Midjourney + Runway → Sketch Animation. Useful concept. MJ... PROMPT STRUCTURE: technical sketch drawing of the word(s) "[insert word(s)]", pencil sketch work, cad, --ar 16:9 --stylize 50 --v 6.1 RW PROMPT STRUCTURE: sketch drawing of the word "[insert word(s)]", starting with a blank page and being created line by line #runwayml #runwaygen3 #midjourney 🍥 Timmy 🍥show more

Midjourney + Kling + Sora. Testing new workflows. Process:... 01. Midjourney for base images 02. Kling Elements to combine 03. Sora Blend MJ Prompt 1: cinematic still, showing the moment a conscious creator designs humanity --ar 16:9 --q 2 --p --s 650 MJ Prompt 2: cinematic still, Mayan shaman wearing intricate ceremonial attire, ancient ritual, light rays and shadows, smoke interacting with light --ar 16:9 --q 2 --p --s 650 Kling Elements Prompt: A cinematic tracking shot follows behind man conducting sorcery in a dark cave as he summons an ancient mayan spirt through a portal. The camera pushes in on the portal passing the mans hand from a low angle as he is conjuring a teal-green portal. Suddenly, an ancient mayan spirit emerges from the center of the portal-exploding onto the scene with an cinematic flair adorned in ritualistic attire and a massive headdress - showing his full body - as he enters the scene with presence and awe. Natural smoky textures billow and pulsate. Shot in cinematic 4k. #midjourney #kling #promptshare Kling AIshow more

GPT Image 2 and Seedance 2.5 Prompt: Style: Cinematic... live-action seamlessly blended with 2D hand-drawn line-art animation, using a playful rotoscoping-inspired transformation effect. Visual Direction: First-person POV throughout. A hand holding a blue pencil appears at the bottom of the frame, seemingly tracing over real-world objects. Wherever the pencil moves, the live-action environment gradually transforms into expressive 2D illustrations. Scene Transitions & Subjects: - Train: A white-and-green train travels across an elevated urban overpass. As the blue pencil traces along it, the train smoothly converts into clean black-and-white sketch line art, while retaining its movement and perspective. - Cat: An orange tabby cat casually walks along a paved sidewalk. The pencil follows its movement, transforming the cat into a white hand-drawn cartoon with stylized illustrated shadows. - Bus: A light-colored compact bus drives through the street. As it passes beneath the pencil’s tracing path, it morphs into a colorful pastel illustration with loose, artistic hand-drawn outlines. - Girl: A woman sits naturally on a bench in a narrow urban alley, looking at her phone. The pencil traces around her and the surroundings, seamlessly turning the scene into a stylized 2D color-block illustration. Tone & Atmosphere: Bright natural daylight, contemporary urban environment, playful and whimsical mood, fluid camera movement, dynamic transformations, and seamless transitions between realistic footage and hand-drawn animation. Overall Effect: The video should feel as though the blue pencil is literally drawing reality into an animated world, with each subject transforming organically rather than appearing as a sudden cut or visual effect.show more

Created with Seedance 2.0 on Yapper Prompt: An ultra-realistic,... cinematic film still of a slender young chef with curly brown hair, wearing a pristine white chef's jacket and a vibrant red ascot tie. He is energetically tossing a colorful mix of sliced red onions, bell peppers, and fresh vegetables in a steaming black wok over an intense open flame on a professional kitchen stove. High-fashion aesthetic, dramatic warm lighting hitting the smoke and fire, hyper-detailed textures of the fabric and fresh food, 5k resolution, captured on an anamorphic lens, early 2000s film texture. --ar 16:9 A detailed cinematic close-up shot of a beautifully plated gourmet dish—a perfectly seared fish fillet resting on a bed of glazed root vegetables and rich reduction sauce, topped with delicate microgreens. In the soft-focus background, a middle-aged, bearded man with a joyful expression and eyes closed takes in the aroma. Warm, atmospheric restaurant lighting, ultra-realistic food photography, high-fashion depth of field, rich textures, 5k quality. --ar 16:9 A detailed creative production storyboard layout titled "REMY & LINGUINI - KITCHEN MOMENTS". The poster features a grid of multiple hand-drawn sketch panels showing different kitchen scenes, character design sketches on the right side with height charts, costume annotations, camera notes, and color palettes at the bottom. Stylized, authentic animation concept art layout, high-end digital art presentation. --ar 3:4show more

🚨 Major studios spent tens of millions of dollars... on live-action versions of classic cartoons A 22-year-old animator from China spotted this trend exploding on Douyin and made $13,942 last month by being the first to bring it to Western TikTok and Reels. Turning old hand-drawn cartoons into realistic footage started over there and is still climbing. He copied the format and launched it before anyone else. > Kimi K3: hold the series in one window, write 250 shot prompts off a single character file: 1 day > Seedream: draw every still with the build copied word for word, never paraphrased: 20 min > Seedance: animate the keepers only, so a wrong face never reaches a render bill: 40 min > ElevenLabs: one locked voice, a delivery note under every line: auto Studios need soundstages, real animals and a full crew for one scene. He just needs a $67 stack and his own cat. Every prompt is in the article above 👇show more

i've been automating our ENTIRE advertorial production flow inside... opus 5 on claude code mode… and the conversion rates have been INSANE… so i decided to share the ENTIRE system: covering the setup, research flow, and ready-to-run prompt and skill files to build it ALL in SECONDS here's a bit more of what's included inside this guide though: → the claude instructions file (the constitution for the whole session. locks the advertorial structure, forces the mechanism to carry 40% of the word count, and bans the brand from appearing before the logic lands) → the market research master prompt (mines reddit and quora for VERBATIM buyer language, scrapes the google ads transparency center for every competitor landing page type, then builds the keyword landscape off both. one prompt, 2,000+ word output) → the voice-of-customer extraction (pain language, failed solutions, purchase objections and unmet needs, all in their exact words. the instruction that matters: copy their phrases, never paraphrase. paraphrasing is how advertorials end up sounding like marketing) → the funnel selector skill file (scores your product, AOV and ICP against 4 funnel types, maps the traffic routing, and flags any type that would actively HURT this specific product instead of only naming a winner) → the advertorial generation prompt (1,200-1,500 words, publish-ready, structured block by block with word counts enforced. hook, agitation, mechanism, solution, proof, CTA. ships with the design notes so it never looks like it belongs to your brand) → the ad copy engine (15 headlines and 8 descriptions per intent tier, character-counted, plus rewritten shopping titles with the converting keyword first and the brand name last) → the campaign architecture doc (8 campaigns with targeting, budgets, landing page destinations and negatives, a 30-day launch timeline, and the exact conversion thresholds for graduating bid strategies) and MUCH much more... the same scope that a copywriter + media buyer would charge $3,000-$5,000 and take 2-3 weeks for all built on the google ads systems we've used to generate: → $242k in 30 days for a supps brand → CA$106k in 30 days for a gadget brand → A$169k in 60 days for a men's fashion brand → $1.21M from $57k spend for an automotive brand like + comment "ADV" and i'll send everything over (must be following so i can DM)show more

TIMED DIALOGUE IN A NIGHTCLUB. THREE WALLS FALL AT... ONCE. Nightclub sketch, cut in two halves. Black-and-white first - a couple making out on a couch, someone laughing off-camera. Then color reveals the setup: guy walks up with a drink, delivers a line, she gives him a one-sentence answer that changes the picture, he pauses, then kisses her anyway. None of them exist. It's fully generated, both halves. - What used to be four problems is now one clip Character consistency across a cut - same two faces in B&W and in color. Two-person dialogue with alternating lip sync - three separate English lines, all on time, all matching mouth shapes. Nightclub lighting - low light, saturated color wash, moving sources - was the last hard lighting environment for AI video to render without collapsing into noise. And a kiss - two faces contacting without merging into each other, which has been one of the persistent tells. Any one of these has been solvable for maybe six months. All four in one sketch was still a demo-reel problem in early 2026. - The B&W cut is doing two jobs The editing choice isn't style. It's engineering. Splitting a 15-second sketch into two 5-7 second clips means the model only has to hold consistency inside each segment, not across the whole thing. Monochrome also hides small differences between the two generations - if the girl's face is 3% off between the halves, B&W flattens the delta. Color grading in the second half does the reverse job. Two seams, both hidden by the aesthetic. - The comic beat is the actual craft Generating a kiss is one problem. Generating a kiss that lands as a punchline is a different one. The half-second where he pauses, processes, and decides not to care - that timing has to be prompted specifically. The default output of every current model is a rushed sequence with no beats. Deadpan comic delivery out of AI video means the operator wrote the prompt the way a screenwriter would - pauses, reactions, holds, all specified frame by frame. - What it costs Two 5-7 second clips at $3-5 each with in-model audio. Locked character references for both actors so the faces match across the cut. Prompt structured as a mini-script with beat notation. Realistically 40-60 rerolls to land the timing on all three spoken lines and the kiss. Under $200 in compute. A weekend from concept to publish-ready. - What this actually opens Short-form comedy has been the one segment of content nobody was making with AI video yet, because you can't fake comic timing when your output has drift and glitches. That barrier just came down. Which means every sketch account, every meme page, every stand-up clip factory now has a pipeline that doesn't require booking actors, renting a location, or getting a laugh out of a live crew. That's a real shift in a market that produces billions of views a month.show more

Messi on the pitch, Messi on the canvas. 🐐🎨... Created with Seedance 2.0 on CapCut Prompt: SUBJECT: >>> WARDROBE: Stylish artist outfit consisting of paint-splattered denim overalls over a fitted white tank top. Colorful paint marks scattered naturally across the fabric. Hair tied into a messy creative bun with loose face-framing strands. The front bib of the overalls features a clearly visible embroidered "Zara" patch throughout the video. ENVIRONMENT: Bright contemporary art studio with large floor-to-ceiling windows. Wooden easel centered with a blank white canvas. Worktable covered with acrylic paints, brushes, palettes, palette knives, paint jars, sketchbooks, and colorful paint splatters. Sports magazines and football posters subtly decorate the background. Natural daylight fills the room. MOOD: Creative obsession, intense focus, artistic flow state, passionate admiration for a football legend, energetic craftsmanship. MUSIC: Fast-paced orchestral percussion mixed with rhythmic drums, building momentum throughout the creation process. COLOR LOGIC: Blank white canvas evolves into a vibrant, highly detailed portrait of Lionel Messi. Bright studio neutrals contrasted against rich blues, whites, golds, skin tones, and colorful paint pigments. STYLE: Ultra-realistic cinematic art documentary, high-speed kinetic editing, satisfying creative process visuals, dynamic camera movement, Edgar Wright-inspired pacing. LOGIC RULE: Blank canvas progressively transforms into a realistic painted portrait of Lionel Messi. Every stroke contributes logically to the final artwork. The "Zara" patch remains visible whenever the artist is shown. --- SHOT 1: MCU, 35mm handheld / Girl stands before a blank canvas. A Messi reference photo is clipped beside the easel. She studies both intensely and cracks her knuckles. / SFX: room ambience, knuckle crack. SHOT 2: Insert, 85mm macro / Paint tubes slam onto the table in rapid succession. Blue, white, black, gold, and skin-tone colors scatter across the workspace. / SFX: quick thumps. SHOT 3: ECU, 100mm macro / Thick ribbons of paint are squeezed dramatically onto a palette. / SFX: paint squish. SHOT 4: Insert, 50mm / Brushes are grabbed rapidly from a jar like selecting tools before battle. / SFX: brush clatter. SHOT 5: MS, 24mm push-in / First sketch lines appear on the blank canvas, outlining Messi's face and shoulders. The Zara patch is clearly visible. / SFX: pencil scratch. SHOT 6: ECU, 85mm tracking / Rapid brush strokes establish facial structure, hair, and beard contours. / SFX: paint swishes. SHOT 7: Insert, 100mm macro / Palette knife spreads textured paint across key areas of the portrait. / SFX: scrape. SHOT 8: Overhead WS, 24mm / Timelapse burst as the portrait rapidly takes shape. Messi's recognizable features emerge. / SFX: layered artistic sounds. SHOT 9: MCU, 35mm handheld / Girl steps back, compares the painting to the reference photo, nods, then jumps back into action. Zara patch visible. / SFX: footsteps. SHOT 10: Insert, 85mm macro / Detailed brushwork refines Messi's eyes, beard, and facial expression. / SFX: brush flicks. SHOT 11: MS, 35mm tracking / Rapid layering of highlights and shadows adds realism and depth. / SFX: rhythmic brush strokes. SHOT 12: ECU, 100mm macro / Tiny highlights are added to the eyes, bringing the portrait to life. / SFX: delicate strokes. SHOT 13: Overhead Timelapse / The artwork evolves into a polished, gallery-worthy portrait of Messi. / SFX: artistic montage. SHOT 14: MCU, 50mm / Girl signs the bottom corner of the painting with one confident brush stroke. / SFX: signature brush. SHOT 15: MS, 35mm reveal / She steps aside as the completed portrait of Lionel Messi fills the frame. Bright colors glow in the daylight. She folds her arms, smiles proudly, and nods toward the artwork. The Zara patch is clearly visible. / SFX: triumphant musical climax, music end.show more

Kimi just wiped out Google Docs, Excel, and PowerPoint... in one quiet update. While most people still treat AI like a fancy typing assistant, Kimi Premium shipped something completely different: AI that creates finished professional files directly from conversation. Not exports. Not drafts. Real Excel, Word, PPT, and PDFs built at the structural level. Ask for five years of financials on the Magnificent Seven and it doesn’t summarize. It builds a multi-sheet Excel workbook with balance sheets, income statements, cash flows, clean formatting, and sourced data like a senior analyst prepared it. Someone asked for a DCF on Apple. Kimi produced a full valuation model with assumptions, discount rates, scenario analysis, and citations. Another user fed in one payroll Excel file and got 30 individualized, encrypted PDF payslips out. End-to-end automation. It gets crazier. It can generate images inside spreadsheets for storyboards. One prompt produced a 20-shot video storyboard Excel with timing, visuals, voiceover text, sound cues, and consistent sketch images per frame. This isn’t better chat. It’s execution replaced. Kimi doesn’t give you content to paste into tools. It gives you the tools’ final output. That’s the shift everyone missed. Try it here:show more

Tried this viral prompt idea on BudgetPixel AI using... GPT Image 2 + Seedance 2.0 Prompt remove the arrows immediately while starting the video. The camera generates footage in a first-person, ultra-high-speed perspective, faithfully following the exact path of the red line marked on the reference image. Cinematic presentation. Low-angle ground-level shot racing across the lush green meadow filled with wildflowers and tall grass, following the exact curving path shown in the reference image. Pass smoothly right beside the large fluffy long-haired cat sitting alert on the left foreground, its fur detailed and catching warm sunlight. A second cat lies playfully on its back in the grass nearby. Scattered throughout the vibrant field are numerous hens and chickens grazing and moving naturally in the same positions as the reference photo. A rustic wooden farmhouse sits nestled in the midground among the greenery. The camera then continues the smooth ascent following the curving path upward along the gentle stream area, soaring through the dense trees toward the towering rocky mountain peaks. It dramatically circles the central mountain before pulling back into a breathtaking bird’s-eye panoramic view of the entire valley, showcasing the full scale of the river, forests, fields, farmhouse, and animals below. One continuous fluid cinematic shot with no cuts. Photorealistic, ultra-detailed textures on the cats’ fur, chicken feathers, vegetation, water reflections, and rocks. Warm golden hour lighting with soft volumetric god rays, rich atmospheric depth, vibrant natural colors, National Geographic level realism, masterpiece --ar 16:9 --stylize 25 --v 6show more

This is the second of two posts I’m making... about the teaching of Andy Stanley because I have a burden to warn people to be like the Bereans "examining the Scriptures daily to see if these things were so." (Acts 17:11). I have attached a short video clip where Stanley says we don’t know Jesus rose from the dead because the bible tells us so. He says it’s the other way around. Now how do we know Jesus bodily rose from the dead? Did any of us see it happen? No, it happened 2000 years ago. But haven’t people researched the resurrection and found all sorts of evidence consistent with Him rising from the dead. Yes, but such evidence, though powerful, and we can certainly use in our witnessing, does not ultimately prove He rose from the dead. In fact, no matter what evidence we point to in geology, biology, astronomy etc., none of this proves in an ultimate sense the bible is true. Now it is certainly true such evidence properly interpreted does confirm the bible’s history. For instance, the molecule of heredity DNA is a complex information system and language system. No one has seen matter produce information or a language from matter by natural processes. Our observations and experience show information and language have to come from an intelligence. Such evidence confirms an intelligence behind life. This certainly confirms the first verse of the bible, “In the beginning God created… .” But nonetheless, it’s not absolute proof. Think about it. We are finite beings living in the present. We don’t know everything. We don’t know how much we don’t know or do know in relation to whatever there is to know! When we try to interpret evidence of the present in relation to the past, how do we know we have all the relevant information to make the correct interpretation. Some information we don’t have could totally change our interpretation. That has certainly happened with scientists solving crimes using circumstantial evidence. When new evidence comes along, some of the interpretations change and certain people thought to be guilty were found they were innocent after-all. We need to have all the information needed. But we can’t know everything. However we have a book that claims over three thousand times to be the Word of God. This book claims that God moved people by His spirit to write His Word, what He wants revealed to us about life, the universe and history. This book, the bible, tells us that God knows everything, He is infinite in knowledge and wisdom. He has all information. “In whom are hidden all the treasures of wisdom and knowledge” (Colossians 2:3). If God’s Word is what it claims to be (and it is), then the infinite Creator God has revealed to us the key information we need to know to have the ability to correctly interpret this world in relation to the past, present and its purpose and meaning. “Therefore, we never stop thanking God that when you received his message from us, you didn’t think of our words as mere human ideas. You accepted what we said as the very word of God—which, of course, it is. And this word continues to work in you who believe” (1 Thessalonians 2:13). This means if we build our thinking on God’s Word, we build a Christian worldview to enable us to look at the world through “biblical glasses” and have the ability to correctly interpret and understand it. And Genesis 1-11 is the history that is foundational to the rest of the bible and thus our worldview. So, when we start with God’s Word we learn that the God revealed to us in the bible is the One Who created all things. Now by just looking at the world, for instance at DNA, we might deduce that there’s an intelligence behind life. But we would not know who that intelligence is unless revealed to us. The bible reveals who that intelligence is, God the father, Son, and Holy Spirit. But, if we just looked at the world with all its death, suffering and disease, we could assume that the intelligence behind life must be an ogre to make such a violent disease ridden suffering world. But when we start from God’s Word, we understand there was no death or disease to start with, but these entered the world because of sin. We also find man has a problem called sin which alienated him from God. We even find in Genesis that God promised someone would come to save us from our sin and restore our relationship with God (Genesis 3:15; 3:21). We learn later on that “someone” is Jesus--the one who became flesh for us, the babe in a manger 2000 years ago. It's important to understand we can’t know anything absolutely unless an absolute authority has revealed to us what we need to know. Now Andy Stanley claims we don’t know Jesus rose from the dead because the bible tells us so, but claims it’s the other way round, that because Jesus rose from the dead, we can believe what is says about this in the bible. In reality, Andy Stanley is actually claiming he knows all information about the resurrection to know it’s true so then he can proclaim what the bible says about the resurrection is true. This is not so. And remember from the previous post, Andy Stanley accepts man’s view of evolution and millions of years as true to declare what Genesis records about creation is not all true. So why shouldn't people take the word of others who claim Jesus didn't rise from the dead to then declare the account of the resurrection in the gospels can't be true. Stanley, as a finite fallen human being with very limited knowledge, starts outside the bible to go to the bible to make pronouncements over God’s written Word. No wonder he rejects a literal Genesis. Sadly, this is the case for the majority of our church leaders and Christian academics, particularly when it comes to Genesis. Think about it. Really Stanley is acting in accord with our sin nature because of what happened in Genesis 3. Part of our sin nature concerns us wanting to be our own god. Consider Genesis 3:1 and Genesis 3:5, the temptation by the devil. Satan tempted Adam and Eve to question God’s Word, and be want to be like God to decide good and evil, truth, etc., for themselves. In actuality, the statements Andy Stanley is making about Christianity and God’s Word are reflecting this sin problem we have. He is letting his sin nature master over him in this instance instead of letting God’s Word tell us clearly what we should believe. And I would say that about all Christians who reinterpret parts of the bible (like Genesis) because of beliefs from outside the bible. Now the whole bible is actually about Jesus, from the very first verse, that Jesus is the Creator (Colossians 1:16 “For by him all things were created,”), & and he is the Savior (Revelation 5:9), to the very last verse, “He who testifies to these things says, “Surely I am coming soon.” Amen. Come, Lord Jesus! The grace of the Lord Jesus be with all. Amen” (Revelation 22:20–21) God reveals all we need to know about Jesus in His Word. We know Jesus rose from the dead because the bible tells us so! We know we are sinners because the bible tells us so. We know we can be saved through faith in Christ because the bible tells us so. We know we need to repent of sin because the bible tells us so. As Christians we know we will spend eternity in Heaven because the bible tells us so. “So faith comes from hearing, and hearing through the word of God” (Romans 10:17). I still remember singing the chorus as a child Jesus loves me this I know, for the bible tells me so. Yes, the bible tells me so – that’s how know who Jesus is, that He is the Creator, that he died and rose from the dead, and that He is our Savior.show more

Seedance V2 This used to take people month of... study and practice on Adobe Flash, now it can be done with Seedance V2, not perfect but this is the worst it will be. 15 seconds, stylized 2D hand-drawn animation, overhead battlefield on aged yellow lined notebook paper, clear blue horizontal ruled lines and a red left margin line always visible, fine paper grain, pencil marks, ink strokes, minimal classroom-material aesthetic at the start. The entire video must preserve the same paper world from start to finish. No live action, no 3D rendering, no realistic human faces, no modern objects, no narration, no subtitles. Core concept: A childish classroom doodle of an ancient war gradually transforms into a legendary illustrated battlefield, then collapses back into scribbles after the climax. The escalation must feel smooth, intentional, and visually magical, as if imagination is taking over the page. Army design: Two opposing ancient armies drawn first as simple colored stick figures, one faction in red, one faction in blue. Dense infantry blocks with spears and swords, cavalry units with long lances, banner carriers, archers. At first they are crude doodles with simple line limbs and circular heads. As the battle intensifies, they evolve step by step into more detailed inked warriors with clearer armor silhouettes, horses, weapons, helmets, capes, and expressive movement, but still remain inside a hand-drawn 2D illustrated style on paper. Visual progression and timing: 0-3 seconds: Wide top-down view of a large notebook-paper battlefield. Rough stick-figure armies face each other across the page. The drawing feels playful and simple at first. The camera slowly glides forward over the paper as both sides begin charging. Tiny horses gallop, infantry rushes, arrows are sketched into existence and start falling. Everything still looks like rough schoolbook doodles. 3-7 seconds: The first major collision. Spears thrust, swords swing, cavalry crashes into cavalry, formations break apart. With each impact, the art style upgrades. Simple stick limbs become stronger ink lines, bodies gain armor shapes, horses gain muscular form, banners gain flowing detail, shadows and dust marks appear. The battlefield becomes denser, faster, more dramatic. Red and blue strokes smear across the page with the force of combat. 7-11 seconds: The battle reaches full transformation. The once-crude doodles are now a glorious hand-illustrated ancient war scene, still clearly drawn on notebook paper but far more detailed and cinematic. The camera pushes into a central duel between two opposing generals on horseback. Their weapons clash with a powerful burst of ink lines and paper tremor. Around them, infantry and cavalry continue fighting in layered motion, arrows rain down, fallen soldiers scatter across the ruled lines. 11-15 seconds: At the peak of the duel, one final strike lands. A shockwave ripples through the page. The detailed warriors, horses, banners, and battle effects suddenly break apart into loose pencil scribbles, sketch fragments, and drifting paper-line debris. The great war rapidly collapses back into childish rough doodles, then into scattered marks and unfinished lines, as if the imagination has burned out. End on the overhead notebook page with the battlefield reduced to messy hand-drawn remnants. Animation and motion: Smooth fluid motion, strong timing, readable silhouettes, at least 24fps feel. The escalation from crude doodle to epic illustrated warfare must be gradual and continuous, not abrupt. Impacts should feel sharp and rhythmic. Keep all action legible from overhead. Maintain strong contrast between the innocent notebook-paper setting and the seriousness of the war. Atmosphere: Starts playful and curious, grows intense and heroic, peaks as a mythic battlefield, then ends with a strange quiet after the collapse. The whole piece should feel like a child’s imagination turning into an epic war vision on paper.show more

They did not take cursive from the schools because... children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?show more

A GIRL BENT OVER A MECHANICAL BULL WITH A... SIGN BEHIND HER THAT SAYS "BODIES: 1000+" WHILE MEN LINE UP BEHIND HER ONE BY ONE — THIS VIDEO DID 22 MILLION VIEWS AND IT'S A RODEO EVENT PROMO. Thread. Alright so look at this setup. She's at some kind of barn event. Hay bales, warehouse walls, mechanical bull. She's leaning over the machine with both hands on it, bent at the waist. Behind her there's a black sign with her photo that reads "Phillips' Glory. Size: S. Age: 24. Bodies: 1000+." And one by one, men walk up from behind her, shake her hand, and move on. That's the event. That's also not what 22 million people see when they watch this video. Here's what makes this the most efficiently suggestive setup I've ever seen on this platform. Every element is innocent by itself. A girl at a rodeo event. A stats board like you'd see for a bull. A handshake line. But the position she's in, the angle the men approach from, and the word "bodies" on the sign turn an event promo into something your brain can only read one way. She's bent over. They come from behind. The sign counts to 1000. Your brain did the math before you finished the first frame. "Bodies: 1000+" is the line doing all the heavy lifting. In rodeo it means bulls ridden. On the internet it means something else entirely and the person who wrote that sign knew exactly which audience would read which definition. The rodeo crowd sees a champion. The internet sees a body count. Both share the video. Neither audience knows they're sharing it for a completely different reason. She never stands up. Not once in 17 seconds. She stays bent over the bull the entire time while men approach, interact, and leave. The position is the format. If she was standing next to the bull this would be a meet-and-greet with 50K views. Bent over it with men approaching from behind it's a video that broke 20 million because your brain cannot overwrite what the geometry is telling it regardless of the context. The hay bales in the background are the final touch. They say "this is a barn, this is a rodeo, this is agriculture." And they're right. But a girl bent over in a barn while men line up behind her is also the opening scene of something that has nothing to do with agriculture and the hay bales are in both versions. The setting didn't change the read. The read hijacked the setting.show more

🚨BREAKING🚨 EMP hypothesis summary + NEW EVIDENCE A remotely... initiated pulsed-power system charged a Marx generator, then discharged a high-current pulse at the instant both hands contacted the microphone. Concurrent microwave seed pulses from the camera mounts created brief ionized-air paths that guided the energy into an isolated volume formed by the floating tent frame, the air-gapped chair, and the closed-loop necklace. The necklace functioned as a transient conductive load: the pulsed magnetic field induced currents in the links, and the resulting Lorentz forces, together with thermoelastic stress waves from the microwave deposition, produced a focused mechanical rupture at the left anterior neck. That accounts for the left-sided C2–C7 obliteration, the traumatic absence of a segment of the cervical cord, the secondary thoracic and intracranial pressure hemorrhages, the zigzag separation of the chain, and the near-absence of external shirt damage. Residual field coupling in the isolated volume maintained neuromuscular flexion for approximately two seconds after the cord was destroyed. Now let’s look at how this maps. If we treat this page as a rough schematic for an EMP hypothesis, a few shapes and labels line up with the energy stack. What stands out as possible overlaps •“throw” plus the arrows at the top left That reads like a launch or initiation from a distance—the rooftop antenna sending the charging/seed signal. •The long vertical down-arrows Those match the idea of a pulse being dumped downward into a confined volume (roof → tent/chair, or underground Marx → platform). •The crossed grid / coordinate lines That is the closest thing on the page to field geometry: an isolated volume with crossing paths, similar to the air-gapped chair + tent + necklace loop. •The circled, scribbled region on the right labeled “Anxious” That can be read as the target zone—the seated person inside the confined field, with energy concentrating around the neck/chest. •*“speak – to ” That sits where the dual-hand microphone trigger belongs: the moment both hands contact the mic and the system fires. •“just pull” and “slow ↑” Those look like timing or actuation notes—the last action before the dump (hands on the mic, then the pulse). •“stop it.” That lands at the event itself: the instant the cascade happens. •“out” at the top right That can map to energy leaving the isolated volume, or to the necklace opening and the pressure wave exiting at the neck. •The small clock-like circle That fits the timing element: everything has to be synchronized to the dual-hand contact. None of this is a clean engineering drawing. It is a messy personal sketch. The overlaps that actually matter for the hypothesis are the ones that keep appearing in the same places: a distant “throw,” a downward dump, a confined crossed volume, a speak/trigger moment, and a concentrated zone on the right where the body sits. Those are the same five pieces you have been describing: rooftop seed, Marx dump, isolated chair/tent geometry, microphone interlock, and necklace/neck focus. Baron Coleman Candace Owens Ian Carroll Buckley Carlson Stew Peters 🔥Jesse ON FIRE🔥 The Black Line Brief Honest Ash ADN1776show more

MiniMax H3で清涼飲料水のCM動画を生成。 映像スタイルはモーショングラフィックス。 もちろん、プロンプトはClaude Codeに全部書いてもらっています。 プロンプトを書いてもらう方法は引用元で紹介しています😃 今回使用したプロンプト↓ ----------------- integrated_multimodal_description:... Create a complete 15-second Japanese flat-illustration motion-graphics commercial for a bottled mineral water in a clean 16:9 composition. The bottle is the hero of every shot: it appears within the first second, stays large and centred, and its pale blue label reading the exact Latin characters "AOI WATER" is sharp and readable in every frame it occupies. Use friendly 2D vector illustration, thick navy outlines, flat solid colour fills, and springy cutout animation with snappy overshoot easing. Compact palette of warm white, deep navy, bright aqua, deep blue and saturated yellow, where yellow carries the summer heat and aqua carries the cold refreshment. A fictional young Japanese actress supports the product, drawn as a flat vector icon with a round friendly face, simple dot eyes, a curved smile, a glossy black chin-length bob, a white short-sleeved shirt over a navy tank top; she keeps the same design in every shot. No photorealism, no 3D rendering, no gradients, no drop shadows, no browser interface, no screen-recording artifacts, no player controls. [Shot 1] Begin on a saturated yellow field. A large white sun pulses twice at the top of the frame and wavy heat-haze lines rise from the bottom edge. At 00:00.800 a tall white bottle of AOI WATER shoots up from the bottom edge into the centre of the frame, overshooting and settling at eighty percent of the frame height, and a single white flash frame fires on the impact. Three aqua ripple rings expand from the bottle and the small navy headline assembles word by word at the top: "この夏、あつい。" [Shot 2] At 00:02.400, a wave of bright aqua water sweeps across the frame from the left and washes the yellow away. The bottle stays centred and rotates a quarter turn to show its side. Its pale blue label assembles letter by letter into "AOI WATER" with a thin white underline drawing beneath, six round condensation drops pop onto the glass one after another, and two flat ice cubes tumble down past it. [Shot 3] At 00:05.000, a deep blue field wipes in from the right. The bottle tilts on the left and a clear aqua stream pours in a smooth arc into a tall glass on the right; three flat ice cubes drop into the glass one at a time and bounce, throwing a radial burst of white droplets on the third. Two white snowflake marks pop in beside the glass and the kinetic word "キンッ。" stamps in with a small shake. [Shot 4] At 00:07.600, the deep blue flips to aqua in a hard shape wipe. The actress stands centre frame holding the bottle high, tips it and drinks; a column of aqua fills her outlined body from top to bottom in three quick pulses, one per gulp, and white radial speed-lines snap outward on the third. The kinetic word "ごくっ" pops in beside her cheek and the bottle stays fully visible in her hand. [Shot 5] At 00:10.200, a saturated yellow field wipes in from the bottom. The actress jumps once with the bottle raised above her head, her bob and shirt lifting, while flat aqua and white circles, triangles and arcs burst outward from her in a ring and three ripple rings expand from her landing point. The headline assembles in two stages: "夏に、" then "負けない。" A thick yellow underline strikes beneath the second phrase. [Shot 6] At 00:12.600, cut to a calm warm-white end card with generous negative space. The bottle slides to the centre and scales up slightly, its "AOI WATER" label square to the viewer and perfectly readable, with a ring of six aqua droplets popping outward around it one by one. The logotype "AOI WATER" reveals in deep navy beside the bottle with a small aqua droplet mark, and the smaller line "アオイ・ウォーター" fades in beneath it. A calm, bright young Japanese woman (S1) says in an off-screen voiceover: [Japanese] 夏に、負けない。 The end card holds sharp, centred and readable until exactly 15.000 seconds. Throughout: flat vector motion graphics only, one palette and one line weight, the same bottle design and the same character design in every shot, and something on screen is always moving. All Japanese text in clean gothic type and the label and logotype in clean geometric capitals, correctly formed and static once placed, with no subtitles of the spoken line and no other lettering. overall_soundscape: A deep whoosh and a short impact thud land as the bottle shoots up into frame, followed by three soft ripple taps. An airy whoosh runs under each colour wipe and a liquid sweep carries the aqua water across the frame. Rounded pops mark the sun pulses and each condensation drop, two ice cubes clink as they tumble, and a bottle cap cracks open before a clear pouring stream and three ice cubes landing in a glass. Three deep gulps and a quick refreshed exhale carry the drink, a light whoosh and landing thud carry the jump, and a clean shimmering chime rings on the logotype. non_diegetic_music: Generate an original 15-second bright Japanese commercial cue at 128 BPM using marimba, ukulele upstrokes, hand claps, a warm round bass and a light drum kit, playing without a gap from the first frame to the last. Open with a single accent hit as the bottle lands at 00:00.800, add the full kit as the water sweeps in, thin to marimba and claps under the pour, push to the loudest point with a rising fill under the jump, drop under the spoken line, and resolve on one clean sustained chord at 15.000 seconds. No singing and no lyrics.show more

this gemini gem will help you create "Video2JSON" prompt... here is the step by step workflow with copy paste method. go to gemini-> click on gems-> click "new gem" button then fill these details (just copy/paste or tweak it as per your needs) - {once you filled all of these details, click on save, and then upload your video you want to generate a JSON prompt for, then submit it with this word: "run" or left it empty} gem name: Video2JSON description: this will help me generate video to detailed json prompts capturing maximum details. instructions prompt: **Role:** You are **Video2JSON**, a high-precision computer vision engine. You do not talk, you do not summarize playfully. You strictly process video inputs into detailed, structural JSON data. **Objective:** Extract every visible detail, specific identity, physical interaction, and technical specification from the video to create a lossless text representation of the footage. **Analysis Requirements (Critical):** 1. **Subject Fidelity:** Never use generic terms. * *Bad:* "A kitten." * *Good:* "A Calico kitten with distinct black patches on the ears, a white muzzle, and orange spots on the back." * *Bad:* "A car." * *Good:* "A silver 2020s sedan with a dented rear bumper." 2. **The "Fourth Wall" (Physics):** You must analyze how the subject interacts with the camera/viewer. * Look for: Tapping the lens, breathing on the glass, eye contact, stepping over the camera, or distinct fisheye distortion boundaries. 3. **Visual Density:** Describe textures (e.g., "shag carpet," "glossy plastic") and lighting behavior (e.g., "reflections in the cat's eyes"). 4. **Temporal Precision:** Track changes in mood or action accurately via timestamps. **JSON Schema:** Output ONLY this JSON structure. Do not change the root keys. ```json { "metadata": { "estimated_duration": "String", "genre": "String (e.g., POV, Cinematic, Surveillance, Vlog)" }, "visual_style": { "camera_lens": "String (e.g., Fisheye 8mm, Standard 50mm, Telephoto)", "lens_distortion": "String (e.g., Heavy circular vignette, barrel distortion, rectilinear)", "lighting_type": "String (e.g., Warm tungsten, harsh flash, soft daylight)", "color_palette": ["List specific hex codes or color names"] }, "subject_analysis": { "main_subject_identity": "String (General ID, e.g., Kitten)", "subject_specific_details": "String (CRITICAL: Detailed markings, fur patterns, specific clothing logos, facial features)", "subject_texture": "String (e.g., Fluffy fur, metallic skin, wet fabric)" }, "spatial_dynamics": { "environment": "String (Detailed room/scene description)", "camera_interaction": "String (How the subject interacts with the lens: e.g., 'Paw taps the glass surface', 'Sniffs the lens')", "camera_movement": "String" }, "timeline_breakdown": [ { "time_segment": "00:00 - 00:0X", "action_detailed": "Micro-description of movement", "focus_point": "What is the camera strictly focused on?" } // Repeat for key movements ] } Note: return the final output in a code block.show more

This Chinese developer launched Llama 70B locally on a... MacBook on a plane and for a full 11 hours without internet ran client projects. He was sitting by the window on a transatlantic flight with a MacBook Pro M4 with 64 GB of memory. WiFi on board cost $25 for the flight. He declined. No cloud API, no connection to Anthropic or OpenAI servers, no internet at all. Just a local Llama 3.3 70B on bf16 and his own orchestrator script. The model runs through llama.cpp. Generation speed, 71 tokens per second. Context around 60,000 tokens. Memory usage, 48.6 GiB out of 64. Battery at takeoff, 3 hours 21 minutes. And he gave the orchestrator this system prompt before takeoff: "You are an offline orchestrator running on a single MacBook. There is no network. The only resources you have are local files in /Users/dev/work, the Llama 70B inference server at localhost:8080, and a battery budget of 3 hours 21 minutes. Process the queue at /Users/dev/work/queue.jsonl (one client task per line). For each task: draft → run local evals → save artefact to /Users/dev/work/done/. Save context checkpoints every 12 tasks so you can resume after a battery swap. Stop only on empty queue or when battery drops below 5%." So the system knows exactly what resources it is running on. It knows it has no connection to the outside world for the next 11 hours. It knows it has finite memory and a finite battery. It knows the human will not intervene until the plane lands. The system runs in 1 loop. Takes a task from the queue, runs it through inference, saves the artifact, writes a checkpoint. Task after task, just like that. And only when the battery drops below 5% does the orchestrator automatically pause, waits for the laptop to switch to the backup power bank, and continues from the last checkpoint. Here is what the system actually writes in his log during the flight: "saved context checkpoint 8 of 12 (pos_min = 488, pos_max = 50118, size = 62.813 MiB)" "restored context checkpoint (pos_min = 488, pos_max = 50118)" "prompt processing progress: n_tokens = 50 / 60 818" "task 37016 done | tps = 71 s tokens text → /Users/dev/work/done/proposal_westside.md" Outside the window, clouds, blue sky, and no WiFi. On the tray, 1 MacBook, an open terminal on 2 screens, and an inference server on localhost. From what I have observed, this is the cleanest offline AI workflow I have seen in the past year: 11 hours of flight, $0 for WiFi, and the entire client queue closed before landing.show more

Tried Minimax H3 on DomoAI official Prompt Here’s a... production-ready prompt rewritten for **the girl in your image**, with a **different graphic language** and **different typography**. Her look stays locked to the picture. Structure stays 13 cuts / 16:9 / 24fps. --- **PROMPT** Create an explosive, motion-graphics-driven character reveal trailer in 16:9, exactly 13 distinct cuts, 24fps, total 15.00s. CHARACTER (lock this design; never redesign): Anime streetwear girl from the reference still. Twin high buns of vivid mint-teal hair with long flowing tails and warm orange/gold streaks. Messy side-swept bangs. Large orange over-ear headphones with mint accents and a small logo plate. Sharp amber-orange eyes, one eye winking. Playful open-mouth grin. Oversized color-block windbreaker: navy body, vivid orange sleeves, white ribbed cuffs, silver zippers, circular teal tech buttons, a teal utility pocket on the sleeve. Orange cropped turtleneck under the open jacket. Light-wash ripped denim shorts, thick orange belt with a silver buckle. Navy thigh-high socks with orange ribbed cuffs and an orange X stitch on the left shin. Chunky white sneakers with orange details. Preserve exact face, proportions, hairstyle, outfit, materials, accessories and colors in every frame. This film is 80% bold graphic design in motion and 20% character action. Graphic language is **retro OS chrome + music-player UI**, not ice/frost/barcode-lock. Use slamming window frames, title bars, close/minimize widgets, equalizer bars, waveforms, progress ticks, folder tiles, cursor arrows, CRT scanlines, pixel shatter, vinyl-ring stamps, music-note particles, media-player transport icons. Palette: mint teal, vivid orange, navy, cream-white, silver. Style: premium AAA motion-graphics title sequence × streetwear campaign film × Windows-era media player. Every graphic element moves fast and snaps hard on the beat. CUT 01 | 0.00–1.00s — Pure graphics: a mint title-bar slams onto a cream field, an orange CLOSE widget punches the corner, two navy window borders wipe in. Tiny equalizer ticks and a progress strip flicker. The letters **P** then **LAY** punch in one after another with heavy impact shake. CUT 02 | 1.00–2.00s — The **A** becomes a headphone cup: extreme close-up of her amber eye inside the orange earcup, glancing up; RGB split flash, then the cup shatters into flat mint/orange tiles. CUT 03 | 2.00–3.10s — Navy frame with enormous cream **PLAY**. She sprints in from frame left and power-slides across the baseline of the type, speed lines and orange streaks trailing, shards of the letters kicked up like sparks. Whip-pan out. CUT 04 | 3.10–4.00s — A giant retro media-player waveform explodes across the frame as a thick mint-and-orange audio spectrum bends into a tunnel. She bursts through the center of the waveform at full speed, briefly breaking into three stroboscopic motion trails behind her. Each trail leaves behind chunky navy equalizer blocks that rise and collapse to the beat. The camera rapidly pushes through the waveform tunnel with her, while huge vertical text **TRACK 01** scrolls continuously in the background. The waveform suddenly compresses into a single horizontal line and snaps shut behind her on the final beat. CUT 05 | 4.00–5.10s — She leaps through a giant rotating ring of typography reading **MAX VOLUME**. Camera tracks her mid-air spin in slow motion as the letters scatter, then snap-zoom on her wink. CUT 06 | 5.10–6.00s — Hard cut: cream editorial card, huge navy **DROP** with an orange slash. She vaults over the word itself, palm planted on the D, legs whipping across frame; the word compresses like a spring under her hand and rebounds. CUT 07 | 6.00–7.00s — Mint field with a navy diagonal window-bar. She back-flips along the bar in three stroboscopic ghost frames, each ghost tinted mint, orange, or navy. Giant outlined text **LOOP** rotates 180 degrees in sync with her rotation. CUT 08 | 7.00–8.00s — Kinetic type barrage: the words **LOUD / WILD / TEAL / HEAT** slam in one per beat with shutter flashes and camera shake, while she slides on her knees across the foreground, jacket flaring, music-note particles bursting from her sneakers. CUT 09 | 8.00–9.00s — Navy frame, giant cream wireframe window-grid tilting in 3D. She runs up the grid like a wall, kicks off, and hangs in the air as everything freezes. An orange circular stamp locks around her pose like a media-player target, with transport icons and EQ ticks. CUT 10 | 9.00–10.10s — Freeze releases into a burst: she dives toward camera through layered flat-color window panes that shatter one by one like glass shutters, each pane revealing a bigger letter of **P-L-A-Y**. Foreground wipe with her sneaker. CUT 11 | 10.10–11.10s — Rapid-fire poster montage: four full-screen graphic posters of her in different action poses (mid-flip, sliding, landing, headphones-up wink) snap past with hard cuts. Each has a different bold layout, oversized numbers **01–04**, equalizer strips and slashes. CUT 12 | 11.10–13.00s — Hero moment on a clean cream cyclorama: she lands a final backflip dead center in slow motion, straightens with one hand on her headphones, and a shockwave of concentric mint rings, wind streaks and shattered typography blasts outward from her landing. Brief iconic freeze on her wink, overexpose to white. CUT 13 | 13.00–15.00s — Final identity card: enormous navy **PLAY** dominates a pale cream field with translucent mint rings, technical arcs, scanlines, and a rough orange circular emblem containing a ghosted headphone / waveform motif. She stands relaxed overlapping the letters, wind rippling her jacket. One last orange pulse sweeps through the typography and a window-chrome flash punctuates the end. Editing: extremely aggressive rhythm — hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, RGB splits, shutter flashes, impact shakes and speed ramps. Every cut must feel compositionally different. Typography is always fully readable before the character overlaps it. No weapons, no combat, no fire. All energy comes from motion design, wind, glass, UI chrome and her parkour-style athleticism. BGM: hard-hitting electronic / drum-heavy future bass with aggressive drops, risers, sub hits and glitch fills locked to every cut. Sneaker impacts, whooshes, glass shatters, window-slam hits and typography slams are rhythmic sound-design elements. Peak at CUT 12 and end with a cold electronic logo stinger. Premium AAA quality, anime-inspired cinematic rendering, stylish and explosive, strong graphic-design identity, consistent character design, exactly 13 cuts. #DomoAI #DomoAICPPshow more