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2028 LHP Vincent Leone (Bishop McDevitt). Strong effort over multiple innings, showing a 3 pitch mix. Long AA, 3/4 slot. Worked all 4 quadrants with FB. FB: 88-89; arm side run SL: 62-65; sweeper action CH: 71-73; fade ↙️ Nathan Ocker | Dan Cevette - #PAStateGames

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SUNY Niagara at Monroe CC SOPH LHP 𝐍𝐨𝐥𝐚𝐧 𝐅𝐞𝐢𝐝𝐭 (SUNY Niagara) 6-4, 160LBS. Has run FB to 91MPH at 2500 RPM. Entered in the 9th, recording a SV to bring the Thunderwolves to 41-0 on the year. Slender ATH with a repeatable delivery and low 3/4 slot. Four-pitch mix is high spin, low IVB with effective lateral movement. Gyro SL (21% spin efficiency) rides x-axis at 0IVB with 4in HM. Bonnies Baseball commit. 𝟐𝟎𝟐𝟒 𝐒𝐔𝐍𝐘 𝐍𝐢𝐚𝐠𝐚𝐫𝐚 𝐒𝐜𝐨𝐮𝐭 𝐃𝐚𝐲 📊 𝗙𝗕: 𝟴𝟵-𝟵𝟭 (𝟮𝟱𝟬𝟬🔄 𝟴𝗜𝗩𝗕, -𝟭𝟲𝗔𝗦𝗥 ➡️) 𝗖𝗕: 𝟳𝟭-𝟳𝟯 (𝟮𝟭𝟯𝟬🔄 -𝟴𝗜𝗩𝗕, 𝟵𝗛𝗠 ↙️) 𝗦𝗟: 𝟴𝟭-𝟴𝟮 (𝟮𝟰𝟲𝟬🔄 𝟬𝗜𝗩𝗕, 𝟰𝗛𝗠 ⬅️) 𝗖𝗛: 𝟴𝟬-𝟴𝟭 (𝟮𝟬𝟱𝟬🔄 𝟳𝗜𝗩𝗕, -𝟭𝟲𝗔𝗦𝗥 ➡️) ——————————————— 𝐆𝐀𝐌𝐄 📊 𝟭𝗜𝗣, 𝟭𝗛, 𝟬𝗕𝗕, 𝟮𝗞, 𝗦𝗩 𝟭𝟬/𝟭𝟱 𝘀𝘁𝗿𝗶𝗸𝗲𝘀 (𝟲𝟳%) ——————————————— 𝐒𝐄𝐀𝐒𝐎𝐍 📊 𝟮𝟰.𝟭𝗜𝗣, 𝟭𝟭𝗛, 𝟭𝟯𝗕𝗕, 𝟮𝟴𝗞 .𝟭𝟮𝟬 𝗕𝗔𝗔 / 𝟬.𝟵𝟵 𝗪𝗛𝗜𝗣 / 𝟭.𝟭𝟭 𝗘𝗥𝗔 𝟭𝟰% 𝗕𝗕 𝟯𝟬% 𝗞 𝟮.𝟭𝟱 𝗞/𝗕𝗕 Prep Baseball New York | Prep Baseball JUCO

Chris Dryll

19,727 views • 1 year ago

LHP Andrew Healy (Duke Baseball) is one of my favorite Sophomore-eligible arms in this year's Draft. Enjoyed an outstanding true Freshman campaign in '23, pitching his way to a 2.32 ERA with 45 K to just 7 BB across 42.2 IP. Great body at 6'6" and 200-lbs. High-waisted with room to fill out. Smooth, aesthetically pleasing operation on the mound. Clean arm stroke and hides the ball well. Attacks from mid-three quarter slot. Pretty low effort delivery. Healy's FB will mostly sit in the 90-93 range, but he has been up to 94/95. It gets on hitters quick and plays particularly well on his arm side/elevated. Little bit of carry to it. Healy has plus command and control of it. His go-to secondary offering is a high-70s CH that on average is 10+ MPH off his FB. Healy maintains his arm speed well and it features serious late tumbling life. Had a 40% miss rate in '23. Would put a 55 on it. Healy features two distinct breaking balls in a high-70s SL and mid-70s CB. SL has long, sweeping action and is particularly deadly against LHH. After throwing it just 5% of the time in '23, Healy this fall has upped his CB usage. It's an okay 4th pitch and at times will flash some depth. Perhaps most interesting about Healy's profile is his ability to generate swings. Last year he posted a 48% overall swing rate and an impressive 70% in-zone swing rate. Overall control/command would grade out as a 60. Healy is a slam dunk starter professionally and could pitch his way into a top-3/4 round Draft choice. (📽️: Duke Baseball)
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LHP Andrew Healy (Duke Baseball) is one of my favorite Sophomore-eligible arms in this year's Draft. Enjoyed an outstanding true Freshman campaign in '23, pitching his way to a 2.32 ERA with 45 K to just 7 BB across 42.2 IP. Great body at 6'6" and 200-lbs. High-waisted with room to fill out. Smooth, aesthetically pleasing operation on the mound. Clean arm stroke and hides the ball well. Attacks from mid-three quarter slot. Pretty low effort delivery. Healy's FB will mostly sit in the 90-93 range, but he has been up to 94/95. It gets on hitters quick and plays particularly well on his arm side/elevated. Little bit of carry to it. Healy has plus command and control of it. His go-to secondary offering is a high-70s CH that on average is 10+ MPH off his FB. Healy maintains his arm speed well and it features serious late tumbling life. Had a 40% miss rate in '23. Would put a 55 on it. Healy features two distinct breaking balls in a high-70s SL and mid-70s CB. SL has long, sweeping action and is particularly deadly against LHH. After throwing it just 5% of the time in '23, Healy this fall has upped his CB usage. It's an okay 4th pitch and at times will flash some depth. Perhaps most interesting about Healy's profile is his ability to generate swings. Last year he posted a 48% overall swing rate and an impressive 70% in-zone swing rate. Overall control/command would grade out as a 60. Healy is a slam dunk starter professionally and could pitch his way into a top-3/4 round Draft choice. (📽️: Duke Baseball)

Peter Flaherty III

42,840 views • 2 years ago

RHP Justin Mitrovich (Elon Baseball) is one mid-major arm to follow this season. Was excellent as a true Freshman and pitched his way to a 3.68 ERA with 66 Ks to 21 BB across 63.2 IP. Last spring he worked a 5.06 ERA and collected 96 Ks against 30 BB in 80 IP. Mitrovich also showed positive flashes on the Cape this summer and notched 17 Ks in as many IP. Mitrovich has an athletic frame at 6'3" and 200-lbs. Room to fill out physically. Worked exclusively out of the stretch during the spring, but went back to the windup this summer. Works on the 1B side of the rubber, starts his motion with a small side step then gathers himself. Leads into a high lift, and the rest of his operation is up-tempo. Plenty of depth on his long arm stroke, attacks from a three-quarters slot with present arm speed. Some effort. Mitrovich's FB sits in the 91-94 range, but has been up to 96 with some life in the top-1/2 of the zone. Figuring his heater out is going to be the key for him going forward. Threw mostly 4-seamers during the spring, but went 2-seam heavy during the summer and still generated a whiff rate < 20%. A handful of the latter flashed late arm side life, particularly against LHH. Both play well in the top-1/2 of the zone. Needs to iron out the shape and maximize it. Mitrovich's bread-and-butter offerings are his secondaries. His low-80s CH is one of the best of its kind in the college ranks. Averaged over 12 MPH off his FB last spring and is a legit swing-and-miss pitch against both LHH and RHH. Throws it with conviction and will use it in any count. Consistently flashes fade to the arm side as well as ample late tumbling life. True "falling off the table" look. Mitrovich's feel for the pitch is highly advanced, and last spring it generated a 52% whiff rate, 47% chase rate and held opposing hitters to a .198 average. Comfortably a 60. Rounds out his arsenal with a low-to-mid-80s SL that is a particular weapon against righthanded hitters. Gyro look that's not big in shape, but will flash some lateral glove-side life with late bite. Flashed above-average at times last spring and garnered a 45% miss rate. Gets whiffs both in and out of the zone. Mitrovich is a strike-thrower who looks the part of a starter at the next level. As mentioned, the key with him is developing the FB. Fits as a 5th-7th rounder for me right now. (📽️: Elon Baseball)
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RHP Justin Mitrovich (Elon Baseball) is one mid-major arm to follow this season. Was excellent as a true Freshman and pitched his way to a 3.68 ERA with 66 Ks to 21 BB across 63.2 IP. Last spring he worked a 5.06 ERA and collected 96 Ks against 30 BB in 80 IP. Mitrovich also showed positive flashes on the Cape this summer and notched 17 Ks in as many IP. Mitrovich has an athletic frame at 6'3" and 200-lbs. Room to fill out physically. Worked exclusively out of the stretch during the spring, but went back to the windup this summer. Works on the 1B side of the rubber, starts his motion with a small side step then gathers himself. Leads into a high lift, and the rest of his operation is up-tempo. Plenty of depth on his long arm stroke, attacks from a three-quarters slot with present arm speed. Some effort. Mitrovich's FB sits in the 91-94 range, but has been up to 96 with some life in the top-1/2 of the zone. Figuring his heater out is going to be the key for him going forward. Threw mostly 4-seamers during the spring, but went 2-seam heavy during the summer and still generated a whiff rate < 20%. A handful of the latter flashed late arm side life, particularly against LHH. Both play well in the top-1/2 of the zone. Needs to iron out the shape and maximize it. Mitrovich's bread-and-butter offerings are his secondaries. His low-80s CH is one of the best of its kind in the college ranks. Averaged over 12 MPH off his FB last spring and is a legit swing-and-miss pitch against both LHH and RHH. Throws it with conviction and will use it in any count. Consistently flashes fade to the arm side as well as ample late tumbling life. True "falling off the table" look. Mitrovich's feel for the pitch is highly advanced, and last spring it generated a 52% whiff rate, 47% chase rate and held opposing hitters to a .198 average. Comfortably a 60. Rounds out his arsenal with a low-to-mid-80s SL that is a particular weapon against righthanded hitters. Gyro look that's not big in shape, but will flash some lateral glove-side life with late bite. Flashed above-average at times last spring and garnered a 45% miss rate. Gets whiffs both in and out of the zone. Mitrovich is a strike-thrower who looks the part of a starter at the next level. As mentioned, the key with him is developing the FB. Fits as a 5th-7th rounder for me right now. (📽️: Elon Baseball)

Peter Flaherty III

15,080 views • 1 year ago

RHP Cole Leaman (Lehigh Baseball) is an arm I'm really looking forward to following this spring. Fresh off a strong Sophomore season in which he worked a 2.31 ERA with 49 Ks to 23 BB across 46.2 IP. Showed some positive flashes on the Cape. While slightly undersized, Leaman has a strong and athletic build at 6' and 190-lbs. Has put on a lot of good weight over the last couple of years. Leaman has almost a "check point" delivery in which he takes a noticeable side step towards the 1B side, gathers himself and breaks into the rest of his motion. Lengthy arm stroke and attacks from a high-3/4 slot from a low release height. Leaman is a high-level athlete and a dynamic mover on the mound. Sits really well on his back glute and his lead leg block enables him to generate power and drive his back side through. Drop and drive delivery. Little bit of effort, but plenty of arm speed. Leaman's FB sits in the 91-94 range, but it was up to 96 this summer and 98 this fall. Jumps out of his hand from a ~5'3" release height and flashes riding life through the zone. Averaged 15" of carry this summer and 2,361 RPMs. Gets over the barrels of opposing hitters when located in the top-1/2 of the zone, which is where the pitch is at its best. Command can be erratic at times. Would give it a 55. Leaman's most-used off speed pitch is a high-70s-to-low-80s CB. Shape is inconsistent and it can get a little slurvy at times, but he snapped off a handful of really good ones between the spring and summer. When it's at its best, it will flash a bigger shape with sharp, downward tilt. Leaman will also mix in a low-to-mid-80s SL that's distinct in shape. Another pitch he's still gaining a feel for, but like his CB it's also shown big time flashes. Shape of it will vary, but it will sometimes flash plus with sharp, two-plane break (more sweep than depth) and essentially take a late, hard left turn. Rounds out his arsenal with a high-80s cutter and a mid-to-high-80s CH. The former is more intriguing than the latter. Curious to see how much he uses the cutter this spring, threw a couple this summer that had late glove-side life. Leaman has a very intriguing blend of athleticism and stuff, though he'll need to iron out his command and control in order to maximize his upside. As mentioned, it's a bit scattered right now and has hindered him in some starts. 5th-8th round type this July. (📽️: Falmouth Commodores)
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RHP Cole Leaman (Lehigh Baseball) is an arm I'm really looking forward to following this spring. Fresh off a strong Sophomore season in which he worked a 2.31 ERA with 49 Ks to 23 BB across 46.2 IP. Showed some positive flashes on the Cape. While slightly undersized, Leaman has a strong and athletic build at 6' and 190-lbs. Has put on a lot of good weight over the last couple of years. Leaman has almost a "check point" delivery in which he takes a noticeable side step towards the 1B side, gathers himself and breaks into the rest of his motion. Lengthy arm stroke and attacks from a high-3/4 slot from a low release height. Leaman is a high-level athlete and a dynamic mover on the mound. Sits really well on his back glute and his lead leg block enables him to generate power and drive his back side through. Drop and drive delivery. Little bit of effort, but plenty of arm speed. Leaman's FB sits in the 91-94 range, but it was up to 96 this summer and 98 this fall. Jumps out of his hand from a ~5'3" release height and flashes riding life through the zone. Averaged 15" of carry this summer and 2,361 RPMs. Gets over the barrels of opposing hitters when located in the top-1/2 of the zone, which is where the pitch is at its best. Command can be erratic at times. Would give it a 55. Leaman's most-used off speed pitch is a high-70s-to-low-80s CB. Shape is inconsistent and it can get a little slurvy at times, but he snapped off a handful of really good ones between the spring and summer. When it's at its best, it will flash a bigger shape with sharp, downward tilt. Leaman will also mix in a low-to-mid-80s SL that's distinct in shape. Another pitch he's still gaining a feel for, but like his CB it's also shown big time flashes. Shape of it will vary, but it will sometimes flash plus with sharp, two-plane break (more sweep than depth) and essentially take a late, hard left turn. Rounds out his arsenal with a high-80s cutter and a mid-to-high-80s CH. The former is more intriguing than the latter. Curious to see how much he uses the cutter this spring, threw a couple this summer that had late glove-side life. Leaman has a very intriguing blend of athleticism and stuff, though he'll need to iron out his command and control in order to maximize his upside. As mentioned, it's a bit scattered right now and has hindered him in some starts. 5th-8th round type this July. (📽️: Falmouth Commodores)

Peter Flaherty III

26,714 views • 1 year ago

RHP Jacob Mayers (LSU Baseball) is an interesting arm in this year's Draft class. Was outstanding as a true Freshman and pitched his way to a 2.02 ERA with 105 Ks to 58 BB across 75.2 innings en route to taking home Southland Conference Pitcher of the Year honors and being named a First Team Freshman All-American. Took a bit of a step back in 2024 and compiled a 4.58 ERA with an SLC-leading 106 Ks to go along with 76 BB in 70.2 IP. Mayers has a projectable, high-waisted frame at 6'5" and 205-pounds. He doesn't have the cleanest or simplest delivery and he'll struggle to repeat it at times. Mayers has a somewhat abbreviated arm stroke and attacks from an over-the-top slot with present arm speed. Front side will sometimes fly open which has led to command issues, but there's some pretty low hanging fruit to clean up in his operation going forward (Ex: getting more into his lower-half, refining it to become more repeatable). Adding strength and explosiveness will be key. Mayers' fastball is his bread-and-butter pitch. It sits in the 92-95 range, but has been up to 97 out of an outlandish 7-foot release height. His release height is certainly a contributing factor here, but the pitch also averaged an eye-popping 24.3" of ride and nearly 2,400 rpm. Mayers threw his heater a whopping 91% of the time and was still able to generate a 35% whiff rate, including a 30% (!) IZ whiff rate, on it. There are plenty of outlier traits, but his command is below-average. If he can up his competitive pitch % and stay in and around the zone on a more consistent basis, it will make it that much more effective. While his FB is the money-maker of his arsenal, Mayers will occasionally mix in a gyro SL in the low-80s that lacks teeth right now. He's still gaining a feel for the pitch and there is work to be done on it going forward, but it could be a potentially above-average offering in the future. 40/45 currently. One of the biggest question marks with Mayers is the development of a third pitch. He mixed in a handful of mid-to-upper-80s and a couple piqued my interest; one showed some fade to the arm side and another flashed late tumbling life. It's clear he isn't comfortable throwing it yet, but this could be the pitch to develop at least to the point where it's serviceable. Mayers right now is very much a work in progress and all signs right now point to him ending up in a relief role long term. However, he's a very fun, moldable ball of clay to try and develop and get the most out of. As the low hanging fruit continues to get cleaned up—whether it be at LSU or in pro ball—polish will hopefully follow. 5th-8th round pick right now. (📽️: Nicholls Baseball)
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RHP Jacob Mayers (LSU Baseball) is an interesting arm in this year's Draft class. Was outstanding as a true Freshman and pitched his way to a 2.02 ERA with 105 Ks to 58 BB across 75.2 innings en route to taking home Southland Conference Pitcher of the Year honors and being named a First Team Freshman All-American. Took a bit of a step back in 2024 and compiled a 4.58 ERA with an SLC-leading 106 Ks to go along with 76 BB in 70.2 IP. Mayers has a projectable, high-waisted frame at 6'5" and 205-pounds. He doesn't have the cleanest or simplest delivery and he'll struggle to repeat it at times. Mayers has a somewhat abbreviated arm stroke and attacks from an over-the-top slot with present arm speed. Front side will sometimes fly open which has led to command issues, but there's some pretty low hanging fruit to clean up in his operation going forward (Ex: getting more into his lower-half, refining it to become more repeatable). Adding strength and explosiveness will be key. Mayers' fastball is his bread-and-butter pitch. It sits in the 92-95 range, but has been up to 97 out of an outlandish 7-foot release height. His release height is certainly a contributing factor here, but the pitch also averaged an eye-popping 24.3" of ride and nearly 2,400 rpm. Mayers threw his heater a whopping 91% of the time and was still able to generate a 35% whiff rate, including a 30% (!) IZ whiff rate, on it. There are plenty of outlier traits, but his command is below-average. If he can up his competitive pitch % and stay in and around the zone on a more consistent basis, it will make it that much more effective. While his FB is the money-maker of his arsenal, Mayers will occasionally mix in a gyro SL in the low-80s that lacks teeth right now. He's still gaining a feel for the pitch and there is work to be done on it going forward, but it could be a potentially above-average offering in the future. 40/45 currently. One of the biggest question marks with Mayers is the development of a third pitch. He mixed in a handful of mid-to-upper-80s and a couple piqued my interest; one showed some fade to the arm side and another flashed late tumbling life. It's clear he isn't comfortable throwing it yet, but this could be the pitch to develop at least to the point where it's serviceable. Mayers right now is very much a work in progress and all signs right now point to him ending up in a relief role long term. However, he's a very fun, moldable ball of clay to try and develop and get the most out of. As the low hanging fruit continues to get cleaned up—whether it be at LSU or in pro ball—polish will hopefully follow. 5th-8th round pick right now. (📽️: Nicholls Baseball)

Peter Flaherty III

43,312 views • 1 year ago

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.
0:15

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.

Nawal

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