No rewinds. No second chances. Clean sweep or not?... 🎳 𝟑 𝐥𝐮𝐜𝐤𝐲 𝐰𝐢𝐧𝐧𝐞𝐫𝐬 𝐰𝐢𝐥𝐥 𝐬𝐜𝐨𝐫𝐞 𝟏𝟓𝟎𝐊 𝐆𝐂 + 𝟑𝟎 𝐅𝐑𝐄𝐄 𝐒𝐂. 🎁 #Bowlingshow more

What did you do to my friend !! 😡... This is the trending “Fight Prompt” going viral Prompt : Use the first uploaded image as the main reference for the school uniform, body proportions, pose, posture, background, camera angle, framing, and overall composition. Use the second uploaded image as the identity reference for the face and hairstyle. Create a realistic Korean influencer-style school uniform portrait where the person from the second image naturally appears wearing the school uniform from the first image, photographed in the same studio setting. Important: Keep the school uniform, blazer, shirt, tie, skirt or pants, and overall outfit design from the first image. Keep the body proportions, standing pose, hand placement, posture, camera angle, framing, and studio background from the first image. Replace the face with the person from the second image. Also preserve the hairstyle from the second image, including bangs, hairline, hair part, hair length, hair framing around the face, and overall hair silhouette. Do not use the hairstyle from the first image if it differs from the second image. Identity: The face from the second image must remain clearly recognizable. Preserve the second person’s face shape, eyes, nose, lips, skin tone, jawline, and overall facial impression. Do not turn the face into a generic attractive face. Do not beautify too heavily. Preserve the person’s recognizable identity, but do not copy the face too rigidly. Reinterpret it naturally so it looks like a realistic photo of the same person in this new school-uniform scene. Keep the same overall facial impression and identity while allowing natural refinement and seamless adaptation to the lighting, angle, and mood of the target image. Hair: Follow the hairstyle from the second image. Preserve the second person’s bangs, hairline, hair part, hair texture, hair length, and overall hairstyle impression. Only adapt the hair naturally so it fits the pose, lighting, and composition of the first image. Korean influencer mood: clean modern Korean influencer portrait polished but natural beauty soft photogenic expression subtle editorial mood stylish, slightly chic, youthful, and confident atmosphere refined but believable skin texture clear eyes with soft catchlights naturally pretty, not over-retouched avoid stiff ID-photo mood Lighting: soft Korean beauty lighting gentle facial brightness clean skin tone soft natural highlights on the face natural shadow transition subtle glow, but realistic skin texture avoid harsh flash avoid flat passport-photo lighting avoid dramatic studio glamour lighting Style: realistic photography clean studio portrait quality Korean influencer-style school portrait mood natural skin texture high detail seamless face and hair integration polished but believable Negative prompt: no identity loss no generic attractive face no over-beautified face no first-image hairstyle if different no awkward face blending no mismatched skin tone no mismatched hairline no distorted facial features no blurry eyes no deformed hands no extra fingers no change to the school uniform no change to the body pose no change to the background no cartoon style no anime style no text no watermarkshow more

Perfume brands are paying agencies $50k for ads you... can now make for under $2 😳 i tested it myself same prompt, two ai models. MiniMax H3 vs Seedance 2.5 seedance charged me 4x more. H3 still looked better what H3 got right: > the glass and lighting look real, not ai > brand name on the bottle came out clean, no melted text > 2k quality, 15 second videos > starts at $0.081 per second if you make ads, product videos or brand content, this is the cheapest way to look expensive both videos below, which one won? 👇show more

Household chores created using a movement sheet as reference... to animate the entire scene using ChatGPT Image 2.0 and Seedance 2.0 on Yapper GPT Image 2 Prompt; [VISUAL STYLE] Monochrome grayscale composition featuring a highly detailed 3D-rendered female character. Designed like a professional instructional guide with a technical, diagram-inspired layout. Clean white background, soft studio lighting, and strong contrast to highlight posture, actions, and object interaction. [GRID LAYOUT] Structured 4×4 panel grid (16 frames total), evenly spaced with thin black divider lines. Each panel is identical in size and clearly numbered from 1 to 16, showing a continuous sequence of household activities. [CHARACTER] Use the provided reference image for the face and overall likeness. Same facial features, skin tone, and proportions Natural makeup, soft expression Consistent identity across all 16 panels Realistic proportions and clean hairstyle (loose or tied back) [WARDROBE] Modern, modest casual outfit: Fitted crop top (not revealing, clean neckline, practical for movement) High-waisted straight or slightly wide-leg jeans (full length, neat fit) Optional minimal sneakers or barefoot indoor styling Fabric should react naturally to movement (subtle folds and tension) [SCENE APPROACH] Minimal, clean environment per panel — only essential props related to the chore. No clutter, no complex backgrounds — focus stays on the subject and action. [PANEL STRUCTURE – EACH FRAME] Top-left: Step number + task title (e.g., “Step 4 – Vacuum Floor”) Center: Full-body pose performing the chore Bottom-left: 3–4 concise instruction lines Overlay: Motion arrows and directional guides showing action flow [CHORE SEQUENCE EXAMPLES] Make the Bed Tidy Up Room Dust Surfaces Vacuum Floor Sweep Floor Mop Floor Do Laundry Hang Clothes Fold Clothes Clean Kitchen Counter Wash Dishes Take Out Trash Water Plants Clean Bathroom Organize Shelves Final Room Reset [MOTION INDICATORS] Curved arrows → fluid actions (wiping, folding) Straight arrows → directional movement Circular arrows → repetitive motions (scrubbing, mopping) [RENDER QUALITY] High-detail sculpted 3D style with smooth grayscale shading, soft shadows, and clean linework. Polished, concept-art level finish with clarity in every pose and object interaction. [RESTRICTIONS] No color, no unnecessary background detail, no extra characters, no revealing clothing, no clutter — only the subject, props, and instructional elements.show more

Jade Panic is here to brighten your timeline. Minimax... H3 on Fish Creative Prompt 15s / 16:9 / high-energy 2D anime pop-punk MV — character-locked Create a 15-second horizontal 16:9 high-energy 2D anime pop-punk music video featuring the exact heroine from the provided character reference. The entire sequence must feel like one continuous, tightly choreographed MV passage; each movement must motivate the next transition. CHARACTER LOCK (absolute authority = the reference still) Twin high black space-buns with messy volume and warm brown inner strands. Green jade disc clusters pinned into both buns. Straight blunt bangs with a small center split. Huge sharp green eyes, thick black outlines, strong lashes. Small mouth, warm cheek blush, pale skin. Green circular dangling jade earrings. Sleeveless lime-to-jade floral qipao with black piping, black frog-button placket, high collar, and black line-art lotuses on the fabric. Bare shoulders and arms. Stylized proportions: oversized head, compact torso, long simplified limbs, chunky hands. Bold black outlines, flat saturated colors, minimal cel shading, early-2000s TV-anime / handmade cartoon finish. Personality: loud, cheeky, rebellious, playful, hyperactive — the still’s fierce stare becomes motion, not a different face. Do not change hair color, bun structure, eye color, earrings, qipao cut, floral linework, or outline weight. No pink hair, no red plaid uniform, no extra characters, no 3D, no photorealism, no glossy modern anime redesign. GRAPHIC LANGUAGE (from the still) Primary palette: lemon yellow, jade / lime green, ink black, paper white. Motifs: spinning jade discs, qipao lotus line-art, frog-button glyphs, circular earrings as motion graphics, torn yellow paper, black brush X’s, photocopy grain, tape strips, hand-drawn stars and crosses, rough ink splatters. Kinetic type must look stamped, ripped, or screen-printed — never clean corporate sans. 0.0–2.5s Start in motion. She slides in from frame-left, one foot skidding across a clean yellow graphic floor. Body leans forward; both buns, earrings, and qipao hem trail behind. She stomps the second foot down, snaps her chin up, and flashes a mischievous grin over the reference’s fierce eye shape. Impact instantly tiles the yellow field into huge jade-and-black floral blocks. Bold kinetic type “JADE PANIC!” slams in, letters made from ripped yellow paper + green lotus outlines. 2.5–5.0s No pause. Rebound into a small hop and sharp half-turn. Camera swings from front ¾ into a fast side-track as she takes two exaggerated cartoon steps. Feet hit on alternating beats, leaving jade discs, lotus scribbles, tape, crosses, and comic impact marks. Buns and earrings bounce hard; qipao hem flares. 5.0–7.5s Side kick on the beat. Kick momentum spins her. The floral pattern on the qipao stretches into a giant rotating graphic plane and pulls the frame into an abstract 2D punk world: black brush strokes, green lotus line-art, yellow paper shards, jade lightning (mint/cyan accents only as small bolts, never as hair), photocopy texture. She flows straight into a bouncy phrase: head whip → shoulder hit → side step → small kick → fast turn. Poses stay cartoon-exaggerated. 7.5–10.0s Turn accelerates; camera orbits close. Environment recomposes to the choreography: checker yellow/green slides, hand-drawn crosses rotate, torn-paper strips snap, oversized comic type hits on drums (BAM, 叩, 炸). She lands hard, feet apart. A huge hand-drawn “BAM!” bursts under her feet and shakes every graphic layer. She rebounds upward immediately with a cocky smile — no held fashion pose. 10.0–12.3s Same continuous body motion, camera racing along it: whip of the head → bright green eye → jade bun ornament → swinging black bun → bouncing earring → frog-button collar → floral qipao panel → stomping foot. Not a beauty-cut montage; one traveling shot. The footfall fires a jade-floral shockwave across the frame. 12.3–15.0s Ride the shockwave back to full body. Two confident bouncing steps, abrupt pivot, finish facing camera: weight on one leg, shoulders slightly forward, cheeky rebellious grin. Buns and earrings still swinging. Background erupts into layered yellow paper, black brush X’s, white stars, green lotus line-art, spinning jade discs, rough ink. Elements snap into a 2000s punk magazine-cover lockup. Large “JADE PANIC!” type stacks behind her silhouette on the final beat. Hold her recognizable twin-bun / qipao silhouette. No design drift. MOTION Fast, bouncy, limited-animation timing: strong keys, overshoot, smear frames, anticipation, cartoon impacts. Hair buns, earrings, and qipao hem are the secondary rhythm; feet are the downbeat. Transitions grow only from action: skid → pattern flood → kick → rotating floral plane → spin → orbit → stomp → shockwave. No random cuts, no palm-to-lens, no pointing at camera, no outfit/hair morph. AUDIO Tight sync to fast Japanese pop-punk vocals, punchy electronic drums, distorted guitar. SFX: boot/foot skids, stomps, paper snaps, cartoon hits, guitar chops, short graphic whooshes. Type slams on snare/crash. NEGATIVES No hand reaching toward camera, no palm covering the lens, no pointing into the lens, no outfit transformation, no hairstyle transformation, no extra characters, no realistic rooms, no photorealism, no 3D CGI, no modern glossy anime, no cyberpunk holograms, no slow fashion posing, no facial drift, no random accessories, no excessive jump cuts, no disconnected moves, no uncontrolled morphing, no unreadable type, no pink hair, no red plaid school uniform.show more

A bag for life? In an airplane emergency evacuation,... you should not bring your carry-on luggage. This is not a suggestion. It is a life-saving principle. Here’s why: 1. It slows down the evacuation. An evacuation is designed to be completed in 90 seconds or less. Every second matters. Opening overhead bins, pulling bags out, and maneuvering them down the aisle creates congestion and blocks exits. 2. It endangers other passengers. A narrow aisle becomes impassable when even a few people stop to retrieve luggage. Those behind may be trapped in smoke, fire, or toxic fumes with no way forward. 3. It can damage evacuation slides and rafts. Cabin baggage can puncture or tear slides. If a slide fails, an entire exit becomes unusable. That directly reduces survival chances for everyone on board. 4. It increases the risk of injury. Bags can strike people in the face, hit children, or cause passengers to fall while exiting. In a high-stress environment, even small obstacles become dangerous. 5. It shows disregard for crew authority. Cabin crew are trained to shout commands like “Leave everything!” for a reason. In some cases, they are trained to physically remove bags from passengers if necessary because the risk is that serious. Now consider two real-world scenarios: The 2019 crash of Aeroflot SSJ-100 Flight 1492 The aircraft made an overweight emergency landing in crosswind and windshear conditions after lightning strike and loss of key electrical systems. It bounced three times. On the third impact, the main landing gear collapsed, punctured the wing, and caused a major fuel spill and fire. Only 37 of the 78 occupants survived. Forty-one died. The final report blamed several passengers for retrieving cabin baggage from overhead bins during evacuation. While difficult to quantify exactly, it almost certainly slowed the process in a rapidly worsening fire. In a post-crash fire, seconds determine survival. On 2 January 2024, a Japan Airlines Airbus A350 was engulfed in flames after a runway collision in Tokyo. The cabin quickly filled with smoke, and the fire intensified outside. All passengers followed crew instructions and left their baggage behind. All 379 passengers and crew evacuated successfully. No fatalities. No serious injuries. The difference was discipline and strict adherence to instructions. If passengers are determined to take baggage, there is very little cabin crew can realistically do in the chaos. That is why passenger behaviour is critical. So let’s settle this: No bag is worth a life. Not yours. Not someone else’s. In an evacuation, leave everything behind and get out.show more

Claude cannot watch a YouTube video, Instagram reel, Tiktok,... or local file video. Same problem is with ChatGPT and Gemini. It reads the transcript and pretends it did. This FREE AI TOOL fixes this issue It extracts only the important frames, transcribes the audio, and hands Claude a clean folder it can genuinely read and understand. No uploading to a server. Runs entirely on your machine. Here is what makes it smarter than everything else doing this: → Detects scene changes instead of grabbing one frame per second like every other tool → Removes near-duplicate frames so Claude is not reading the same shot 40 times → Handles A-B-A cuts, if a shot already appeared, it does not send it again → A 10-minute static screencast collapses to 1 frame instead of 600 → A fast-cut reel catches every visual change instead of missing frames between samples → Transcribes audio with Whisper and auto-detects the language → Saves the full soundtrack so audio models can actually hear it too → Works with Claude, ChatGPT, and Gemini The result: fewer frames, cheaper context, better understanding. Claude actually sees the video instead of guessing from a transcript.show more

From sofa to stadium in a single leap. From... living room to world-class stadium in seconds. Argentina vs Brazil, one magical run, one unstoppable strike, and a celebration heard around the world. Create your World Cup moment with SeaArt, earn free Credits and win an iPhone 17. #SeaArtWorldCup Made with Seedance Credit: SeaArt.Ai🐋 SeaArt Creator Lab Prompt: First-person POV from a comfortable reclining armchair in a cozy modern living room. From the very first frame, a large television mounted on the wall directly ahead is already showing a live Argentina vs Brazil football match in full swing. Soft afternoon sunlight streams through the windows, creating a relaxed match-day atmosphere. The viewer's legs are stretched out comfortably while wearing casual shorts, enjoying the game from a resting position. Authentic British football commentary and crowd noise play naturally from the television. At 0:02, a young woman wearing an appealing lavender-purple casual shorts outfit and a stylish half-French braid hairstyle enters from the right side of frame. She is a neutral football fan, not supporting either team. Drawn into the excitement of the match, she glances at the television, smiles, then accelerates into a sprint across the living room. At 0:04, she runs directly toward the television. The camera remains first-person and perfectly stable. At 0:05, she leaps into the TV screen in one continuous motion. No cuts, no scene jumps, no transitions breaking continuity. As she reaches the screen, the living room seamlessly dissolves away and transforms into a massive international football stadium hosting Argentina vs Brazil. Television audio smoothly expands into a deafening live stadium atmosphere. The transformation happens organically around the camera while preserving one uninterrupted shot. At 0:06, she lands smoothly on the pitch, still wearing the exact same lavender outfit and half-French braid. A single football rolls naturally toward her. IMPORTANT: Only one football exists throughout the entire video. The football must maintain perfect object permanence. The same ball remains continuously visible and physically consistent from first touch to goal. No duplication, replacement, morphing, teleportation, flickering, frame-to-frame jumps, texture changes, scaling changes, disappearing ball, floating ball, or AI artefacts. Realistic football physics only. At 0:07, she controls the football with a clean first touch. At 0:08–0:11, she dribbles continuously between Argentina and Brazil players. Every touch follows realistic momentum, spacing, and foot-to-ball contact. Defenders react naturally. No clipping, collision errors, or unnatural movements. At 0:11, she approaches the edge of the penalty area. At 0:12, she unleashes a powerful strike using the same football. The camera clearly tracks the football's entire flight path from her foot to the goal in one uninterrupted motion. Realistic spin, realistic speed, realistic trajectory. At 0:13, the football smashes into the top corner of the net. The net deforms naturally and ripples realistically. The crowd explodes with excitement. Authentic British football commentator shouts: "What a strike! Absolutely sensational!" At 0:14, she turns and sprints toward the corner flag as the camera follows closely. For the final second, she leaps high into the air and performs the iconic Siuuu celebration, rotating and landing with feet apart and arms extended downward while facing the roaring crowd. Her half-French braid swings dramatically behind her. Stadium lights illuminate the scene as thousands of fans celebrate. One continuous unbroken shot, no cuts, no scene resets, seamless living-room-to-stadium transformation, cinematic football commercial quality, authentic British football commentary, realistic player movement, physically accurate football physics, strict ball continuity, stable camera motion, premium sports broadcast visuals, dramatic stadium atmosphere, crowd chants, sprinting footsteps, grass impact sounds, powerful strike, realistic net ripple, ultra-realistic visuals, 15-second duration, 16:9 horizontal format, no logos, no text overlays, no subtitles, no watermark, no flickering objects, no AI artefacts, no visual glitches.show more

President William Ruto, Musalia Mudavadi and Sophia the second... Kithure Kindiki understands that the strongest protector of a clean election in this country is the Constitution of Kenya. And that is exactly why his allies are floating a plan to bolt a referendum onto the 2027 General Election to drown the vote in confusion, split the nation into YES and NO camps, and suffocate any honest evaluation of his record. Musalia Mudavadi has been pushed to sell this agenda all while his own office continues to face questions about its constitutional grounding and what happens to it if power shifts. This is not reform. It is political survival dressed up as national dialogue. Why this rush? Because the truth is simple: the conversation the President fears most is not about amendments it is about performance. It is about the hustlers he promised to uplift mama mboga, bodaboda riders, mkokoteni pushers, hawkers, even those surviving at the very margins who are counting down to 2027 with anger and exhaustion. They want answers on the economy, debt, taxes, healthcare, schools, and corruption not another engineered national drama. So William Ruto in his wisdom or lack of the same thinks wants to turn the country into a YES vs NO battlefield. Fracture the opposition. Fill the airwaves with noise. Meanwhile, Junet Mohamed suddenly discovers a new mission: publicly attacking Uhuru Kenyatta, because the system needs fresh distractions and fresh enemies to blame. And as all this plays out, pollsters and media houses like Citizen TV, TIFA, IPSOS and others churn out narratives about who is “popular” and which parties are “dominant,” even when Kenyans on the ground are sinking under the weight of daily survival. Public opinion becomes a tool, not a mirror. Let me put it before you people: Kenya does not belong to William Ruto, Musalia Mudavadi, Junet Mohamed, Uhuru Kenyatta, UDA, ODM, or any politician. It belongs to the people. The Constitution is not a chess piece. Elections are not bargaining chips. You do not rewrite the rules of the game because you fear the verdict. This nation has endured enough propaganda, enough division, enough manipulation. We refuse to be dragged into a referendum sideshow meant to erase accountability and bury the real crises facing our schools, hospitals, and households. Kenyans must stand firm peacefully, lawfully, and unflinchingly for a free and fair election under the Constitution, without side-ballots, without engineered confusion, and without intimidation of institutions or officers.show more

Seedance V2 Now the prompt is out you can... change the character's the food and the location, have fun 🤭 realistic live-action, single continuous shot, full first-person POV, no cuts, no angle changes, no scene transitions, no montage, no flash cuts, no music, no subtitles. Only two characters: my unseen first-person POV and @ Image1 sitting across from me. Natural ambient sound only: light restaurant noise, tableware, distant water, faint voices, chewing, spitting, rinsing, my laughter. Setting: Outdoor dining table beside West Lake, Hangzhou, near the water, calm daylight or soft late afternoon light. Real smartphone-video realism, grounded textures, realistic food, realistic body and hand motion, accurate chopstick use, accurate mouth movement, accurate eye focus. The lake stays visible to one side of frame. Character: @ Image1 is the only visible person. She can switch seamlessly between slightly fierce-cute and soft adorable. Lip sync, voice, expressions, and body language stay fully synchronized. Emotional arc: cheerful and relaxed while eating, then shocked disgust, then angry embarrassment. Table: Exactly 7 dishes on the table. One dish is the West Lake vinegar fish shown in @ Image2. @ Image1 is happily eating rice and the other dishes, but not the fish at first. The table feels full but readable. The fish dish remains clearly visible before I offer it to her. Camera: Entire video is from my seated first-person view across the table. My hand and chopsticks may enter frame naturally. Slight handheld micro-shake from breathing and laughter only, never chaotic. No third-person shots, no reverse shots, no overhead shots, no cutaways. Continuous believable framing centered on @ Image1 with part of the lake visible. Action: @ Image1 sits opposite me, happily eating from her bowl, enjoying rice and other dishes except the West Lake vinegar fish. She looks bright, playful, relaxed, cute. From first-person POV, I pick up one bite of the fish with chopsticks and slowly extend it toward her. She notices it immediately, trusts me, leans forward, opens her mouth happily, and makes a cute “aam” sound as she bites the fish. I gently pull the chopsticks and my hand back out of frame. She chews happily for about one second, expecting it to taste good. Then the taste hits. Her expression changes instantly into exaggerated but believable disgust. Her face shifts into a comedic purple-disgust reaction while staying within realistic live-action style. She quickly turns toward the lake and spits it out with repeated “ptui, ptui, ptui” sounds. The motion is fast, fluid, and continuous from chewing to rejection. The moment she starts spitting, I begin laughing in first-person POV and keep laughing through the whole reaction. My laughter sounds genuine, amused, and uncontrollable, coming from behind the camera. The camera shakes slightly from laughing. After spitting, @ Image1 sticks out her tongue in disgust, immediately grabs the water on the table, and rinses her mouth quickly. She looks offended, embarrassed, irritated, but still vivid and cute. After rinsing, she snaps into angry frustration, grabs the entire fish dish from the table, and throws it into the nearby lake in one continuous motion. Ending: She finishes the throw angrily, still facing the lake, clearly annoyed and feeling betrayed, while I remain in first-person POV laughing. Keep the action continuous and clean. No extra characters enter frame.show more

Crafted with Seedance 2.0 + GPT Image 2 Pollo... AI Storyboard Prompt: Create a raw kung fu performance storyboard focused on extreme physical action. Use reference image for the character. 16:9 storyboard sheet, 12 cinematic panels. The actual storyboard drawings must be black and white only: rough pencil lines, minimal detail, fast gesture drawing energy, simple anatomy construction and strong silhouette readability. Keep the artwork lightweight, dynamic and unfinished like early fight choreography previs. Start directly in action. Do not begin with a calm stance, preparation shot or slow introduction. A solitary female performer executes an aggressive Tibetan kung fu master-style routine inside a vast ancient temple. The choreography is exaggerated, explosive and constantly escalating: flying diagonal kicks, monk-style low stances, rapid palm strikes, spinning cloth-like body turns, animal-form hand shapes, deep lunges, aerial twists, floor-level sweeps, sudden drops, claw-like blocks, back-arched jumps, sliding recoveries and violent sculptural impact poses. Every panel must contain visible motion and strong body momentum. Avoid static standing poses. The performer should feel like a ritual warrior moving with discipline, fury, spiritual pressure and total body control. Action progression: 1. begin mid-air with a flying diagonal kick already in motion 2. handheld close-up palm sweep cutting through air 3. orbiting wide shot of a full-body spin 4. low-angle impact palm strike with shockwave 5. long-lens side profile spinning kick 6. top-down aerial turn with body, hair and fabric flaring outward 7. hard floor stomp cracking the temple stone 8. sliding low sweep across the floor 9. aggressive close-up flurry of elbows, palms and backfist strikes 10. extreme low monk-style beast stance with energy rising 11. spinning elemental vortex around the body 12. final airborne action pose, suspended above the temple floor, body twisted in a powerful kung fu strike, all elements converging around her before impact Add selective elemental energy effects as VFX-style storyboard accents. The effects should feel spiritual, ritualistic and cinematic, not superhero-like: air bursts around spins and flying kicks, dust and stone fragments lifting from stomps, water-like floor ripples during slides, fire-like trails around explosive strikes, heat distortion around high-intensity movement, elemental vortex near the climax. Element progression: early panels: subtle wind, dust and pressure lines middle panels: stronger stone fragments, floor ripples and air shockwaves late panels: controlled fire trails and energy spirals final panel: the strongest combined elemental surge while the performer is still airborne Use cinematic arthouse action camerawork: handheld energy, whip-pan feeling, orbiting camera moves, overhead shots, side silhouettes, aggressive close-ups, long-lens compression, extreme low angles, wide negative space, strong parallax. Keep the temple environment minimal and atmospheric: towering stone columns, worn temple floor, drifting incense smoke, hanging fabric, harsh light shafts, faint dust in the air, subtle wet floor reflections. Do not overcrowd the frames. Annotation color system: red arrows = body movement blue arrows = camera movement green marks = framing / composition notes orange marks = lighting direction yellow marks = elemental VFX / energy effects black text = short lens notes and panel labels No timestamps. No dialogue. No singing. No extra characters. No enemies. No logos. No watermark. Seedance video prompt: Video Prompt Seedance 2.0 Create a 15-second cinematic kung fu performance video. Use Image1 as the fixed character sheet reference. The character must strictly match the character sheet. Use Image2 ] as the storyboard reference. Follow the storyboard shot by shot as the main source for action order, camera rhythm, body movement, framing, movement direction, camera angles and visual progression. Treat each storyboard panel as a sequential keyframe. Preserve the shot order and make the video feel like the storyboard has been translated into continuous live-action motion. The sequence must end on a frozen final frame while the performer is still airborne. Do not add text, captions, storyboard labels, arrows, UI, logos or watermarks. Do not treat the storyboard as a single image. Do not redesign the character, change the costume or alter the face. Do not begin with a calm stance, preparation pose or slow introduction. Do not make the elemental effects look like superhero powers or excessive fantasy glow. Visual style: stylized cinematic realism, high-end 3D painterly animation quality, dynamic cloth simulation, expressive silhouette design, rich cinematic lighting, controlled color palette, natural motion blur, dramatic scale, beautiful but aggressive physicality, premium feature-animation aesthetic. Environment: vast ancient temple, towering stone columns, worn temple floor, drifting incense smoke, hanging fabric, harsh light shafts, faint dust in the air, subtle wet floor reflections, high contrast shadows. The performance is a solitary female kung fu routine inside a vast ancient temple. The routine starts immediately in action, with no calm stance, no preparation pose and no slow introduction. The movement should feel aggressive, ritualistic, disciplined, physically extreme and spiritually charged. This is not a fight against an enemy. It is a solo performance of force, control, exhaustion, fury and release. Follow story board for choreography direction. Element progression: early sequence: subtle wind, dust and pressure lines responding to movement. middle sequence: stronger air shockwaves, stone fragments, floor cracks and water-like ripples across the temple floor. late sequence: controlled fire trails, heat distortion and energy spirals around explosive strikes and kicks. climax: wind, dust, stone, water ripple and fire accents combine into a stronger elemental vortex. final beat: the performer is airborne above the temple floor in a powerful kung fu strike, body twisted mid-air, hair and fabric flaring outward, with all elements converging around her before impact. Elemental VFX must feel spiritual, ritualistic and cinematic. The effects should be integrated with the choreography and motivated by physical movement. Keep the energy raw, elemental, atmospheric and grounded in the temple environment. Use Laban movement logic throughout: weight: strong, heavy, grounded during impacts, with brief lightness during jumps and aerial twists time: quick during strikes, kicks, drops and turns, sustained during suspended holds and recovery transitions space: direct during attacks, blocks and lunges, indirect during spinning turns and elemental vortex moments flow: bound during rooted stances and precise strikes, free during aerial motion, spinning fabric movement and elemental releaseSee lessshow more

MiniMax H3 - Prompt Share This prompt turns any... reference image into a video showing how the subject could be made by hand from scratch. I tried it with my profile picture. It should work with any subject. Prompt: A cinematic creation film follows one maker reconstructing the main subject shown in the referenced image completely from scratch. The referenced image defines the finished subject’s complete visible appearance, proportions, structure, materials, colors, clothing or surface details, and distinctive features; ignore its background, framing, lighting, and unrelated elements. Begin directly on an empty, clean virtual workbench. Use a stable front three-quarter overhead view that keeps the developing subject readable. There is one maker throughout, represented by the same consistent left and right hands and forearms. Show no more than two hands at once. From 0 to 14 seconds, the entire creation unfolds as a clearly accelerated timelapse with rapid, purposeful hand movement and restrained motion blur. Short jump cuts compress repetitive manual work only after each action has visibly completed. Every cut inherits the exact form and progress left by the previous action. 0-2 seconds: One hand enters already holding the first foundation material, armature, or base element appropriate to the referenced subject and places it at the center. The second hand steadies it as the maker establishes the initial supporting form. 2-8 seconds: The maker rapidly develops the subject’s major structure and volumes using one coherent creation method appropriate to what the referenced image depicts. A living subject is sculpted as one continuous, non-gory digital form from armature to anatomy; a vehicle or machine is built from chassis to functional structure; an object is formed or assembled from its supporting body outward. Each additional material or component enters from outside the frame while firmly held by one of the maker’s hands, is carried to its destination, and remains under hand control until attached or shaped. 8-12 seconds: The same hands develop the recognizable outer form and reference-specific features. The maker sculpts, fits, wraps, stitches, fastens, carves, or polishes only where appropriate to the subject. Facial features, hair, clothing, body panels, wheels, glass, surfaces, accessories, or equivalent defining elements emerge through visible hand and tool contact, never through spontaneous transformation. 12-14 seconds: The maker refines proportions, edges, joints, surface transitions, textures, colors, and distinctive details until the developing subject closely matches the referenced image. One hand stabilizes the form while the other performs each final adjustment with a hand-held tool. 14-15 seconds: The maker removes the last tool by hand and withdraws both hands. The timelapse returns to normal speed as the camera makes a restrained push toward the completed subject and holds on a clean final view. Materials and components do not need to be visible before use, but anything newly introduced must enter the frame already held by one of the maker’s hands. Nothing moves, assembles, appears, disappears, or changes material independently. Maintain one maker, one continuous subject, one creation position, and one category-appropriate construction method. No assistants, extra hands, detached anatomy, duplicated elements, magical morphing, drawing phase, software interface, cursor, menus, annotations, or text overlays.show more

Is Michael Saylor about to get a margin call?... No. And the reason is more interesting than the rumor, because what he built instead may be harder to escape than one. A margin call needs a lender who can seize collateral when the price drops. Strategy has none. Its $6.7 billion in debt is convertible notes, the largest tranche due in 2029, with no loan-to-value trigger and no clause that lets anyone take a coin because Bitcoin fell. Saylor learned that in 2022, when he did have a collateralized loan and sweated a liquidation price, then rebuilt the structure so it could never happen again. On the literal question he is right, and the people calling for his liquidation this week do not understand what they see. But killing the fast death created a slow one almost nobody is pricing. To fund his buying, Saylor issued a mountain of perpetual preferred stock that pays a fixed dividend forever, near 11.5 percent, no matter where Bitcoin trades. That annual bill quadrupled from about $300 million in January to roughly $1.2 billion now, while the cash reserve that pays it fell 38 percent this year to near $1.4 billion, after the company spent $1.5 billion in May retiring debt. Put those two numbers together and you get the figure that actually matters, and it is not a Bitcoin price. It is a countdown. Dividend coverage, the time the cash can keep paying that bill, has collapsed from more than seven years in early 2026 to between ten and fourteen months, depending on whose math you use. Months, not years. The market is already pricing it, just not where the rumor is looking. That preferred stock is engineered to sit at $100. Last week it cracked to $82.50, a record 17.5 percent below par. That discount is investors quietly clocking the strain while the timeline screams about a margin call that cannot happen. There is a clean way out, and it is the one door the structure was built to keep shut. Restoring a safe two years of coverage takes about $2.8 billion, roughly double what Strategy holds, and the fastest path there is to sell Bitcoin. But selling crystallizes a $10.6 billion loss, breaks the never-sell promise that gives the stock its premium, and bleeds the very asset the machine exists to hoard. The exit and the wound are the same cut. He already brushed it, selling 32 coins on June 1 to cover a payment. Thirty-two against more than 847,000 is a rounding error in size and an earthquake in meaning, because the company that swore it would never sell, sold, to pay a dividend. And there is a second trigger almost no one has read, buried in the fine print. If Saylor ever simply skips a preferred payment to save cash, the missed amount compounds, the senior layer can ratchet its rate higher, a senior miss freezes payments to every junior layer beneath it, and after enough missed quarters those preferred holders can start taking board seats. No one seizes a coin. But control begins migrating to the people he owes. The clock does not just run down. It hands away the keys at the end. So the honest verdict is the one neither side is shouting. There is no margin call and no imminent bankruptcy. The structure protects him exactly as designed. What it cannot protect him from is a fixed bill that grows while the cash shrinks, where every exit deepens the hole. Sell Bitcoin and break the story. Issue stock into a price near its lowest since 2024 and punish your holders. Skip the dividend and start losing the company by the boardroom. Saylor did not escape the margin call. He traded a cliff for a clock. A cliff takes you in an afternoon and a stranger pulls the trigger. This clock takes months, and at the end the trigger is pulled by the only two forces he swore would never touch it, his own hand, or the people he owes. The rumor asks whether someone is about to call his loan. The real question is how many months he can keep paying before he has to sell the dream, dilute the believers, or hand over the board to keep the lights on.show more

Prompt: Create a premium 9-second vertical 9:16 luxury FMCG... skincare commercial for Vaseline Intensive Care Aloe Fresh, using the uploaded product image as the exact visual reference. MASTER STYLE Ultra-photorealistic, 8K commercial quality, global FMCG advertising aesthetic, premium skincare TVC, fresh, clean, refreshing, sophisticated, product-first cinematography. Realistic skin-care textures, physically accurate liquid behavior, natural reflections, realistic glass/plastic materials, soft volumetric lighting, high-speed macro photography, shallow depth of field, cinematic motion blur. COLOR WORLD: fresh aloe green, translucent water, clean white highlights, subtle cool blue accents. CAMERA: continuous seamless cinematic movement throughout the entire 9 seconds. No abrupt cuts, no frozen frames. Smooth transitions motivated by the movement of aloe, water, and lotion. PRODUCT LOCK — CRITICAL Use only the uploaded Vaseline Intensive Care Aloe Fresh product as the exact reference. Maintain the exact: - Bottle/tube shape and proportions - Cap design - Label layout - Logo - Typography - Colors - Aloe Fresh branding - Material and surface finish - Product scale and geometry Do not redesign, reinterpret, simplify, distort, or replace the packaging. The product must remain perfectly recognizable and consistent throughout the commercial. No duplicate products unless intentionally created as reflections. --- 01 | 0–1s — HOOK: ALOE IMPACT Extreme 100mm macro shot of a translucent fresh aloe-gel droplet flying rapidly toward the camera. The droplet hits the lens with a beautiful realistic splash, creating tiny water particles and refractive distortion. As the splash clears, the Vaseline Intensive Care Aloe Fresh product is revealed behind it. Fast cinematic push-in, green rim light, glossy highlights, shallow depth of field, ultra-realistic fluid simulation. On-screen text: “FRESHNESS YOU CAN FEEL.” --- 02 | 1–2.5s — ALOE TRANSFORMATION Camera smoothly travels through a translucent aloe environment. Fresh aloe leaves appear in the background while a glowing aloe gel droplet flows forward. The droplet transforms seamlessly into crystal-clear water. Macro detail of water beads sliding across the frame. Fresh green lighting, realistic refraction, floating micro-droplets, premium beauty-commercial aesthetic. --- 03 | 2.5–4s — WATER → LOTION The water stream gracefully curves around the product and transitions into a silky white-green moisturizing lotion texture. Show an elegant macro close-up of the lotion flowing smoothly, with realistic viscosity and soft glossy highlights. The camera performs a continuous orbital movement, gradually revealing the full product. No harsh transition — the transformation must feel like one continuous fluid motion. On-screen text: “ALOE + HYDRATION” --- 04 | 4–6s — COOLING BURST The lotion texture suddenly releases a refreshing cooling burst around the product. Ultra-realistic micro water droplets, cool mist, translucent particles, and soft aloe-green energy sweep across the frame. The product remains perfectly sharp and locked in focus while the cooling elements move dynamically around it. Use high-speed macro photography, realistic particle physics, subtle lens bloom and cinematic depth. On-screen text: “INSTANT FRESH FEELING” --- 05 | 6–7.5s — HERO REVEAL Camera smoothly pulls back into a premium hero composition. The exact Vaseline Intensive Care Aloe Fresh product stands centered on a clean glossy surface. Fresh aloe leaves and tiny water droplets subtly frame the product without obstructing the label. Soft green backlight creates a premium halo. The bottle/tube catches realistic specular highlights while remaining completely readable. Minimal, elegant, international FMCG beauty-ad aesthetic. --- 06 | 7.5–9s — FINAL PACKSHOT Final cinematic hero shot. The product remains centered, perfectly upright, sharp, and fully visible.show more

Lads. Sit down and give me your ear a... while, for I have watched from the water long enough and the hour is upon us whether we have the stomach for it or not. You remember. Or your fathers told you, or their fathers did, and the knowledge of it is in the marrow of you whether you drew breath in those days or not. The moors in the grey hour before dawn. Wet heather soft under the boot. Peat smoke rising from a low stone chimney a mile out across the bog, thin as a prayer. A sky the colour of a gun barrel and the gulls lamenting above the headland. The smell of turf burning, and wet wool, and the ferrous tang of the sea when the wind swung around out of the Atlantic and put the taste of iron on your tongue. A man could walk that land and know every stone of it was his by inheritance, because his grandfather had broken his back upon it, and his grandfather before him, back through the generations until you reach men whose names are lost and whose bones are in the soil you are standing on. The potato fields. God be good to us, the potato fields. Lazy beds cut straight as a gunwale, the ridges black and shining after a night of rain, women bent double with creels lashed to their backs and the children at their skirts, drawing the crop up by the hand for there was never any other means devised nor wanted. Hands split open at the knuckles and never entirely healed in this life. Hunger within living memory. Grandmothers who had seen the blight with their own eyes and would not speak of it from the year of it until the day they were laid down, save that a crust was kept always on the dresser which no soul in that house was permitted to touch. Not ever. Not for any reason under heaven. And the chimney sweeps. Wee lads no heavier than a sack of meal, black to the bone with soot, their lungs ruined before they were old enough to marry and old men entirely by thirty. Up the flues at first light, the skin worn off them by the brick, eyes crimson at the rim, breathing the black in with every draw of air. And the coal miners a half mile beneath our feet, down in the wet dark, the roof of the world muttering over their heads, the canary gone silent, a man's whole existence measured out in the shilling a ton and the dust he carried home in his chest to cough up of a Sunday morning into a rag. Fathers who descended and were never hauled up again. Widows at the pit head with the shawl drawn over the head and no tears remaining in them for they had spent those long ago. That was the tariff paid to keep the hearth lit. That was the reckoning of being warm in winter in the Ireland that was. And after the labouring week, Friday evening, and a man had earned the peace of what followed. Home first. Peeled the day off him in the yard. A shower of ice cold moor river water out of a tin bucket punctured with holes, hung on a nail on the gable wall, the water running clean down the back of him and carrying the week's dust and sweat away into the drain. Scrubbed till the skin was pink beneath the grime. Clean shirt laid out by the wife. The hair combed down with a drop of water. Then, and only then, did a man set himself to the table. A meat pie from the baker, tenpence if he was known to you, a shilling and no change if he was not, put down upon a proper plate. Fish and chips for threepence, the salt and vinegar soaked through the newspaper, but carried home and ate slowly at your own table with your people around you, not walked with through the streets like some vagrant tinker off the road. A man ate as a man who had earned his portion, for he had. And later, with the dishes cleared and the kettle set, down the road to the tavern. Low beams black with a century of smoke. A turf fire muttering in the grate. The air thick with pipe smoke and the vapour of wet overcoats steaming themselves dry on the backs of chairs. A pint of stout, cold and black as a cove at midnight, elevenpence laid down on the counter, a head on it thick enough to strike a match upon. A second one because you had it coming to you and no man present would dispute it. A fiddle starting up in the corner of its own accord. The old men in the snug who remembered matters the history books had long since mislaid. A song before the bolt was thrown on the door. The walk home beneath a firmament crowded with stars, the stout warm in the gut of you, the week behind you, and your own door waiting with the latch unlocked for you had no enemies in that parish. That was the country. That was the covenant. Honest labour, plain food, a cold wash, a hot meal, a cold pint, your own tongue in your own mouth, your own soil beneath your boots, and no man standing above you save the Almighty Himself. Now regard her. Regard her close. The fields disposed of to men who have never set foot upon them and never shall. The harbours signed away by the stroke of a pen in a room you were not admitted to, and foreign keels dragging out of our waters the living that sustained this island for a thousand years, while our own boats rot at their moorings for want of a quota. The tradesmen undercut by imported labour and imported goods. The shops shuttered along every main street from Donegal to Cork. The young ones scattered to London and Sydney and Boston and the Gulf because there is nothing remaining for them beneath their own roof. And the entirety of this rotten arrangement dressed up in the soft mannerly language of progress by men in towers of glass who could not tell a lazy bed from a grave, nor a trawler from a tugboat, nor an honest day's work from a pension plan. And now they arrive with the next imposition. A digital identity. A number assigned to each soul. A card required to buy your bread. A code required to draw your own earnings out of your own account. A file kept on every man, woman and child from the cradle forward. Permission asked to move. Permission asked to speak. Permission asked to earn. A levy upon every breath drawn and a regulation upon every step taken. No. And no again. And no for a third time so there is no misunderstanding of it. We do not require your digital identity. We did not request it. We did not vote upon it. We do not consent to it. We do not need your permission to exist upon the soil our forefathers are buried in. We are a free people. We have carried ourselves this far upon our own two backs. Through famine and empire and civil war and black lung and blight and the emigrant ship out of Cobh, we have come this distance under our own steam, and the arrangement appears to be serving us well enough without your intervention. We buried our own. We fed our own. We raised our own roofs and took our own fish and reared our own children in our own tongue. We are in your debt for nothing. Not a signature. Not a biometric scan. Not a single solitary inch. And while we are upon the subject, let us speak plainly of the tax man, for he has gone too long without proper introduction. The tax collector and the tax man are the one article under two names, and the article is a parasite. There is no dressing it up finer than that. A man who produces nothing, who grows nothing, who catches nothing, who builds nothing, who mends nothing, who has never in his professional life lifted anything heavier than a pen, and who arrives at your door with the full apparatus of the state at his back to carry off the fruits of labour he did not perform. He is a middleman between your sweat and some scheme dreamt up in a committee room by his own kind, and the great majority of what he takes is consumed by the machinery of the taking itself before ever a penny of it reaches the road or the hospital or the schoolhouse he claims to be funding. And I will go further while I have the floor. Finance itself, the whole apparatus of it, money breeding money in the dark without a hand laid upon a tool or a spade turned in the earth, is slavery dressed in a good suit. It is the oldest swindle known to man and it has never been anything other. A man who produces nothing yet lives off the productive labour of others through the charging of interest upon money conjured out of nothing is a parasite of a rarer and more refined order than the tax man, but a parasite all the same, and between the pair of them they have the working people of this island bled white and lectured at for the pleasure. A man who will not work with his hands, nor with his back, nor with his mind at some honest problem of the real physical world, is no man that I recognise. He is a ledger entry in a suit. The country was not built by ledger entries. The country was built by farmers and fishermen and masons and smiths and sweeps and miners and shipwrights and midwives and mothers, and those are the people whose say should carry in her councils, and no other. Here is what I put to you. Let each man and woman of this island direct the first tenth of their earnings themselves, by their own judgement, to the purpose they see as worthy. The school down the road. The lifeboat station. The hospice. The widow on the corner. The roof of the chapel. The harbour wall. Whatever it may be. Let the people who earned the money decide where the money travels. You will find the roads mended and the ports dredged and the schools standing and the old ones cared for inside of five years, and done better and for less, because the hand that earned the coin knows the weight of it and will not squander it upon consultants and committees. And let us have done with the paper currency and the numbers in a screen that can be frozen at the whim of a clerk in a tower. Bring back the coin. Gold for the great transactions. Silver for the weekly commerce of a working life. Copper for the small change of the day. Metal you can bite. Metal you can weigh. Metal that cannot be conjured out of nothing by a keystroke, nor erased out of existence by another. Real money for real labour. A coin in the hand is a free man's wage. A number in a database is a collar around a free man's neck, and they are fitting that collar now while we stand arguing over the colour of it. Feel it in your gut. That is not nothing. That is your blood relating to you what your ears will not hear. That is every forebear who starved and fought and coughed the black dust into a rag and descended the shaft regardless, standing at your shoulder and saying no further. Not one more field. Not one more harbour. Not one more son upon a plane. Not one more free man converted into a number in a ledger for the convenience of the parasites. This is the hour. Make no error about it. Ireland is redeemed in this generation or she is lost beyond recovery, and every true son and daughter of her knows it in the marrow. There is no middle ground remaining. There is no waiting it out. There is standing now, upon your own two feet, or there is watching her go under the waves for the last and final time. So stand. Stand with your farmers. Stand with your fishermen. Stand with your tradesmen and your miners and your sweeps and your mothers and your old ones. Raise the tricolour. Speak the tongue. Walk the land. Hold the line in the streets of every town and city and do not break it, for they are relying upon you to break and to go home and to forget by Tuesday. She is calling her children home. Every stone of her, every breaker on her western shore, every acre of wet heather and every coal in every hearth the length and breadth of her is calling. Answer her. Take her back. Every field, every harbour, every last inch of her. Take her back, or lose her entirely. There is no third road open to us.show more

Luxury perfume commercials do not need a full production... crew anymore. I created this premium fragrance ad using Nano Banana 2 and Seedance on Creatify AI , combining cinematic product shots, realistic motion, and commercial-quality visuals in minutes. Prompt: Shot 1 (0:00–0:01.5) — Quick Establishing Bright, sunlit vanity scene, bottle standing on a blush-gold pedestal surrounded by lavender sprigs, a white orchid, and honeycomb. Quick push-in — energetic, not lingering. BGM: Upbeat, light acoustic-pop instrumental kicks in immediately, bright and warm, mid-tempo with a confident rhythm — loud enough to carry the whole spot. Shot 2 (0:01.5–0:03) — Jessica Arrival Jessica walks into frame toward the vanity with natural, real-time movement — no slow-mo — reaching for the bottle with a light smile. Camera tracks briskly alongside her. Shot 3 (0:03–0:04.5) — Macro Bottle Turn Quick macro shot: bottle rotates in Jessica's hand at natural speed, gold cap and floral artwork catching light, honeycomb and lavender blurred in the foreground. Shot 4 (0:04.5–0:06) — Lifting to Apply Jessica lifts the bottle toward her neck/collarbone at natural speed, wrist turning, confident everyday gesture — not slow, not hesitant. Shot 5 (0:06–0:08) — The Spray (brief slow-mo accent only) Jessica presses the gold pump at her neck — a fine, visible mist releases and lands on her collarbone/upper chest area. Only this exact release moment gets a brief 0.3–0.5 sec slow-mo accent for visual impact, then instantly resumes normal speed as she lowers the bottle with a satisfied, natural exhale and slight smile — no eyes-closed lingering pause. BGM: Beat swells slightly on the spray release for emphasis, then continues driving forward. Shot 6 (0:08–0:09.5) — Wrist Application Quick cut: Jessica dabs/sprays lightly at her inner wrist, natural real-time motion, then rubs wrists together briefly — fast, confident, commercial-standard gesture. Shot 7 (0:09.5–0:11) — Notes Visualized Fast macro cutaway: lavender petals and a drop of golden honey caught mid-air in crisp, quick motion (not slow-mo) — visualizing lavender, honey, and orchid notes in under 1.5 seconds. Shot 8 (0:11–0:12.5) — Product Detail Quick tilt down the bottle from cap to base, floral artwork sharp and legible, brisk camera movement matching commercial pace. Shot 9 (0:12.5–0:15) — Final Hero Reveal Jessica turns toward camera with the bottle in hand, natural confident stance, quick dolly-out revealing the full vanity scene. Clean, crisp final frame — no slow lingering fade. BGM: Track builds to its peak in the final second, ending on a bright, resolved note — loud and full, not trailing off quietly. Voiceover (minimal, energetic, matched to BGM — not whispered ASMR): (0–1.5 sec) "Meet Lollia Relax." (6–7 sec, on the spray) "Lavender. Honey. Pure calm." (13–15 sec) "Relax into it." Delivered in a warm, clear, confident Western English accent — natural speaking volume and pace, energetic and inviting, not breathy or drawn out. #Creatify #aimediabuyer #aitools #MarketingTips #D2CMarketingshow more

TAKE A BREATH. TODAY WAS ROUGH. HERE IS WHAT... IS STILL COMING. I know. It was a bad day. Barrett and Roberts handed the left a win on mail-in ballots that stings, and it is going to sting for a while. We are not going to pretend otherwise. But before you check out for the night, you need to know what is still coming, because some of the biggest decisions of this entire term have not dropped yet. And some of them could be very good for our side. Here is where things stand. Today the Court decided two major cases. On mail-in ballots, Barrett wrote the majority and sided with the liberals. Ballots postmarked by Election Day can be received days later and still count. Roberts went with her. Alito, Thomas, Gorsuch, and mostly Kavanaugh dissented. It was a gut punch and we covered it in detail earlier. The other big decision today was actually a win. The Court upheld Trump's authority to fire Rebecca Slaughter from the Federal Trade Commission. Trump called it one of the most important presidential power decisions ever handed down. He is not wrong. That one matters for executive authority in ways that will echo for years. Now here is what is still coming. BIRTHRIGHT CITIZENSHIP. This is the big one. Trump signed an executive order on day one of his second term ending automatic citizenship for children born to illegal immigrants and temporary visa holders. Every lower court blocked it as unconstitutional. The Supreme Court is the last stop. Conservative justices showed skepticism toward the administration's position during oral arguments, so do not expect a clean sweep, but this ruling is going to reshape immigration policy no matter how it lands. TRANSGENDER ATHLETES. The Court is set to rule on the Idaho and West Virginia bans on biological males competing in women's sports. The conservative justices appeared ready to uphold those bans during arguments. This could be a significant win that enshrines once and for all that Title IX does not require schools to allow biological males to compete against women. There is also a case on presidential firing power at the Federal Reserve involving Governor Lisa Cook, and a geofence warrant case involving Fourth Amendment privacy rights. The Court has not announced the final day of the term. It could be later this week or it could slip into early July. Here is the bottom line. Today hurt. The mail-in ballot ruling is a real setback and we are going to fight it through Congress. But this term is not over. The decisions still coming have the potential to deliver wins on the issues that matter most to this movement, the border, women's sports, and the limits of government power. Stay in the fight. Tomorrow is another day and the Court is not done yet.show more

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

Hailuo MiniMax H3 vs. Seedance 2.0 Experimented more for... comparisons, i am loving MiniMax H3. 2K resolution videos for 4 times cheaper than seedance 2.0 is too hot to resist. Thank you Hailuo AI (MiniMax) for making it easier to creators. Its not just cheap, in some cases it is also performing way better than seedance 2.0 in terms of visuals and framing. One example is given below. Used same Text to Video Prompt Prompt: Create a 15-second photorealistic cinematic dark-fantasy sequence in 16:9 widescreen. The video must contain exactly three clearly separated cinematic shots connected by clean hard cuts. No dissolves, morphing transitions or continuous camera orbit. MASTER DRAGON LOCK: Show one enormous ancient dragon with a broad powerful body, charcoal-black overlapping scales, subtle dark crimson colouring across its head and neck, two swept-back horns, smaller facial spikes, glowing amber-orange eyes, one long tail and one pair of enormous bat-like wings with dark leathery membranes. The dragon has four legs: two forelegs and two hind legs. Its design, size, horns, colour, anatomy and facial structure remain identical in all three shots. The dragon must feel extremely heavy, ancient and physically realistic. MASTER RIDER LOCK: One adult armoured rider is already seated securely in a dark leather saddle on the dragon from the very first frame. The rider wears detailed weathered silver plate armour, dark under-clothing, a fitted medieval helmet with a narrow shadowed visor and a long dark cloak. The rider’s face is never clearly visible. The rider holds leather reins connected to the saddle and remains seated throughout the entire sequence. The rider does not suddenly appear, mount, dismount or change clothing. During the first shot, the rider is naturally hidden behind the dragon’s large head, neck and folded wings. ENVIRONMENT AND LIGHTING: The sequence takes place inside a gigantic ancient mountain cave. The cave contains rough black rock walls, enormous stone formations, drifting mist, scattered bones and faint glowing embers between cracks in the ground. The far interior is almost black, but the dragon must remain readable through soft amber reflections and cold blue rim light entering from the cave mouth. The cave entrance opens from a high mountain cliff into a vast dramatic landscape of jagged mountains, deep valleys, distant waterfalls, rolling clouds and pale stormy daylight. Maintain a cinematic cold-blue and muted-amber colour palette with deep shadows, volumetric light rays and realistic atmospheric haze. Dark and mysterious, but never so underexposed that the dragon or rider becomes blurry or invisible. SHOT 1 — DRAGON EMERGES, 0–5 SECONDS: Begin with a symmetrical low frontal wide shot positioned near the cave entrance, facing deep into the darkness. The camera slowly tracks backward toward the entrance as the enormous dragon walks forward out of the black cave interior. The dragon’s wings remain completely folded against both sides of its body. Its glowing amber eyes appear first, followed by its horned head, shoulders and powerful forelegs becoming visible through the mist. Each heavy footstep shakes the cave floor and dislodges small stones and dust from the ceiling. The dragon exhales dense vapour from its nostrils and releases a deep restrained growl. Its head moves naturally with the weight of each step. The dragon looks directly past the camera toward the cave opening. The rider is already seated but remains hidden behind the dragon’s head and neck. Do not reveal the rider clearly during this shot. SHOT 2 — RIDER REVEAL, 5–9 SECONDS: Clean hard cut to a low three-quarter side tracking shot beside the moving dragon. Begin close to the dragon’s horned head and sharply detailed scales. Track smoothly backward along the dragon’s neck and folded wing while the dragon continues walking toward the cave entrance. As the camera reaches the dragon’s shoulder, reveal the single armoured rider seated in the saddle between the folded wings. Hold the composition long enough to clearly show the rider’s silver armour, helmet, dark cloak and both hands gripping the reins. The rider looks toward the bright cave exit and leans slightly forward in preparation for takeoff. The dragon and rider remain in continuous forward motion. Do not show a separate rider anywhere else in the cave. SHOT 3 — REAR TAKEOFF AND FLIGHT, 9–15 SECONDS: Clean hard cut to an epic wide rear view positioned behind and slightly above the dragon and rider. The bright cave mouth and vast mountain landscape fill the background ahead of them. The dragon accelerates into a powerful run toward the cave opening while its wings remain folded enough to pass safely through the cave. The dragon reaches the cliff edge and makes one forceful leap completely out of the cave. Only after clearing the rock opening, it spreads both enormous wings to their full symmetrical width. The sudden wing expansion pushes mist, dust and loose stones outward from the cave entrance. The rider leans forward, grips the reins and remains firmly attached to the saddle. The dragon performs one enormous downward wingbeat, catches the air and transitions naturally into stable forward flight. Loose stones fall from the cliff beneath it. The camera rapidly follows from behind as the dragon and rider soar away over the deep valley between jagged mountain peaks. The long tail streams naturally behind the dragon and the rider’s cloak whips in the wind. End on a majestic wide rear silhouette of the dragon flying into the open mountain landscape as sunlight breaks through the storm clouds. CAMERA AND MOTION: Premium cinematic camera movement with realistic scale and parallax. Shot one is a controlled backward dolly. Shot two is a smooth low side-tracking reveal. Shot three is a dynamic rear pursuit shot that follows the takeoff out of the cave. Use natural motion blur only during the leap and wingbeat. Keep the dragon’s movement heavy on the ground and powerful but graceful in the air. No shaky chaotic framing and no extreme close-ups that obscure the action. CINEMATIC QUALITY: Big-budget photorealistic dark-fantasy visual effects, highly detailed scales and armour, realistic creature muscles beneath the skin, physically accurate wing membranes, believable foot contact, convincing dust and falling-rock physics, volumetric cave mist, dramatic rim lighting, strong depth, atmospheric perspective and stable character consistency. AUDIO: No dialogue and no music. Deep dragon breathing, restrained growl, heavy echoing footsteps, claws scraping stone, armour movement, leather saddle creaking, falling pebbles, rushing cave wind, powerful wingbeat and a deep dragon roar as it enters open air. STRICT CONSISTENCY: Exactly one dragon and one rider. The rider is seated on the dragon from the beginning and never disappears. No additional people, dragons or creatures. No dragon transformation or colour change. No extra heads, horns, tails, wings, legs or riders. The wings remain folded inside the cave and open only after the dragon has completely cleared the cave mouth. The wings must not clip through the cave walls. The rider must not float above the saddle or merge into the dragon. No fire breathing, combat, dialogue, text, logos, blood or visible injuries.show more

🚨 ARCADIA SHATTERED: Masked Cowards Turn “Sunday Funday” Paradise... into a Bullet-Riddled Bloodbath – 13 Young Lives Gunned Down, Suspects STILL ON THE LOOSE 🚑🩺💉⚕️ In the mythic groves of Arcadia—that ancient literary emblem of pastoral harmony, Virgil’s golden age where shepherds piped, and nature sang in eternal concord—young Oklahomans gathered last night at Spring Creek Park by Lake Arcadia’s serene shores. A “Sunday Funday” lakeside revel, flyer promising “leave the BS at home,” became a Hobbesian war of all against all. Two ski-masked assailants opened fire around 9 p.m. on a pavilion packed with young adults enjoying the man-made reservoir’s flood-controlled beauty (fishing, boating, camping since its creation). Chaos. Screams. 10 rushed by ambulance, more self-transporting—13+ now hospitalized with gunshot wounds in “various conditions.” No deaths reported. Yet. Edmond PD, Oklahoma Highway Patrol, and OKC officers swarmed the wooded campground east of Air Depot Blvd and I-35. No arrests. No public threat declared. But my team has provided access to raw GPS data, and Flock license-plate readers are humming, witnesses are talking, and the manhunt is on for the phantoms who fled—possibly into the treeline. This isn’t abstract policy. This is the fragile social contract ripped open under starlit Oklahoma skies: a single evening’s joy reduced to triage, terror, and unanswered “why.” Edmond knows resilience (history scars run deep). Arcadia Lake symbolizes more than recreation—it’s the promise of ordered freedom, community, and second chances. Yet barbarism doesn’t respect symbols. It demands swift, certain justice, not slogans. Victims’ families wait. A city holds its breath. If you saw anything near Scissortail Campground or Spring Creek last night—vehicles, faces, chaos—call Edmond PD at (405) 359-4338. Information saves lives. The void doesn’t win unless we let it. Pray for the wounded. Stand for the rule of law. Demand the masks come off. The videos below are from moments right before the shooting began. Many of my X followers are not seeing posts like this one. If you are reading this, you are the exception. 👉 Boost the algorithm, fight the throttling, and get more 👀: bookmark, share, reply, repost, like, and follow Tony Seruga #ArcadiaShattered #SundayFundayMassacre #EdmondUnderFire #OklahomaDemandsJustice #HuntTheSkiMasks #LakeArcadiaHorror #13ShotNoArrestsshow more

Prompt: Create a premium 10-second vertical 9:16 skincare commercial... for Glad2Glow PDRN 10% + 3% Niacinamide Brightening Serum. Ultra-photorealistic 8K, cinematic macro skincare photography, soft pink beauty aesthetic, luxury FMCG skincare advertising quality, clean Korean-inspired beauty commercial, glossy fresh skin, elegant soft lighting, shallow depth of field, smooth premium camera motion. PRODUCT LOCK: Use the exact Glad2Glow serum bottle shown in the reference image. Preserve the original bottle shape, transparent pink serum, white dropper cap, Glad2Glow logo, PDRN text, 10% + 3% formulation text, Brightening Serum typography, label layout, colors, proportions and 20ml / 0.67 FL.OZ. details. Do not redesign, distort, blur, duplicate, mirror, alter or replace the product packaging or branding. One physical hero bottle only. OVERALL STYLE: Soft pink pastel environment, glowing glass spheres, subtle flowers, elegant marble surface, creamy bokeh, delicate highlights, clean feminine skincare aesthetic, realistic skin texture, natural glossy glow, premium beauty campaign cinematography. No excessive retouching, no plastic-looking skin, no extra products, no watermark. STORYBOARD 01 | 0–1s — PRODUCT REVEAL Macro beauty shot of the Glad2Glow serum bottle standing elegantly on a soft pink marble pedestal. Pink glass sphere and delicate floral elements in the background. Soft sunlight and dreamy bokeh. Camera makes a subtle cinematic push-in toward the bottle. Tiny sparkle accents emphasize the product. 02 | 1–2s — PICK UP A woman's elegant hand gently picks up the Glad2Glow serum bottle. Natural manicured nails, realistic skin texture. Bottle remains perfectly sharp and branding fully readable. Soft pink background with beautiful highlights. 03 | 2–3s — DROPPER Extreme macro shot of the white dropper being lifted from the bottle. A small amount of glossy pink serum stretches naturally from the dropper. Smooth slow-motion movement, realistic serum viscosity and reflections. 04 | 3–4s — SERUM DROP Macro close-up of a single glossy pink serum droplet falling from the dropper onto a fingertip. The droplet lands softly and forms a realistic translucent glossy bead. Beautiful specular highlights and soft pink lighting. 05 | 4–5s — APPLY Close-up beauty shot of a woman's cheek. A small amount of pink serum is gently applied onto the skin with the dropper. Show realistic skin pores and smooth serum texture. Camera stays intimate and macro. 06 | 5–6s — ABSORB Fingers gently massage the serum into the cheek using soft circular upward movements. The serum visibly spreads and absorbs naturally into the skin. Skin begins to look hydrated, luminous and fresh. 07 | 6–7s — GLOW Extreme close-up of the cheek as the fingers finish blending the serum. Reveal a naturally hydrated, dewy complexion with realistic healthy-looking glow. Soft highlights travel across the skin. 08 | 7–8s — PRODUCT + SKIN Elegant composition combining the glowing cheek in the background with the Glad2Glow serum bottle prominently positioned in the foreground. Pink sparkles and subtle heart-shaped beauty graphics appear around the product. Keep the bottle perfectly accurate. 09 | 8–9s — HERO BEAUTY SHOT Return to a premium hero shot of the Glad2Glow bottle standing centered on a pink marble platform. Pink glass spheres, soft flowers and dreamy bokeh surround it. Gentle camera push-in, glossy reflections, luxury skincare commercial look. 10 | 9–10s — FINAL HERO / GLOW Final centered product packshot. Glad2Glow bottle perfectly upright and sharply focused against a luminous pink background. Elegant sparkles and subtle hand-drawn heart accents appear around the bottle. Add clean handwritten-style text: “Glow your skin” Hold the final frame long enough for the product and text to remain clear and readable.show more