. Maybe this already existed but chatting with enough people you can put 2 and 2 together. The socioeconomic divides between the wealthy and the poor. Certain families growing incredibly rich over the suffering of the lower class. People have lost trust, they’ve lost hope. Their views on money and rich people are shaped by past experiences of being taken advantage of. People are sick and tired of making $75 per pay period in the farms of El Salvador. I know that’s a whole other discussion. How do we fix this? I don’t know but I know my mission with casa conejo is to inspire others to work their asses off and to get paid by the sweat of their brows. I want to create a micro economy that allows the poor of the poor to grow! To break the cycle of poverty. To shatter the idea of “we can’t make it in El Salvador” We can and we will by working our asses off and getting paid what we deserve. Once we’re open a percentage of profits will go towards these workers. The rest back into our projects of building schools, running our women’s shelters, feeding the elderly. Let’s do thisshow 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

🦕💬 • 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

wait for what the bride says at the end..... Seedance 2.5 is getting ridiculous made in Fish Creative prompt below 👇 SCENE CONTEXT: A groom in a white tuxedo is late to his own wedding. He sprints across a blooming cliff-top garden with a bouquet of red roses and launches off a 50-meter green sea cliff in a huge, soaring swan dive. A drone hangs high above him, looking straight down as he falls toward a turquoise cove where his bride and guests wait on a floating wedding platform. He knifes into the sea right beside them, climbs aboard soaking wet and hands her the bouquet. She looks him up and down: "You're late." Fast, epic, funny, feel-good. Duration 15s. CHARACTERS AND PROPS: Groom: early 30s, athletic build, olive skin, short dark slicked-back hair, trimmed beard, white tuxedo jacket, black trousers, black bow tie, white shirt, black leather shoes. Holds the bouquet in his right hand. Identical every frame, no morphing, no drift. Bride: early 30s, long dark hair in a loose low bun with small white flowers, fitted ivory satin wedding dress, bare shoulders, small gold earrings. Bouquet: round bouquet of deep red roses and white baby's breath, tied with an ivory ribbon, normal hand-held size. Wedding platform: square floating wooden wedding deck 12m x 12m, white chairs in rows, a white flower arch at the front, a steel swim ladder on the cliff-facing side, anchored in the cove. LOCATION MAP: Mediterranean sea cliff, golden late afternoon. Cliff top: a short garden terrace of magenta bougainvillea, purple lavender, orange marigolds, lemon trees and bright green grass, ending at a low whitewashed stone wall with ivy. Cliff face: 50 meters of sheer rock covered in green shrubs, hanging flowers and white seagulls. Cove below: crystal-clear turquoise water fading to deep blue, sunlit sandy bottom near the rocks, wedding platform floating 12 meters from the cliff base. Background: green headlands, a white hillside village, open sea, warm blue sky. Foreground, midground and background read as separate layers in every shot. SCALE LOCK: Cliff is 50 meters tall, roughly 27 times the groom's height. From the top, the wedding platform reads as a tiny white square on turquoise water and the guests as small dots. The bouquet stays normal hand-held size. FIRST FRAME / BLOCKING: Non-empty opening frame: the groom is already at full sprint toward camera across the flower terrace, frame-center, tuxedo tails flaring, bouquet raised high in his right hand, bougainvillea petals bursting around his legs, the open sea and sky behind him. Nothing is frozen. Rule of thirds. FORMAT MODE: Timed multishot, exactly TWO HARD CUTS, at 0:03 and 0:10. Shot 1 real-time. Shot 2 slow motion, one speed start to finish. Shot 3 real-time. Each shot is one unbroken take. The camera does not cut on its own. OPTICS: SHOT 1 (0:00–0:03): wide at 84° FOV, FPV drone flying backward 2 meters in front of the groom, no drift mid-segment. SHOT 2 (0:03–0:10): super-wide at 107° FOV, top-down overhead drone 4 meters above the groom looking straight down, zero distortion, straight rectilinear edges, deep focus, no drift mid-segment. SHOT 3 (0:10–0:15): medium-wide at 47° FOV, low angle at deck level on the wedding platform, no drift mid-segment. 180° shutter motion blur, rectilinear with anamorphic optical flares from the low sun. CAMERA: Shot 1: FPV drone reverses fast in front of him across the terrace, then rises and swings over his head as his foot hits the wall, operator axis on the shadow side. Shot 2: overhead drone locked straight down above him, falling in perfect sync, groom centered in frame with arms spread, the whole cove, wedding platform and cliff base spread out far below and slowly growing. Shot 3: handheld at deck level with 1–2cm tremor, a fast push-in as he climbs the ladder, settling on the couple. Wide tonal latitude, soft highlight roll-off. ACTION: 0:00–0:02: The groom sprints four long explosive strides across the terrace, ducks a lemon branch, scatters petals. 0:02–0:03: He plants his left foot on top of the whitewashed wall and drives off with full force, launching high and far out over the sea, arms sweeping wide. HARD CUT 0:03. 0:03–0:08: Slow motion, top-down. A long, soaring swan dive: back arched, chest open, arms spread wide like wings, legs together and straight, toes pointed. Bouquet held out in his right hand, red rose petals peeling off and swirling up past the lens. Tuxedo jacket ripples in waves, bow tie flutters. Three white seagulls glide beneath him. Far below, the tiny guests turn their faces upward and point. 0:08–0:10: Still slow motion. He rotates smoothly into a tight feet-first pencil, arms locked overhead with bouquet raised, dropping away from the camera toward the turquoise water. HARD CUT 0:10. 0:10–0:11: Real time. He knifes into the water 4 meters from the wedding platform, a tall white splash column erupting, rose petals drifting down onto the foam. 0:11–0:13: He bursts up through the surface, bouquet held high, grabs the ladder and hauls himself onto the deck in one move, tuxedo streaming water, hair plastered to his forehead. 0:13–0:15: The bride stands under the flower arch, arms crossed, looks him slowly up and down and takes the bouquet. She delivers her line. He grins and delivers his. Guests burst out laughing and cheering, a burst of white petals launching over the arch. PERFORMANCE: The groom sprints with fierce urgency: jaw set, eyes locked on the sea. Mid-dive his face is calm and focused, breaking into a wild grin before the tuck. On deck he is breathless, chest heaving, grinning sheepishly. The bride keeps a stern face, one eyebrow raised, lips pressing hard to fight a smile, the corner of her mouth finally twitching up. Guests react with real surprise: hands on heads, jaws dropping, phones raised. Pore-level realism: vellus hair, asymmetric moles, capillary flush, seawater beading on skin and beard, wet living eyes with catch-lights, visible breath and chest rise. Restrained and human, never cartoonish. Top-tier cinematic restraint. PHYSICS: Mass and inertia carry through the sprint, takeoff and dive: a strong push-off from the wall, a clean high arc, then gravity taking over. In slow motion every petal tumbles with its own spin and weight and fabric ripples in smooth waves. Water entry throws a tall splash column and a ring of white foam, droplets falling back for two seconds. Soaked fabric clings and streams water, wet footprints spread on the wood. Wedding platform rocks gently when he climbs aboard. No floating props. Correct contact shadows. LIGHTING: Low golden-hour sun from frame-left, warm rim light on hair, skin, petals and spray, his long shadow stretching across the turquoise water in the overhead shot, sun glints dancing across the cove, caustic light patterns on the sandy seabed. WB locked 5200K. Camera on the shadow side. Soft sea haze 10% over the far headlands. COLOR GRADE: Lush emerald greens of grass and cliff shrubs as the base. Magenta bougainvillea, purple lavender, orange marigolds and yellow lemons glowing in the warm light. Crystal turquoise water deepening to cobalt. Crisp white tuxedo, ivory dress and white platform as the bright center. Deep red roses and red petal swirl as the hero accent. Golden skin tones. Rich, vivid, sun-kissed, never neon. Color tied to source and surface, not a flat list. AUDIO: Music and SFX. Score: a punchy upbeat orchestral-percussion track kicking in on frame one with a hard drum hit, building fast through the sprint. On the takeoff the music cuts to total silence, then one soaring sustained string note through the slow-motion dive with soft wind and seagull cries. On the splash the full track drops back in with a huge brass-and-drum hit and runs bright through the ending. SFX: dress shoes slapping stone, branches whipping, a sharp scrape on the wall at takeoff, deep water impact boom, rushing bubbles, gasping breath, dripping water, ladder clank, guests gasping then roaring with laughter. Dialogue in English: Bride, arms crossed, deadpan: "You're late." Groom, breathless, grinning, dripping: "Traffic." No subtitles. WARDROBE: Groom's tuxedo stays white with black trousers and bow tie, fully soaked after the dive. Bride's ivory satin dress stays dry and clean. Flowers stay in her hair throughout. STYLE: 8K photorealistic. No 3D render, no game engine, no game-cutscene aesthetic. Premium cinematic commercial look with real stunt-footage energy, naturalistic master cinematography, fine film grain. OUTPUT SETTINGS: 15 seconds, 16:9, 24fps playback. Shot 2 rendered as smooth high-frame-rate slow motion. Fine film grain. Smooth FPV texture in Shots 1 and 2. Natural handheld texture in Shot 3. POSITIVE LOCKS: Exactly two hard cuts, at 0:03 and 0:10. Shot 2 is slow motion start to finish. Shots 1 and 3 are real time. Shot 2 stays straight top-down the whole time. Same groom face, build and tuxedo across every cut. Same bride face, hair and dress throughout. Bouquet stays in the groom's right hand until he hands it to the bride, normal hand-held size, losing petals only during the dive. He enters the water feet-first, clear of the platform. Wedding platform stays anchored, white, and in the same spot. Flowers, greenery and water stay vivid and natural throughout. Eyes stay natural. No eye glow. Contact shadows read clearly on stone, deck and water. Clean frame with no logos, no UI, no text overlays, no subtitles. The couple keep a small distance from each other at the end. The video ends on the bride holding the bouquet with her stern face cracking into a smile, the groom dripping and grinning, guests laughing under the petal burst and the music at full swell.show more

PROMPT: Generate a continuous 15-second premium live-action broadcast TV... commercial for a high-performance family kitchen blender, designed as an energetic, polished consumer-appliance advertisement emphasizing FAST BLENDING POWER. The commercial must tell a complete miniature visual story within exactly 15 seconds: a busy family needs breakfast quickly, fresh ingredients enter the blender, one touch unleashes powerful high-speed blending, a thick mixture transforms almost instantly into a perfectly smooth fruit smoothie, the family enjoys the result, and the commercial ends on a clean hero product shot with the promise: “Smooth in Seconds.” Maintain a consistent high-end contemporary commercial visual style throughout the entire sequence: photorealistic food photography, tactile ingredient detail, premium appliance surfaces, energetic but controlled camera movement, crisp natural highlights, appetizing freshness, believable family warmth, and polished broadcast-advertising finish. Shoot as if captured on an ARRI Alexa 35 cinema camera using a coordinated set of 24mm, 35mm, 50mm, 85mm, and 100mm macro cinema lenses. Preserve realistic perspective, physically plausible motion, natural depth of field, smooth highlight roll-off, subtle cinematic contrast, clean skin tones, rich food texture, controlled motion blur, and sharp product detail. The entire commercial takes place during one continuous bright weekday morning in the SAME modern family kitchen. The kitchen has warm off-white cabinetry, pale natural-oak counters, a large sunlit window frame-left, brushed stainless-steel fixtures, a small breakfast table in the background, subtle family-life details, and a clean uncluttered countertop. Warm morning sunlight enters consistently from frame-left at approximately 5200K, supplemented by soft interior fill, producing gentle directional shadows and bright natural reflections. Maintain the same architecture, counter layout, window position, furniture, appliances, background objects, lighting direction, and color palette throughout every shot. New camera angles reveal different perspectives of the same physical kitchen and must never create a different-looking location. LOCKED PRODUCT: one premium family countertop blender with a compact matte-silver motor base, black control panel, one illuminated circular speed control, large clear 1.8-liter blending pitcher, black fitted lid, stainless-steel blade assembly, sturdy black handle, and subtle unbranded front badge area. The blender’s shape, proportions, materials, controls, pitcher geometry, lid, handle, blade assembly, reflections, scale, and countertop position remain identical throughout every shot. It begins centered on the main kitchen counter and never changes location. LOCKED INGREDIENTS: fresh strawberries, banana pieces, blueberries, mango chunks, Greek yogurt, milk, and several ice cubes. Ingredients must retain recognizable colors and textures before entering the pitcher. Once added, object permanence must be respected: ingredients cannot reappear outside the blender. During blending, the mixture must transform physically and continuously from visibly chunky fruit and ice into a uniform thick pink-red smoothie. LOCKED FAMILY: a mother in her mid-30s with shoulder-length dark brown hair wearing a soft beige knit top and blue jeans; a father in his late-30s with short dark hair wearing a pale blue casual shirt; an approximately eight-year-old daughter with dark brown hair in a ponytail wearing a muted yellow T-shirt; and an approximately six-year-old son with short brown hair wearing a light green T-shirt. Preserve their exact ages, facial identity, hairstyle, wardrobe, body proportions, and appearance whenever visible. Their expressions progress naturally from hurried anticipation to impressed surprise to relaxed enjoyment. Avoid surreal food behavior, floating ingredients, impossible liquid physics, teleporting objects, changing blender geometry, inconsistent pitcher fill levels, duplicated fruit, warped hands, extra fingers, changing wardrobe, altered kitchen architecture, random background changes, excessive lens distortion, unreadable product geometry, fake plastic food textures, excessive camera shake, oversaturated grading, artificial CGI appearance, flickering light, exposure shifts, continuity resets, jumpy object positions, text artifacts, random labels, logos, watermarks, or unrelated products. 00:00–00:02.0 — OPENING PROBLEM / FAMILY MORNING RUSH. Begin with a dynamic 24mm wide establishing shot from approximately countertop height, looking diagonally across the kitchen while preserving a left-to-right spatial axis. The mother moves briskly toward the counter from frame-left as the two children wait near the breakfast area in the background, visibly eager and short on time. The father passes behind them preparing to leave. Morning sunlight streaks naturally through the frame-left window. The locked blender is already visible on the counter as the visual anchor, positioned prominently but naturally in the foreground-right. Use a smooth fast dolly-in toward the blender rather than a hard zoom. Small breakfast details suggest a busy school morning without cluttering the frame. Sound begins with subtle morning kitchen ambience, quick footsteps, a chair movement, and upbeat rhythmic music immediately establishing urgency. No spoken dialogue. 00:02.0–00:04.0 — INGREDIENT SPEED MONTAGE. Match-cut into a rapid sequence of three extremely concise food-preparation inserts totaling exactly two seconds. First, a 100mm macro close-up catches vivid strawberries and blueberries dropping into the clear pitcher, with realistic gravity, bounce, moisture, and fruit texture. Cut to banana pieces and mango chunks entering from above, maintaining the exact pitcher position and increasing fill level logically. Cut to a tight side insert as Greek yogurt, milk, and ice cubes enter last. Use crisp impact sounds synchronized with each ingredient: thump, splash, clink. Each insert changes visual information and advances the preparation; never repeat the same composition. Camera movement is minimal and precise so the speed comes primarily from editorial cutting. The blender remains OFF throughout these inserts. 00:04.0–00:05.2 — ONE-TOUCH ACTIVATION. Cut to an 85mm close-up from a low three-quarter front angle of the blender control panel. The mother’s right index finger enters naturally from frame-left and presses the illuminated circular control exactly once. Show believable fingertip compression against the control. The instant contact occurs, the control illumination brightens and the motor begins. Add a precise tactile click followed immediately by a confident rising electric motor sound. Use a subtle fast push-in timed to activation. The hand exits naturally; do not show multiple presses. 00:05.2–00:08.2 — POWER DEMONSTRATION / HERO BLENDING MOMENT. Cut to a dramatic but physically realistic 50mm close three-quarter view of the entire pitcher. The motor accelerates rapidly. Ice cubes and fruit initially tumble downward toward the stainless-steel blades, then form a powerful controlled vortex. Show the transformation continuously: recognizable strawberries, blueberries, banana, mango, yogurt, milk, and ice become progressively smaller and more integrated until the mixture turns into a completely smooth, thick pink-red smoothie. The action must communicate exceptional blending speed without supernatural physics. Condensation begins subtly on the outside of the pitcher. Tiny droplets and believable internal turbulence catch the frame-left morning light. During this three-second power demonstration, execute a controlled semicircular camera move of approximately 35 degrees around the front of the blender without crossing the established spatial axis. Begin slightly frame-left of the product and finish near frontal three-quarter. Maintain the blender base completely stable on the countertop with no unrealistic vibration or sliding. Use one brief 100mm macro insert lasting approximately 0.5 seconds to reveal the high-speed vortex and disappearing final fruit fragment, then return immediately to the matching three-quarter product angle. Sound design intensifies with a strong smooth motor whirr synchronized to the vortex, layered with the upbeat music. At approximately 00:07.6, the last visible fruit fragment disappears into the vortex. By 00:08.2 the mixture is visibly uniform, silky, and completely smooth. This transformation is the commercial’s core proof point: FAST BLENDING POWER. 00:08.2–00:09.5 — INSTANT RESULT. The motor stops cleanly. Cut to a 100mm macro beauty shot looking through the clear pitcher wall at the perfectly smooth smoothie surface settling from a gentle spiral into a glossy, uniform texture. A small central swirl collapses naturally. No chunks remain. Condensation beads on the exterior catch bright highlights. Use shallow depth of field while retaining enough pitcher edge detail to identify the product. Sound drops from the motor into a satisfying soft stop, followed by a subtle musical accent. A confident female voice-over begins: “Powerful blending…” 00:09.5–00:11.5 — POUR AND PROOF. Match the circular smoothie motion into a 50mm close-up of the mother tilting the same pitcher and pouring the thick smoothie into two clear family drinking glasses on the same countertop. The liquid forms a smooth continuous ribbon with realistic viscosity and no splashing errors. The pitcher’s remaining fill level decreases correctly. Camera tracks gently with the pour from left to right. The daughter and son appear softly out of focus beyond the glasses, watching with excited expressions. As the glasses fill, rack focus briefly from the flowing smoothie to the children’s delighted reaction. Voice-over completes: “…smooth results in seconds.” 00:11.5–00:13.0 — FAMILY PAYOFF. Cut to a warm 35mm medium shot at the breakfast counter. The two children each take one synchronized first sip from their filled glasses, then immediately exchange impressed smiles. The mother stands behind them with a relaxed satisfied expression while the father takes a filled travel cup and moves toward frame-right, suggesting the blender has saved valuable morning time. Keep performances natural rather than exaggerated. The blender remains visible in the background on its original counter position, recognizable and unchanged. Morning sunlight and the same warm neutral palette continue without variation. The music opens into a bright satisfying resolution. The daughter gives a quick authentic smile and says: “That was fast!” 00:13.0–00:15.0 — PRODUCT HERO / BRAND END FRAME. Use a clean visual match cut from the child’s smoothie glass to the locked blender standing alone in a polished hero composition on the SAME kitchen counter. Shoot on an 85mm lens at slightly below pitcher midpoint for a confident premium product perspective. The blender occupies the center-right of frame while a freshly poured smoothie glass, two strawberries, several blueberries, and one mango slice form a restrained ingredient arrangement in the lower foreground-left. These garnish ingredients are separate presentation ingredients introduced only for the hero composition and must not imply that previously blended ingredients have magically reappeared. Create a slow controlled 5% push-in during the final two seconds. Frame-left morning sunlight creates a clean edge highlight along the clear pitcher and matte-silver motor base. Maintain realistic reflections, exact product geometry, and crisp separation from the softly defocused kitchen background. At 00:13.3, introduce a clean broadcast-safe text overlay in the negative space on frame-left: “FAST BLENDING POWER” At 00:14.0, transition cleanly to the primary campaign line: “SMOOTH IN SECONDS.” Below it, smaller: “POWER FOR EVERY FAMILY MORNING.” Typography is modern, bold, minimal sans-serif, perfectly legible, horizontally aligned, broadcast-safe, with no distorted letters and no unnecessary graphical effects. Keep all typography outside the physical blender silhouette. Voice-over, confident and warm: “Fast power. Smooth mornings.” End exactly at 00:15.0 on a perfectly stable hero frame with the blender sharply resolved, smoothie glass visible, campaign line readable, music landing on a clean sonic logo accent. CAMERA AND EDITING RULES: Use motivated cuts whenever subject, visual information, camera position, action, or emotional emphasis changes. Maintain energetic medium-fast commercial pacing: wider contextual opening, rapid ingredient inserts, tactile activation close-up, high-energy blending demonstration, sensory result macro, fluid pouring shot, human reaction payoff, then a slower premium hero landing. Preserve the established 180-degree axis throughout. No camera crosses the axis unless visibly motivated, and no silent changes in object placement occur between cuts. Maintain consistent camera height for matching shot types. Screen direction remains left-to-right for preparation and family movement. Every shot must introduce new action, information, perspective, reaction, or product proof. AUDIO DESIGN: Begin with subtle morning kitchen ambience under upbeat modern percussive music. Synchronize fruit impacts, ice clinks, control click, motor acceleration, vortex intensity, motor stop, smoothie pour, drinking sounds, and final sonic logo precisely to picture. The blender motor must sound powerful but refined rather than harsh. Duck music naturally beneath the voice-over and daughter’s dialogue. No audio clipping or abrupt ambience resets between cuts. VISUAL COLOR SYSTEM: warm off-white, pale natural oak, matte silver, fresh strawberry red, blueberry blue, mango golden-yellow, and creamy smoothie pink-red. Preserve natural skin tones and realistic food saturation. Use a premium contemporary commercial grade with moderate contrast, soft highlight roll-off, clean whites, controlled blacks, and no teal-orange exaggeration. MOVEMENT AND PHYSICS: All hands interact correctly with objects. Ingredients obey gravity. Liquid volume remains continuous. The pitcher fill level increases when ingredients are added, decreases when smoothie is poured, and never resets between shots. The blender stays physically planted on the counter during operation. The motor vortex follows plausible fluid dynamics. Hair, clothing, reflections, condensation, shadows, and liquid motion react naturally. Maintain strict character consistency, product consistency, object permanence, environment continuity, lighting continuity, and forward-only time progression across the full sequence. Render the final commercial at 24 fps, 16:9 broadcast aspect ratio, UHD 3840×2160 resolution, high-bitrate cinematic master quality, natural 180-degree shutter motion blur, realistic cinema-lens behavior, subtle fine sensor texture, clean compression, no visible digital artifacts, no temporal flicker, no frame interpolation artifacts, and photorealistic high-end commercial rendering. Preserve sharp product edges and legible end-frame typography while allowing natural depth-of-field falloff. The entire finished sequence must be EXACTLY 15 seconds long. Do not extend or shorten any beat. The central visual message must be immediately understandable without dialogue: a busy family morning becomes easier because this family blender turns whole ingredients and ice into a perfectly smooth drink with exceptional speed. The emotional progression is urgency → activation → power → instant proof → family satisfaction → premium product promise. Final audience takeaway: FAST BLENDING POWER. SMOOTH IN SECONDS.show more

The agents that run my LinkedIn outreach are currently... getting a 55% reply rate on cold outreach and are generating hundreds of signups for me completely on autopilot. I packaged the exact system into a skill that works for any harness so you can copy it for yourself. Heres why this system prints qualified replies: most outbound starts with a list out of apollo, zoominfo or clay. firmographics. who could buy. that list is cold on arrival because "could buy" and "is thinking about this right now" are two different lists. so mine starts from linkedin posts my buyers are already reacting to. that also means every person on the list actually uses linkedin, since they just reacted to a post on it. most people don't, so a message to a normal list mostly sits unread. across the client accounts i've worked on, an apollo-style list usually gets about 1/10th the reply rate of one built this way. the posts come from three places: buyers posting about the problem themselves (hiring for it, breaking under it, shopping for a fix), a watchlist of my competitors and the creators my buyers follow, and the topic itself. when a buyer writes the post, the author is the best lead on it. anyone reacting to a competitor's product post is already shopping. every search is written in the words buyers actually post in, because vendor jargon only finds other vendors. it pulls everyone who reacted or commented, drops anyone i've already contacted plus competitors and their staff, and scores each person 0 to 100 against my ICP with the reason written on the row. anyone under the bar is gone before i've paid for their email. this is the part everyone skips. for every lead that clears the bar, it reads their website, their LinkedIn profile & anything else it can find about them on the internet, works out what agent would actually help their operation, and builds it. a real one, sitting there, with a claim link. so i am not sending "quick question about your outbound." i am sending "i built you an agent that does X for your company, want me to send over the link?" it sequences that into heyreach for linkedin and instantly for email, then runs the inbox. anyone who has done outbound knows reply speed is most of the game, and also the exact thing you quit doing by week three. every reply fires a webhook. it re-reads the whole thread, tags it interested, not interested or auto-reply, pings me in slack the second someone's interested, and sends them their claim link. i don't touch it. and every reply feeds the next run. it writes more searches like the ones that got answers, so week four sources better than week one. the general rule, and it has nothing to do with my software: use AI to build a personalized, genuinely useful asset and give it away in the first message. you're not hard selling anyone. you are handing them a thing. and because it's built off their actual company, nobody can mistake it for a template. reply rates go up for both reasons at once. it doesn't have to be an agent. the skill builds whatever your business is already good at making: - sell lead gen? a sample list of 10 to 25 of their own buyers - sell SEO? the 3 to 5 searches their competitors win and they don't - build websites? a teardown of their homepage with three fixes - consult? a one-page plan for the exact problem they commented about the playbook behind the messages is the best outbound advice on the internet in one place. it's built from 25 full-length videos and 60 posts from operators who do this at scale, plus 3 production systems running this exact play. scraped the videos and posts with superagnt's data MCP btw. run it once in claude code or codex and look at what it staged. once you like it, it turns the whole thing into a small agent team on a schedule. the sourcing side runs about 8 cents per qualified lead in production. grab it here, paste the install prompt into your agent and let it cook:show more

The Australian government does not deserve our trust, or... our respect. Today, Minister Penny Wong sat back in her chair grappling for words, desperately looking for the right lie to tell. It is worse than dishonest - it is an absolute lack of care. Penny Wong came to this country when she was 8 years old. She came to a country that afforded her the ability to become who she is, and she is now doing her part to destroy it. Back in the 70’s, when she came, Australia was a fair-minded place and a great place to be. Yet here she is... Here in Australia. Undermining our country and lying to our faces. Because she can’t tell the truth. Because if she did, it would destroy any semblance of care for Australia tied to her old party’s Labor brand. It would say the quiet part out loud. The truth. The truth that the Albanese government is more interested in the fortunes of the ISIS brides, women who chose to leave this country to go and fight against our people, than those of us that can’t find or afford a place to live here at home. I am tired of being told how to think by people that completely lack morals and couldn’t care less. People that are elected and paid to operate in the national interest but always put their twisted ethics and back pockets ahead of our nation and our people. I don’t know when Labor stopped caring about Australian workers or worse, when they started hating Australia, but they have and they do. The absolute lack of opposition, the lack of authentic choice has pushed us into a place where these absolute traitors to the interests of the people who pay them - goes entirely unchecked. We are careening out of control, unchecked migration, an energy grid that is just about to collapse, no industry to speak of, and no good reason to start or maintain a business in this place. It happened fast, but those of us who pay our taxes and take risks to make Australia a better place, are being undermined and white-anted by our politicians. The people we are forced to trust, and must pretend to respect, because they have the force of law on their side. Not because they are any good at their jobs. Not because they have earned our affection. No. Simply because they are in charge and there is little to nothing that can be done about it. It is becoming apparent that the two party system has outlived its useful life. Too much corruption, too many words too carefully chosen in a pantomime between to political forces that don’t really want to change anything. They just want to have their go, to have their turn to jam their grubby hands into the till. Surely with this major and catastrophic failure by the so-called Honourable Minister Senator Wong, the people will be able to see through the veil and into the absolute and irresponsible lack of care at the heart of this deceitful Labor government. They lie about everything, and they can, because they don’t have an opposition worthy of the title. I am growing more confident by the day that the only solution to our woes is a new political force, a fresh, Australia first force, that will act in the national interest and put all these corrupt and useless used-car salesmen red and blue in the dustbin of history. It can’t come soon enough. Time is short. I just want Australia back.show more

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND... THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇show more

Hello Hugh Thomas , let’s do it one by... one, sample by sample, stone by stone. Whenever an artificial stone recipe of mine reaches a certain stage that’s the results are comparable to the natural version I’ll send a cast sample to you (with its mold) to analyze. The first one could be this perfectly chiseled fake limestone cube. As you can see you can’t fit a razor blade between the stone and the cheap silicone mold from Temu. This proves my micro chiseling skills. The recipe is public, you don’t even need my cube, you could create your own - but you won’t. So I’ll send this cute cube to you. The “secret” recipe is: I started from wood ash lye, also called potash, or K2CO3, by slowly dripping water through hard wood ash. Hard wood ash from your fireplace, yeah. Then I added slaked lime, and the chemical reaction produced fine, molecular level CaCO3 particles, fine limestone floating in the liquid. FYI: the secret chemical reaction is, and was in the ancient times as well: K2CO3 + Ca(OH)2 = CaCO3 + 2KOH Yummy! Next step: I let the limestone particles settle, and poured the KOH, potassium hydroxide solution above (that also formed in the liquid, see above) into the kitchen sink as it is a very good drain cleaner indeed. I added water and poured it into the sink several times, trying to clean the slurry from the KOH. So yes, the cube is from almost pure limestone, CaCO3 - with some residual KOH contamination. The KOH contamination can be reduced infinitely, I just stopped after 4 rounds. (Pro tip: put the slurry into a filter bag and put the bag into a mountain creek for an hour.) The next step is filtering and pressing the remaining liquid from the slurry. Because it’s a wet mess at this point. Pressure is a key factor to success! At least one thing is accurate from the universal canon: no pressure-no stone. How do I know? By trying and failing a few (dozen) times. So I poured the white limestone slurry into a sock 🧦 and pressed and squeezed it by hand - and that was JUST enough pressure for the magic to happen 😮 It looks like nature/god is on our side, everything is working as it was designed this way. Then I put the almost dry limestone paste into this Temu mold. Fun fact: it still contains a lot of water which will eventually be pressed out as the crystallization progresses, so we’ll need to get rid of that water through a hole, a nub. But there is no hole 🕳️ on this Temu mold so I poured the excess liquid from the top a few times. Hardening time=drying time=crystallization time : 1 week. The important lesson I learned from this experience is as follows: I tried to understand why this sludge turned into hard stone, because, as we were told, IT IS IMPOSSIBLE, and my understanding is this: wood ash lye does two different magics in parallel for this to happen: 1. It magically contains the right kind of contamination to facilitate calcite crystal formation and 2. The incredibly high pH (remember, 2 molecules of KOH are produced from 1 molecule of K2CO3!) in the liquid boost the calcite formation even more. ———- My only request from you and your colleagues concerning this analysis is full, 100000% transparency. And be honest. I know something you clearly don’t: you have lost this battle already. We need the data fast, not in 4 years or something. Transparency means sharing whatever you find here on X, without scientific drama and pullbacks. We don’t need a 947 pages scientific paper. We need the results, the data only. BTW: I already know what you will find: a “special type of natural limestone” with some minimal potassium contamination🤣🤣🤣 Now feel free to DM me, let this scientific analysis happen! And thank you for your offer!show more