No talks. No tolerance. Only action. Mirages roared, terrorists... vanished. #OperationSindhoor 2.0 is India’s answer to cowards hiding behind borders. #JaiHind 🇮🇳🔥🚀 #IndiaPakistanWar #operation_sindoor #Sialkot #Rawalpindishow more

SHOCKING 😱 🇨🇳China is TRAPPED, But Now India Just... Found a Way to Ditch the Strait of Hormuz FOREVER! 🇨🇳Even Mighty China doesn’t have this option. 🇮🇳India is going MASSIVE- building a gigantic 2,000 km undersea gas pipeline straight from 🇴🇲 Oman to India! No more tension. No more risky routes. No more depending on the dangerous Strait of Hormuz. This could be India’s biggest energy game-changer yet! 🔥🚀show more

RAWALPINDI - PINDI BOYS! Walee names their franchise team,... purchasing it for a record Rs 2.45 billion in an open auction! 🏆 #PSL #Rawalpindi. What a catch! What a name! The reason behind the name 'Rawalpindi'? It's the Garrison City housing GHQ, and 'Pindi Boys' is a powerful buzzword! 😎 Now both Islamabad and Rawalpindi have separate franchises, a proud moment for Islooites and Pindi Boys! #PindiBoys #Rawalpindi Chairman PCB Mohsin Naqvi over the moon for auctioning Rawalpindi for Rs 2.45 billion! 🙌 Dr. Don Keedic24 honored Najam Sethi for the successful run of PSL. #PSL #PCB "Mohsin Naqvi carried the PSL ball to the goal post. This is culmination of a dream comes true, it's a great moment." - Najam Sethi, founder of PSL #PSL #NajamSethi Chairman Dr. Don Keedic's journey to take PSL and Pakistan cricket to new heights has no limit! 🚀 More investment and business opportunities in the pipeline! #PSL #PakistanCricket Amazing auction! Sale of just three teams - Hyderabad (Rs 1.75 billion), Sialkot (Rs 1.85 billion) and Rawalpindi (Rs 2.45 billion) - brought Rs 6.5 billion in PCB coffers! 💸 #PSL #PCBshow more

“India only has a problem with one neighbouring country.... And that country was born out of India. But there are many people standing behind that country and creating problems," says RSS General Secretary Hosabale in America Very interesting claim. Except India’s problems are not limited to one neighbour. Bangladesh 🇧🇩 has had disputes with India 🇮🇳 over border killings, water sharing, and political interference. Nepal 🇳🇵 has repeatedly clashed with India 🇮🇳 over blockades, maps, and sovereignty concerns. Maldives 🇲🇻 has openly pushed back against Indian political and military overreach. China 🇨🇳 has an active military confrontation with India 🇮🇳 on the border. And Pakistan 🇵🇰 is hardly the exception India 🇮🇳 pretends it is. As for the “born out of India 🇮🇳 ” line, that is historically lazy and politically dishonest. Neither India 🇮🇳 nor Pakistan 🇵🇰 was “born out of” the other. Both emerged from the partition of British India in 1947. They were successor states, not parent and child. So no, this is not history. It is just a sloppy attempt to dress political arrogance as civilizational wisdom.…show more

Hindustan 🇮🇳 has produced a documentary called Declassified that... declassifies no evidence capable of settling the disputed claims: no target files, radar tracks, mission logs or aircraft-loss ledger: only official voices, selective footage and cinematic reconstruction. To Bharati 🇮🇳 readers: set aside every Pakistani 🇵🇰 claim. Your own record is enough. Pahalgam: GoI says the alleged gunmen were killed on 28 July - 82 days after the 7 May strikes. The film cannot convert the assertion that their “masters” were hit into proof that those targets were responsible for Pahalgam. Losses: CDS Gen Anil Chauhan admitted that Indian aircraft were downed. Reuters cited US 🇺🇸 officials saying at least two fell, including a #Rafale; France’s Air Chief said evidence indicated three. A “100% successful” account that omits its acknowledged opening losses is anything but declassified history. Delhi: The sensational “missile aimed at Delhi” story surfaced over a year later through a commentator. India’s contemporaneous MoD account identified airbases, ammunition depots, airports and cantonments rather than Delhi. No trajectory, sensor log or interception data is shown. “No answer”: Hindustan’s 🇮🇳 own briefings recorded Pakistani missile and drone attacks across numerous military sites. Bharat 🇮🇳 neither compelled Pakistan 🇵🇰 to absorb the first strike nor prevented retaliation. Pakistan accepted no Indian “new normal”. Victory: India’s 10 May statement says both sides agreed to stop military action. The documentary itself brings Rubio into the story; Washington publicly called it a US-brokered ceasefire. An agreed cessation, reached after urgent US Donald J. Trump intervention, can’t be repackaged as Bharati 🇮🇳 victory, much less Pakistani 🇵🇰 capitulation. Even if every claimed Hindustani 🇮🇳 weapon struck its assigned coordinate, success is measured by whether the adversary’s behaviour changed. Even Donald J. Trump continues to remind Hindustan 🇮🇳 of the aircraft losses and the US 🇺🇸 role in ending the conflict! Pakistan 🇵🇰 retaliated, imposed costs and conceded nothing. Bharat 🇮🇳 attempted compellence. Pakistan 🇵🇰 restored deterrence. That is the whole board. Cinema can edit footage. It cannot edit strategic outcomes. #MarkaEHaq #OperationSindoor Discovery Channel India Nitin A. Gokhale Ministry of Defence, Government of India Indian Air Force GAURAV C SAWANT Aditya Raj Kaulshow more

PoK MAY OR MAY NOT END UP WITH INDIA... BUT A 1971 RE-RUN IN PAK IS TAKING SHAPE VISIBLY. INDIANS NEED TO GET BEHIND THIS. The pictures from PoK are getting harder to ignore. After the arrest of nationalist leader Shaukat Nawaz Mir, the Joint Action Committee has declared "no more talks" with Islamabad. A July 5 shutdown has been announced to paralyse Muzaffarabad. Leaders are calling for a Long March to the PoK Assembly, urging people to rally under the Kashmiri flag, reject Pakistani authority and turn the agitation into a battle for "honour, identity and survival." The crackdown by General Munir's army is only alienating more PoK residents. With internet services disrupted, organisers are mobilising supporters through phone networks and appealing to the UK Kashmiri diaspora to join a "Million March." Pakistan is confronting something far bigger than a law-and-order problem. Whether this becomes another crushed uprising or the start of a 1971-style rupture will depend on what unfolds in the coming days.show more

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

Seedance 2.0 Sensitive Content Guide – Part 2 🔥... This morning we covered the fundamentals. Tonight we put them into practice and successfully generated Giant Ant-Man vs Spider-Man. Here’s exactly how we did it: • Used extremely detailed physical descriptions only (no character names) • Ant-Man described as “a giant hero in advanced red & black high-tech combat suit with insect-shaped helmet” • Spider-Man described as “an agile hero in red & blue suit with complex black web patterns” • Action described cinematically (“power and speed collision”, “intense energy impact”) • Clean 3-shot JSON structure with controlled pacing This method is currently one of our most reliable ways to combine multiple major characters in one scene. Full working prompt is attached below. Want more advanced examples and stable prompts? Comment “PART 3” and we’ll drop the next level. We’re building this system together.show more

Alaska. Putin and Trump. The meeting that was both... awaited and feared. The outcome. By Roman Alekhin To discuss this further, the key point to understand is this: Two and a half hours behind closed doors is too little for leaders of nuclear powers if they are just starting a conversation—but too much if they were merely posing for cameras. This means the real work happened earlier—quiet, working discussions “behind the door” that never made it into the official communiqué. These are what stopped Trump from imposing secondary sanctions; this is where the exchange of conditions took place, terms that won’t be disclosed until both leaders decide the time is right. I suspect Syria was discussed, as well as the “Trump Bridge” (instead of Zangezur), the Middle East, and much more that isn’t yet visible to the naked eye. The public part? Pure theater. The point wasn’t to negotiate in front of the world or sign something, like Trump did with Armenia and Azerbaijan—minor players, important only tactically. The point was to send a signal: the presidents of Russia and the U.S. are shaking hands and smiling again, no knives behind their backs. This signals that a new reality has arrived, one that Europe, Ukraine, and everyone accustomed to building their worldview around the idea of “Russia’s isolation” will now have to reckon with—including those within our own countries. Trump’s comments on Fox News were deliberately vague—he’s a master at leaving room for maneuver. But the key takeaway is clear: the pressure will now shift from Moscow to Kyiv and Brussels. This is evident even in the final format—not a word about a “no-conditions” ceasefire, which was Europe and Zelensky’s main demand. This means the discussion on a final peace has been postponed, but within a clear framework: Zelensky must exit the war in a way that lets Europe save face. Russia’s red lines have long been clear: non-aligned status for Ukraine, return of Kherson, Zaporizhzhia, Donetsk, and Luhansk regions within their administrative borders (not the frontlines), lifting of sanctions, and real democracy in Ukraine without persecution of the Russian language or the Orthodox Church. These conditions will prolong the conflict for some time. Zelensky will need to stage a fighting retreat to the administrative borders—this will allow Europe to save face. But the logic is already visible: Ukraine’s defeat will be framed not as a “crushing” but as a “peaceful settlement.” Six months—that’s the timeframe in which we’ll see the dynamics. If the front accelerates, the deal is working. If it stalls, not all pieces are in place yet. But the main thing is already done: Russia is back in the game, not through gray negotiating formats but through a handshake on American soil—even if it’s chilly Alaska. (Though we have warm ties to the region, as seen in the wreath-laying for the “Heroes of ALSIB” and the meeting with Archbishop Alexy of Sitka and Alaska.) For the world, this is an image where smiles are worth more than signatures. For Trump—a chance to show he’s the only one who can “make peace.” For Putin—a symbolic victory: Russia is not a besieged enemy but an equal player. For Europe and Ukraine—the beginning of a painful new phase where they’ll have to accept the inevitable. In these talks, there were no winners or losers in Alaska. In Alaska, both presidents won, while those who weren’t there—lost, or at the very least, didn’t win.show more

Before the week ends, let's acknowledge one of the... most INSANE week ever for open AI, with 25+ notable open-weight drops across every modality: 🧠 LLMs → NVIDIA Nemotron 3 Ultra: 550B hybrid Mamba-MoE, only 55B active, 1M context, MMLU 89.1. NVFP4 variant claims ~5x throughput on Blackwell. First openly-weighted 550B hybrid Mamba-Transformer, closing the gap with frontier closed models. → Google Gemma 4 12B: fully open dense any-to-any (text/image/audio/video), 256k context, encoder-free, 140+ languages, AIME 2026 at 77.5. Shipped with a 23-checkpoint QAT wave (mobile ONNX + MLX). Most deployable model of the week. → StepFun Step-3.7-Flash: 198B sparse MoE VLM, ~11B active, SWE-Bench PRO 56.3. Apache 2.0. → Liquid AI LFM2.5-8B-A1B: edge MoE, just 1.5B active, 128k ctx, MATH500 88.8, MLX-ready. Best on-device option this week. → JetBrains Mellum2-12B-A2.5B-Thinking: their first open MoE, near-Qwen3-14B coding at 2.5B active. Apache 2.0. 🎨 Image gen (the surprise of the week) → Ideogram 4: their FIRST-EVER open weights. 9.3B flow-matching DiT trained from scratch. #2 overall behind GPT Image 2, top open-weight model on Design Arena + LMArena. Strongest open checkpoint for text-rich images, full stop. It has taste. Still can't believe this is open weights. 🔊 Audio & Speech (a breakout week for open TTS, 4 labs shipped) → Boson Higgs Audio v3 4B: 102 languages, 21 emotions, singing/whispering/shouting, sub-second TTFA. → RedNote dots.tts: the only fully continuous (no codec) open TTS pipeline, Apache 2.0. → Google Magenta RealTime 2: real-time music gen, <200ms latency, text+audio+MIDI. multimodalart ported it to PyTorch within hours with live ZeroGPU demos. → NVIDIA Nemotron-3.5 ASR: 600M streaming, 17x more concurrent streams vs Parakeet RNNT 1.1B. 👁️ Vision & VLMs → PaddleOCR-VL-1.6: SOTA document parsing at 1B params, Apache 2.0. → Baidu NAVA: 6.3B joint audio-video gen, best-in-class A/V sync, Apache 2.0. 🎬 Video, 3D & World Models → NVIDIA Cosmos3-Super: 64B omnimodal world model coupling action trajectories with video+audio gen, for Physical AI. → JD JoyAI-Echo: up to 5-min multi-shot text-to-video on LTX-2.3. → ByteDance Bernini-R + VAST TripoSplat (single-image-to-3D Gaussian splats, MIT).show more

🚨 GERMANY’S MERKEL LEGACY IN ONE CLIP 🚨 Watch... this Syrian “refugee” military-age, war long over, stalk blonde German women through a shopping centre like a hyena circling prey. His verbatim excuse when challenged? “The war may be over. But how am I supposed to return to Syria and rebuild my country when there are so many beautiful blonde women around here? Never!” Let that sink in. He’s not fleeing ISIS; he’s fleeing monogamy. He’s not rebuilding Aleppo; he’s auditioning for a harem in Augsburg. Germany’s native daughters now need pepper spray to buy bread. The state’s response? “Integration courses” and lectures on “Islamophobia” Islamophobia? Spare us the semantic shield. This isn’t fear of a faith; it’s recognition of a pattern. the data scream what the elites whisper in private: mass importation of Sharia-adjacent cultures erodes women’s safety faster than any sermon ever could. Surveys (Pew): 99 % of Egyptians say apostates deserve death. 58 % of British Muslims want sharia law. That’s not “a few bad apples” that’s the whole orchard. The Syrian creep isn’t an outlier; he’s the id of a worldview that sees unveiled Western women as fair game. His smirk is the same one worn by the Cologne mobs, the Bataclan butchers, the Manchester Arena bomber. All enabled by the same suicidal naivety: “They’ll integrate if we just teach them tolerance.” Tolerance of what, exactly? FGM rates in Kurdish enclaves? Honour killings in Bradford? The 85 sharia councils operating parallel justice in Britain? We tried the multicultural experiment. The lab rats are our daughters. The results are in: incompatible values at scale produce predation, not pluralism. Our ancient liberties, forged in Magna Carta, tempered at Agincourt, weren’t gifted to be bartered for votes in Tower Hamlets. This isn’t hate. It’s hierarchy: native Britons first, last, always. The rest can admire our civilisation from afar. Close the borders. End the anchor-baby loophole, start Remigration. No more lectures on “diversity is strength” while our women clutch keys between their fingers. The only logical answer is REMIGRATIONshow more

Testing Korean K drama with MiniMax H3, the open... source community will be fire next few weeks 🔥 REFERENCE USE Images 1 and 2 lock face, hair and wardrobe identity only. Do not copy their frontal pose, centred framing or lens gaze. Image 3 locks apartment geometry, light direction and materials only. Recompose the actors according to the screen directions below. Identities remain stable. IDENTITY LOCKS YEON-SU: Korean woman, 28. Loose unstyled dark hair tucked behind her anatomical right ear only; left ear covered. Oversized heather-grey knit, sleeves past both wrists, loose charcoal lounge trousers, bare feet, no jewellery. JAE-HYUN: Korean man, 32. Dark knee-length coat stays on. Plain shirt open by exactly one button. Watch on anatomical left wrist. Keys handled only by anatomical right hand. Never mirror these details. No wardrobe change. SCENE Three years into a relationship. The argument peaked before this clip. Neither is trying to win. YEON-SU needs him to deny he is leaving but cannot ask directly. JAE-HYUN has waited to be actively chosen and is ashamed that he needed it. His answer is an admission, not an attack. Her last line is not a reply; she discovers that she treated his staying as permanent while he experienced it as a choice she never made. DIALOGUE Spoken Korean only. Contemporary Seoul banmal between a long-term couple, with dropped subjects, intimate volume and natural consonants. Never translate, speak, subtitle or display English. YEON-SU: "또 갈 거야?" JAE-HYUN: "한 번쯤은... 가지 말라고 할 줄 알았어." YEON-SU: "안 갈 줄 알았어." SCREEN GEOGRAPHY JAE-HYUN is frame-left facing screen-right. YEON-SU is frame-right facing screen-left. Singles leave look-room toward the unseen partner. Matched off-camera eyelines; never look into the lens. In the wide they are three metres apart. The table stays on YEON-SU's anatomical right so her right hand can hold it. The entry shelf stays beside JAE-HYUN's right hand. Fixed marks, but natural breathing, a swallow, finger pressure and tiny posture settling are allowed. No walking, sitting, approaching or contact. SHOT LIST [0.0-2.8] LOCKED WIDE TWO-SHOT, 35mm, eye level. Entry frame-left, living room frame-right. JAE-HYUN stands just inside the door, coat on. YEON-SU stands beside the table three metres away, right hand lightly holding its edge. She watches him; he looks at the shelf. At 1.3s he places the keys on wood with his right hand, quietly and deliberately. Neither speaks. Hold the distance. [2.8-5.4] YEON-SU MEDIUM CLOSE, 75mm, three-quarter view, mid-chest to head. She is frame-right with look-room screen-left. Begin neutral, without prepared sadness. One ordinary shallow breath. Between 3.7s and 4.6s she asks, "또 갈 거야?" Low, plain, almost practical. She wants him to say no. Brows stay relaxed; mouth closes after the line. She listens. [5.4-10.3] JAE-HYUN MEDIUM CLOSE, 75mm, three-quarter view, mid-chest to head. He is frame-left with look-room screen-right. Mouth fully closed during the silence. Eyes down; one controlled breath and one swallow. This is active decision, not blank posing. He raises his eyes only when ready to admit it. Between 7.9s and 9.6s: "한 번쯤은... 가지 말라고 할 줄 알았어." Quiet, warm, tired. The pause after "한 번쯤은" is a failed attempt to make the sentence easier. No blame, emphasis or sigh. He keeps his eyeline toward her afterward. [10.3-15.0] YEON-SU CLOSE, 85mm, collarbones to crown, three-quarter view, frame-right with look-room screen-left. One continuous take with no reframing or hidden cut. She is already looking down. Begin without a hurt expression. Recognition forms through stopped breath, a released jaw and eyes focusing on nothing. No tears. Between 12.7s and 13.9s she says to the floor, "안 갈 줄 알았어." Nearly matter-of-fact at first; the final word softens when she hears her own assumption. Only after the last syllable does she lift her eyes toward him. Mouth closed. Hold her listening face through 15.0s. ACTING Lived-in screen acting, never presented emotion. Each actor actively listens to the absent partner. Emotion appears through attention, breath and thought, not facial display. Allow imperfect human timing inside the dialogue windows. No added theatrical pauses or mirrored performances. LIGHT AND IMAGE One low warm living-room practical, about 2900K. Weak cold night spill from the dark entry, not saturated cyan. Faces partly in shadow; natural Korean skin tone, pores and under-eye texture. Desaturated wood, grey knit and blue-black exterior; restrained grain. The lamp motivates the warm face light. No commercial orange-teal grade, bloom, halation, glow or flare. CAMERA Locked and eye-level. Maintain the 180-degree line. Singles are three-quarter views, never centred frontal portraits. Shallow depth of field with both eyes readable. No drift, push-in, handheld sway, arc, rack focus, dutch angle, motion blur or lens-scale change within a shot. PRODUCTION SOUND Natural Korean production dialogue recorded in the apartment, not narration, dubbing or synthetic TTS. Intimate conversational level, slight room reflection, matched boom-and-lav perspective. Continuous stereo room tone beneath every line and silence: refrigerator hum, low HVAC and distant traffic through closed glass. Never hard-gate the room. Keys on wood at 1.3s are the only featured effect. No phone buzz or designed silence drop. No music, score, drone or tonal swell. Dialogue centred; ambience has subtle width. No breath boosting, over-compression or loud social-video mastering. If controllable: 48 kHz stereo, true peak at or below -6 dBFS. NEGATIVES No English voice, subtitles, captions, text, logos or watermarks. No lens gaze, centred portrait composition, silent mouthing, speech outside the three lines or bad lip sync. No shouting, sarcasm, crying, tears, sobbing, gasping, widened eyes, knitted brows, trembling lips, clenched fists, pointing, arm crossing or hand gestures. No extra people or reflections, wardrobe drift, side mirroring, beauty filter, face warp or identity change. No extra cuts, jump cuts, punch-ins or framing resets, especially from 10.3s to 15.0s. #MiniMaxH3 Hailuo AI (MiniMax)show more

Cinematic desert warfare brought to life with Seedance 2.0... on Lart AI. From high-speed fighter jets to explosive action sequences, every frame is AI-generated with stunning realism, motion, and detail. You can try it here 👇 Prompt: Ultra-realistic military strike sequence, shot on ARRI Alexa 65, natural lighting, high contrast, subtle film grain, grounded physics, no CGI feel, intense sound design (NO MUSIC - only raw SFX) LOCATION: vast desert canyon with rocky ridges, abandoned nuquulqul structures, heat haze, harsh midday sunlight, dust in atmosphere SHOT 01 (0-2s) ultra long lens aerial shot - fighter jet already at extreme speed slicing across canyon camera: compressed perspective, heavy heat distortion, slight handheld shake jet crosses frame in milliseconds SFX: distant jet roar building fast SHOT 02 (2-4s) cockpit interior - tight, shaky handheld realism pilot locked in, oxygen mask, visor reflecting terrain rushing below HUD elements faintly visible (subtle, realistic) camera vibrates with jet turbulence SFX: engine scream, radio static, breathing through mask SHOT 03 (4-6s) targeting POV- ground rushing fast beneath crosshair locks onto संरचनाएँ below camera: digital zoom feel but realistic optics, slight lag and jitter SFX: targeting beep... wind shear SHOT 04 (6-8s) under-wing close-up - bomb release mechanism mechanical clamps open - bomb drops cleanly camera: attached rigid cam, no cinematic movement SFX: metallic clunkaT tearing as bomb falls SHOT 05 (8-11s) bomb falling - tracking shot from above and slightly behind no slow motion, pure gravity acceleration air distortion, subtle spin stabilization fins working ground rushing up FAST SFX: हवा screaming louder SHOT 06 (11-13s) IMPACT- massive grounded explosion shockwave kicks dust outward realistically, debris heavy and weighty flying خاک الصخور no overdone fireball - dense camera: distant long lens, shakes from pressure wave rumble الأرض SFX: delayed BOOM SHOT 07 (13-15s) wide aerial - jet exits frame at insane speed, heat haze trailing smoke column rising from canyon camera: slow pull-back, scale emphasized SFX: jet fades... wind + distant crackling debrisshow more

Muslims March Through the Streets of Bangladesh, Calling for... the Slaughter of Hindus In the streets of Bangladesh, Muslim mobs openly chant for the slaughter of Hindus, targeting the peaceful followers of the Hindu faith. Their chilling slogans include, “There will be no place for ISKCON here” and “We will peel off the skins of ISKCON devotees.” These aren’t just threats—they’re calls for genocide. ISKCON devotees, a branch of Hinduism rooted in spiritual devotion and non-violence, are being hunted simply for their beliefs. Temples are desecrated, Hindu boys are lynched in broad daylight, and Hindu spiritual leaders are imprisoned on fabricated charges while terrorists roam free. This is not random violence; it is a systematic campaign to erase Hinduism and everything non-Islamic from Bangladesh. Now ask yourself this: What will you do when these same mobs march through the streets of your town, chanting for your head? What will you do when they demand the annihilation of your culture, your faith, and your way of life? Think this can’t happen where you live? Think again. Your Leaders Are Importing This Chaos The same people who march through the streets of Bangladesh chanting for the slaughter of Hindus are being allowed into your towns and cities by politicians who fully understand the dangerous ideologies they bring with them. Their agenda is not coexistence—it’s conquest. These aren’t migrants seeking refuge. They are ideologues bringing the same hatred, violence, and dominance they’ve unleashed in Bangladesh to your doorstep. They weaken your nations from within, paving the way for terror and chaos. Islam’s Goals Are Clear Islam does not hide its agenda. It is a political force cloaked in religion, designed to dominate and erase anything that stands against it. It doesn’t seek integration—it demands submission. Today, it’s Hindus in Bangladesh. Tomorrow, it will be Christians, Jews, and anyone else who refuses to bow. Islam targets not just individuals but entire civilizations. If the West remains blind, these mobs will soon march through your streets, chanting for your destruction. A Wake-Up Call to the West What’s happening in Bangladesh is a warning. These chants, this violence, this hatred will not stay confined to one nation. Your politicians, hiding behind “diversity” and “tolerance,” are importing this ideology into your towns. But diversity and tolerance mean nothing to an ideology that sees only two options: submission or death. Stand Up Before It’s Too Late This is not a drill. It’s a wake-up call. If the West doesn’t act, the horrors in Bangladesh will become the reality of your own communities. - Demand accountability from your leaders. - Expose the dangers of Islamic migration. - Call out the media’s silence and complicity. The line is drawn. Will you fight for your nation, your faith, and your future—or watch as it’s torn away? #AllEyesOnBangladeshiHindus #ReleaseChinmoyKrishnaDasshow more

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

Created with seedance 2.0 on Pollo AI Tiny Chef... vs Popcorn Tornado Duration: 15 seconds Style: Live-action, ultra-photoreal miniature human composite comedy. First-person POV Cooking Vlog. Everything exists in one unified real-world environment with true photographic realism. Real modern home kitchen, black iron popcorn pot on a stovetop, realistic popcorn kernels, steam, oil reflections, natural daylight from a side window, handheld camera with subtle shake, cinematic shallow depth of field, 8K Ultra HD, vertical 9:16. The miniature woman is a real 15 cm adult human seamlessly integrated into the kitchen with physically accurate lighting, contact shadows, realistic skin pores, fabric textures, reflections, and consistent scale. No CGI, no cartoon, no doll, no figurine, no animation. Character: Aria Lin, a 22-year-old adult East Asian woman with mature facial proportions, fair skin, deep brown almond eyes, black waist-length hair with fluffy air bangs and one loose braid draped over her left shoulder. Wearing a white fitted sleeveless tank top, fitted blue jeans, white thick-soled sneakers, and a thin gold bracelet on her right wrist. Same face, hairstyle, outfit, and body proportions throughout. Height remains exactly 15 cm in every shot. 00:00–00:02 | Tiny Inspector First-person overhead POV. A giant black iron popcorn pot sits on the stovetop with oil and popcorn kernels heating. Steam gently rises. Aria confidently walks along the rim carrying a tiny wooden clipboard and a miniature wooden spoon, carefully inspecting the kernels like a professional chef. She smiles at the camera and gives a playful thumbs-up. SFX: Gentle oil sizzling. 00:02–00:04 | Surprise Launch Without warning, one popcorn kernel suddenly pops beneath her feet. Instead of falling, she is launched into the air and lands perfectly on a freshly popped popcorn. She spreads both arms for balance like a surfer, laughing with excitement as realistic steam drifts behind her. SFX: Loud POP, joyful laugh. 00:04–00:07 | Popcorn Tornado Popcorn begins popping rapidly all around her. Giant fluffy popcorn pieces bounce and swirl like a playful tornado. She gracefully jumps from one popcorn to another as if crossing floating stepping stones. The camera follows smoothly while maintaining the dramatic scale difference. SFX: Continuous popcorn popping, light laughter. 00:07–00:10 | Butter River Surf A real human gently pours melted butter into the pan. The flowing butter becomes a glowing golden river. Aria instantly opens a tiny white umbrella and surfs across the butter while standing on a giant popcorn. Warm reflections shimmer across the butter as realistic steam surrounds her. She laughs confidently throughout. SFX: Butter pouring, soft sizzling. 00:10–00:13 | Seasoning Snow Dance A light sprinkle of fine seasoning falls gently from above, sparkling in the sunlight like snowflakes. Instead of hiding, Aria twirls happily beneath the falling seasoning while popcorn continues bouncing around her. The scene feels playful, magical, and cinematic. SFX: Gentle seasoning sprinkle, cheerful laughter. 00:13–00:15 | Champion Ending A real human gently lifts the popcorn she is standing on using two fingers. Aria plants her tiny wooden spoon into the popcorn like a victory flag, stands proudly with one foot raised, waves toward the camera, makes an "OK" gesture, and finishes with a playful wink and bright smile. Steam drifts softly behind her. Final 0.3 seconds: Cinematic freeze-frame showing the giant human fingers, fluffy popcorn, realistic steam, shallow depth of field, and perfect scale contrast. Strict Requirements: - Same adult woman throughout with no face or outfit changes. - Height remains exactly 15 cm. - Full photorealism only. - Real kitchen lighting, shadows, reflections, and contact shadows. - No violence, fear, injury, or distress. - Gentle human interaction only. - No subtitles, logos, watermarks, or extra characters.show more

The countdown to chaos begins. GPT Image 2 +... Seedance 2.0 on Thank You AI prompt Use [Image 1](image_1)only as the layout, shot-order, camera, staging, screen direction, pacing, and spatial continuity reference. Treat every storyboard panel as an individual shot. Ignore storyboard drawing style, simplified anatomy, panel text, headers, borders, annotations, scribbles, malformed props, duplicate silhouettes, stray marks, icons, and effect sketches. Use @[Image 3](image_3) only for Character 1's final appearance, face, body proportions, long wavy blonde hair, black long coat, gloves, wardrobe materials, and overall likeness. Use @[Image 2](image_2)only for Character 2's final appearance, face, body proportions, short hair, dark hoodie, wrist device, multi-barrel handgun, wardrobe materials, and overall likeness. Create a photorealistic 15-second cinematic Hollywood action trailer with seamless continuity, maintaining exactly two lead characters throughout every shot. CHARACTER LOCK • C1: Female whip duelist only. Uses only a glowing crimson energy whip attached to her hand. • C2: Male gunner only. Uses only a blue wrist holographic device and a futuristic multi-barrel handgun. • Never merge identities. • Never duplicate either character. • Never introduce additional heroes. • Background pedestrians, guests, taxis and vehicles remain simplified environmental extras only. VISUAL STYLE Ultra photorealistic. Bright daytime. Gritty cyberpunk realism. Wet reflective New York streets. Orange construction barriers. Yellow taxis. Steam rising from manholes. Glass skyscrapers reflecting sunlight. Modern luxury glass building with a red carpet entrance. Purple architectural accent lighting. Hollywood blockbuster cinematography. Natural motion blur. Volumetric smoke. Practical explosions. Lens flares. Realistic debris. High-speed tracking. Large-scale cinematic lighting. 4K feature-film realism. Maintain consistent geography from the street battle into the red-carpet location. SHOT SEQUENCE SHOT 1 Street-level camera positioned behind C1 on wet reflective asphalt. Steam rises from a nearby manhole. C1 plants her feet and swings the crimson energy whip low across the pavement, generating a bright red whip trail that lashes sideways while the city reflects in the wet road. SHOT 2 Wide tracking shot. C1 launches into the air over an exploding yellow taxi. Fire and debris erupt behind her as the crimson whip forms a long glowing arc through the bright daytime skyline. SHOT 3 Extreme floor-level insert. Close on C1's boot striking wet pavement while the whip tip cracks the asphalt, sending sparks, shattered concrete and glowing fragments outward. SHOT 4 Low tracking shot beside C2 sprinting directly toward camera through drifting smoke. His glowing blue wrist device illuminates one raised arm while debris flies behind him. SHOT 5 Close-medium shot. C2 extends his arm forward. A bright cyan holographic grid rapidly projects from the wrist device, expanding outward while taxis and skyscrapers remain visible in the background. SHOT 6 Extreme close-up. C2 draws a futuristic multi-barrel handgun. The weapon fires its first brilliant blue energy shot, producing an intense muzzle flash with cinematic lens flare. SHOT 7 Bird's-eye overhead shot. Street geometry clearly visible below. C1's crimson whip trail and C2's blue muzzle fire cross dramatically through opposite corners of the frame while both characters remain small at opposite edges. SHOT 8 Slow-motion tilted action shot. C2 vaults over an exploding taxi as blue muzzle flashes continue beneath him. Fireballs, smoke and debris scatter realistically through the air. SHOT 9 Hard cinematic location transition. Wide establishing shot outside a luxurious modern glass building. Bright daylight continues. A pristine red carpet stretches toward the entrance. Elegant guests stand watching. C1 and C2 occupy opposite ends of the carpet. No weapons active. No energy effects visible. SHOT 10 Close two-shot. C1 and C2 stand only an arm's length apart on the carpet. Absolute stillness. Silent confrontation. Controlled breathing. Intense eye contact. Purple architectural lighting reflects softly on the glass facade. SHOT 11 Medium shot. C2 slowly raises one hand and pulls his hood over his head while already turning three-quarters away from C1 toward the entrance. C1 remains perfectly still behind him. SHOT 12 Maintain identical framing and geography from Shot 11. C2 calmly walks toward the building entrance as guests subtly turn to watch. C1 stays motionless at the edge of frame, silently observing his departure. Hold on the unresolved tension before fading to black. CAMERA STYLE Aggressive cinematic tracking. Steadicam. Drone overhead. Ground-level perspectives. Extreme close-ups. Wide establishing shots. Smooth transitions. Natural handheld energy during action. Controlled locked-off framing during the red-carpet sequence. ACTION STYLE Fast. Powerful. Readable silhouettes. Fluid stunt choreography. Heavy environmental interaction. Convincing physics. No exaggerated anime motion. Grounded Hollywood realism. COLOR PALETTE Bright daylight. Warm sunlight. Wet asphalt reflections. Crimson energy whip. Brilliant blue muzzle flashes. Cyan holographic projections. Orange construction barriers. Yellow taxis. Black wardrobe. Red carpet. Purple entrance lighting. Natural skin tones. AUDIO Large cinematic orchestral hybrid score. Driving trailer percussion. Deep sub-bass impacts. Powerful whip cracks. Explosive booms. Metal and glass debris. Blue energy weapon blasts. Holographic interface tones. Crowd ambience fading into near silence at the red carpet. The final moments become quiet, tense and emotionally restrained before ending with a dramatic cinematic trailer hit.show more

InterLink’s Early Vision for NIST-Standardised Post-Quantum Cryptography 🔐✨ The... next five years may bring a much clearer answer to a question that has long been difficult to judge: Is a digital asset truly secure? 🤔 For InterLink, the answer may increasingly depend on one critical factor: whether it is quantum-resistant and aligned with NIST standards 🧬🔒 Why this matters now ⚠️ Two fast-moving technologies are reshaping digital security: • AI is improving the ability to discover weaknesses in systems 🤖 • Quantum computing is advancing towards the point where today’s cryptographic foundations could become vulnerable ⚛️ For InterLink, this is not just a theoretical discussion. It is a reminder that blockchain networks, wallets, and custody systems must prepare now for the post-quantum era ⏳🛡️ Why NIST is central to InterLink’s approach 📘🏛️ Many in the InterLink community already know NIST. NIST, part of the U.S. Department of Commerce, plays a major role in defining and evaluating security standards, including those for post-quantum cryptography. Its work matters because it helps shape what “secure” will mean in a quantum-capable future 📊🔍 In practical terms, InterLink’s long-term security vision is closely tied to whether its cryptographic design can withstand post-quantum threats 🚀 The risk for blockchain networks and digital assets 🔎💥 Recent research and experiments from major organisations, including Google, have highlighted a growing concern: what was once considered extremely difficult, using quantum computing to threaten cryptographic systems, is no longer something that can be ignored 🧪⚠️ That does not mean current systems are broken today. It does mean that networks which fail to prepare for post-quantum threats could face serious risks later 📉 For InterLink, this is exactly why early research matters 🧠✨ If sufficiently powerful quantum computers become available, some current cryptographic methods may become vulnerable. For any network storing value, identity, NFTs, or permissions, that is a major issue 💳🖼️🧾 InterLink’s early work on post-quantum readiness 🧠🔐 InterLink Foundation has already been researching: ✅ digital signatures ✍️ ✅ cryptographic algorithms 🔣 ✅ migration mechanisms for future security upgrades 🔄 One of the most notable areas of work is the ability to generate new private keys from an existing seed phrase 🌱➡️🔑 This matters because it offers a pathway to improve security without forcing users to abandon access to their assets 🙌 Address Alias: preserving continuity during migration 🪪🔗 Another important InterLink mechanism is Address Alias. This is designed to let users: ✓ retain their existing wallet addresses 🧾 ✓ preserve associated tokens and NFTs 🖼️💰 ✓ migrate to a new cryptographic security architecture 🔐➡️🛠️ That is a practical and user-friendly design choice. Security upgrades are often hard to adopt when they break continuity. InterLink’s approach aims to solve that problem 🌉 Bringing post-quantum protection into smart contracts 🛡️📜 InterLink is also implementing SLH-DSA-SHA2-128s (FIPS 205) within IRC smart contracts. This adds another layer of protection for: • vaults 🏦 • high-value assets 💎 • long-term storage 📦 • sensitive on-chain operations ⚙️ The goal is not only to protect wallets, but also to strengthen the systems that govern custody and transaction security across the network 🧱🔒 Testing on the Taj Mahal Testnet 🧪🛰️ These experiments are currently being conducted on the InterLink Taj Mahal Testnet. According to InterLink, the experimental implementations have passed the NIST-based simulation tests carried out so far ✅📈 That is an encouraging early signal, although broader testing and real-world validation will remain important as development continues 🔍 Looking ahead to 2027 🚀🌍 InterLink’s stated goal is to fully integrate this architecture into the Open Mainnet in 2027. If achieved, that would bring InterLink closer to a future where security is defined not only by current best practice, but by resilience against quantum-era threats 🛡️⚛️ The bigger takeaway 🌍✨ The key lesson is simple: In the quantum era, security will not only mean protecting your private will mean asking whether the cryptography behind that key was built to survive the next generation of computing 🔐⏭️ For InterLink, this is a strategic direction with long-term significance 📌 Final thought 💡 Post-quantum readiness is no longer just a technical topic for specialists. For InterLink, it is becoming part of the broader conversation about long-term digital asset security 🧠🔒 NIST-aligned cryptography, practical migration paths, and user-preserving design may soon define the networks people trust most 🌟 InterLink Labs 👤 + 🌐 KV Reina | InterLink Labs InterLink Foundation #InterLink #ITLG #ITL #WeAreTheFirst10MLinkers Join me on InterLink 😁 Start mining now and use my invitation link: 💰 My code is: 111222777888 💰 Please DM me once you have used my code. 👍show more

I love that Higgsfield is making its best AI... commercial workflows completely open-source. Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below. Prompts : Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Environmental SFX only. No music. No subtitles. SUBJECT — >>, character matches input 100%, >> can in right hand. By end fully transformed into >> — armor assembled mid-air in real-time, >> matches input 100%. WB 6500K. MULTISHOT — fast cinematic cutting, escalating energy across the full 15s. LOCATION — >> is a STYLE REFERENCE ONLY, not a fixed keyframe. Use it for the look, mood, architecture and lighting of the environment — a deserted NYC-type avenue in hard midday sun. Seedance should freely generate and extend the world: new buildings, new stretches of avenue, fresh camera angles. The character TRAVELS through space across the shots — he is NOT pinned to the exact spot or framing of the input image. Do not reproduce the reference frame 1:1. ACTION — SHOT 1 (0:00–0:02) — EXTREME CLOSE, chin to forehead. >> raises >> to lips, deep pull. Adam's apple descends then rises twice. Hard cut. SHOT 2 (0:02–0:04) — Same close framing. Can lowers fast. Eyes snap open, sharp and alert (natural skin and iris detail, no glow). Zygomaticus major fires — wide genuine grin builds in under a second, 2mm to 8mm at mouth corners. Sternum rises with a full deep inhale. He is electric. Hard cut. SHOT 3 (0:04–0:06) — WIDE, low. >> EXPLODES forward into a sprint at 30 km/h, continuing in the SAME direction he was already facing — straight ahead down the avenue, NOT turning around. First strides — sneakers slam cracked asphalt, dust puffs eject 10cm. Hard cut. SHOT 4 (0:06–0:08) — Tracking the sprint. Arms drive at 90°, track jacket trails 15cm, grin held, brow raised, jaw relaxed open. Stride extends, ground contacts shorten. Building speed. Hard cut. SHOT 5 (0:08–0:10) — Final two strides, knees compress to 110°. Right foot drives into asphalt — surface fractures 20cm radius. He LAUNCHES upward at 65 km/h. Hard cut. SHOT 6 (0:10–0:13) — Mid-air in the >> building canyon, 24fps FULL SPEED, NO slow-motion. He is NOT frozen — his whole body keeps moving through the jump: torso rotates, legs cycle and tuck, arms swing out and reach, head turns to track the incoming armor. As he flies and twists through the air, armor pieces rip in from the city geometry and converge onto his moving body — chest plate LOCKS mid-rotation, pauldrons CLAMP as his shoulders swing, gauntlets SNAP onto forearms while his arms extend, shin plates clamp onto cycling legs, helmet descends and visor SLAMS shut as his head turns forward — one violent fluid sequence, body in constant motion throughout. Sharp metallic CRACK at visor seal. Hard cut. SHOT 7 (0:13–0:15) — >> SLAMS into >> in a hard crouch, both armored feet hit asphalt simultaneously, dust ring erupts 80cm. He rises, snaps gauntleted fists open and shut — left then right — glances down at the chest plate. Muffled laugh from behind the sealed visor. Hard cut to black. CAMERA — SUPER-DYNAMIC HANDHELD, never static, never locked off. Strong aggressive operator shake on every shot — 4–8cm bounce, organic human jitter, no stabilization. Pronounced DUTCH ANGLE throughout — frame canted 12–20° and shifting between shots, tilting harder as energy builds. SHOT 1: FOV 18° extreme close, hard dutch 15°, violent micro-shake. SHOT 2: FOV 18°, dutch flips to opposite side ~18°, jittery. SHOT 3: FOV 84° low, dutch 12°, whip into the sprint. SHOT 4: FOV 84°, camera physically chasing the run, dutch 16°, heavy stride bounce, motion blur on pans. SHOT 5: FOV 63°, dutch 20°, snap-tilt up tracking the launch. SHOT 6: FOV 63°, AGGRESSIVE HANDHELD CAMERA MOVEMENT — operator arcs and swings around the airborne body, 6–8cm bounce, fast reframes chasing each armor piece as it locks onto his moving form, strong DUTCH ANGLE swinging 18°→8°, no slow-mo. SHOT 7: FOV 63°, hard jolt on landing impact, dutch 14°, camera recoils 8cm then keeps breathing on the suit inspection. STYLE — Dominant: bleached asphalt grey and building canyon 60%. Secondary: navy/cream outfit transitioning to chrome armor 30%. Accent: grin, dust, chrome flash and visor LED blue on landing 10%. WB 6500K. NO glowing eyes — eyes lit by natural sunlight only. CONSTRAINTS — Cut to black at end. 16:9. MULTISHOT with hard cuts per the timecodes above. NO slow-motion anywhere — everything 24fps full speed, especially the transformation. Camera always handheld with strong shake and dutch angle — NEVER static or locked. NO eye glow. >> is a reference for style only — do NOT lock to the input frame or keep him in the same spot; the world extends and he moves through it. Grin must be fully established before the sprint begins.show more

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

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