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Almost no crease. That's been the one problem with foldables for years. OPPO Find N6 officially teased. New generation titanium alloy dome hinge with chip-level polymer 3D printing and sky dome memory glass. Self-healing, ultra-smooth and tested for 400,000 folds. AI Stylus support, 200MP quad camera setup with Hasselblad...

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Abhishek Yadav

175,841 subscribers

38,549 Aufrufe • vor 7 Monaten •via X (Twitter)

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This is the new OPPO Find N6 ✨ Flagship foldable phone with the industry-first “Zero-Feel” crease I can’t feel it with my finger at all when sliding across the screen. Visually it’s also much less noticeable, and clearly improved compared to the Find N5 👏 • Zero-Feel Crease design • 2nd-Gen Titanium Flexion Hinge • 3D Liquid Printing for a 75% smoother hinge • Auto-Smoothing Flex Glass for better shape recovery • Up to 82% crease depth reduction over time • TÜV Rheinland certified for 1,000,000 folds Global launch event is set for March 17
0:56

This is the new OPPO Find N6 ✨ Flagship foldable phone with the industry-first “Zero-Feel” crease I can’t feel it with my finger at all when sliding across the screen. Visually it’s also much less noticeable, and clearly improved compared to the Find N5 👏 • Zero-Feel Crease design • 2nd-Gen Titanium Flexion Hinge • 3D Liquid Printing for a 75% smoother hinge • Auto-Smoothing Flex Glass for better shape recovery • Up to 82% crease depth reduction over time • TÜV Rheinland certified for 1,000,000 folds Global launch event is set for March 17

Ben Geskin

59,424 Aufrufe • vor 6 Monaten

UGC featuring new Iphone and Apple watch Seedance 2.5 Prompt : Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded foldable iPhone, retail box, and Apple Watch as locked product references. Maintain perfect product consistency, including the foldable phone's frame, hinge, displays, cameras, buttons, colors, materials, and proportions, as well as the Apple Watch's case, display, crown, buttons, strap, colors, and proportions. Create an ultra-realistic UGC luxury tech creator review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the foldable iPhone retail box and Apple Watch. Smiling at the camera, she says, "I genuinely wasn't expecting to love this foldable iPhone this much." She picks up the box, opens it naturally, reveals the phone, and slowly unfolds it while continuing, "The design already feels incredibly premium." She rotates the foldable iPhone slowly in front of the camera, showing the thin frame, hinge, displays, and camera module as natural golden-hour reflections move across the surface. She smiles and says, "The design is so sleek, and I really love how the foldable screen opens up." She unfolds the phone completely and interacts naturally with the large inner display, scrolling through apps and opening the camera. She points the camera toward the bedroom and takes a few photos. She looks at the camera and says, "And the camera quality is seriously impressive. Everything looks so sharp and detailed." She then closes and opens the phone once more before continuing, "Plus, the battery is supposed to be better too, which is honestly a huge win for me." She places the foldable iPhone on the bed and picks up the new Apple Watch. She holds it close to the camera, showing the display, case, crown, and strap with realistic reflections. She smiles and says, "And the new Apple Watch is actually really nice too." She puts the Apple Watch onto her wrist naturally, raises her arm toward the camera, checks the display, scrolls through it, and says, "I love how clean it looks, and having all these features right on my wrist is so convenient." She turns her wrist from side to side so the watch catches the warm sunlight from different angles. She then picks up the foldable iPhone again and holds it beside her Apple Watch. Looking directly into the camera, she smiles warmly and says, "Honestly... this might be one of my favorite Apple upgrades yet." She laughs softly, looks down at both devices, then holds the foldable iPhone beside her face with the Apple Watch clearly visible on her wrist. The camera slowly pushes in toward the phone and watch before fading out. Ultra-realistic UGC technology content, authentic creator review, cinematic handheld smartphone movement, modern luxury bedroom, warm golden-hour lighting, macro product cinematography, realistic reflections, detailed phone and watch textures, accurate foldable mechanics, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, natural creator-style delivery, 4K HDR, 16 9, no subtitles, no logos, no watermarks, no on-screen text. Negative: No BGM, no dialogue other than the specified speech, no distorted hands, no extra fingers, no warped phone, no changing product design, no inconsistent colors, no duplicated devices, no floating objects, no exaggerated CGI, no unrealistic reflections, no beauty filter, no plastic-looking skin, no unnatural facial expressions, no cinematic
0:30

UGC featuring new Iphone and Apple watch Seedance 2.5 Prompt : Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded foldable iPhone, retail box, and Apple Watch as locked product references. Maintain perfect product consistency, including the foldable phone's frame, hinge, displays, cameras, buttons, colors, materials, and proportions, as well as the Apple Watch's case, display, crown, buttons, strap, colors, and proportions. Create an ultra-realistic UGC luxury tech creator review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the foldable iPhone retail box and Apple Watch. Smiling at the camera, she says, "I genuinely wasn't expecting to love this foldable iPhone this much." She picks up the box, opens it naturally, reveals the phone, and slowly unfolds it while continuing, "The design already feels incredibly premium." She rotates the foldable iPhone slowly in front of the camera, showing the thin frame, hinge, displays, and camera module as natural golden-hour reflections move across the surface. She smiles and says, "The design is so sleek, and I really love how the foldable screen opens up." She unfolds the phone completely and interacts naturally with the large inner display, scrolling through apps and opening the camera. She points the camera toward the bedroom and takes a few photos. She looks at the camera and says, "And the camera quality is seriously impressive. Everything looks so sharp and detailed." She then closes and opens the phone once more before continuing, "Plus, the battery is supposed to be better too, which is honestly a huge win for me." She places the foldable iPhone on the bed and picks up the new Apple Watch. She holds it close to the camera, showing the display, case, crown, and strap with realistic reflections. She smiles and says, "And the new Apple Watch is actually really nice too." She puts the Apple Watch onto her wrist naturally, raises her arm toward the camera, checks the display, scrolls through it, and says, "I love how clean it looks, and having all these features right on my wrist is so convenient." She turns her wrist from side to side so the watch catches the warm sunlight from different angles. She then picks up the foldable iPhone again and holds it beside her Apple Watch. Looking directly into the camera, she smiles warmly and says, "Honestly... this might be one of my favorite Apple upgrades yet." She laughs softly, looks down at both devices, then holds the foldable iPhone beside her face with the Apple Watch clearly visible on her wrist. The camera slowly pushes in toward the phone and watch before fading out. Ultra-realistic UGC technology content, authentic creator review, cinematic handheld smartphone movement, modern luxury bedroom, warm golden-hour lighting, macro product cinematography, realistic reflections, detailed phone and watch textures, accurate foldable mechanics, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, natural creator-style delivery, 4K HDR, 16 9, no subtitles, no logos, no watermarks, no on-screen text. Negative: No BGM, no dialogue other than the specified speech, no distorted hands, no extra fingers, no warped phone, no changing product design, no inconsistent colors, no duplicated devices, no floating objects, no exaggerated CGI, no unrealistic reflections, no beauty filter, no plastic-looking skin, no unnatural facial expressions, no cinematic

Synthia

12,672 Aufrufe • vor 24 Tagen

I’ve been following the evolution of foldables for a while, and what I find interesting is that the category is finally moving beyond the question of “How many screens can we fit into a phone?” The new HUAWEI Mate XT 2 ULTIMATE DESIGN caught my attention for a different reason, Huawei seems to be asking what a foldable phone should actually feel like in everyday life. The feature that stood out most to me is the new folding architecture. Instead of simply improving the previous design, Huawei has changed the way the device folds altogether. The two sides fold inward, fully enclosing the flexible display, while an independent outer screen lets you use the phone normally when it’s closed. That feels like a meaningful design decision to me. A foldable is only truly useful if you don’t have to think about the folding mechanism every time you use it. For calls, messages or quick tasks, it behaves like a phone. When you need more space, you open it up and suddenly have a much larger canvas. The other feature I found genuinely interesting is Lingdun Privacy Display. With increasingly work from our phones, emails, financial information, business documents, conversations. The idea of having hardware-level privacy that can help shield the screen from people looking from the side feels surprisingly practical. And perhaps that’s what I like most about this generation. The impressive part isn’t simply that it looks futuristic, it’s that some of the engineering appears to be focused on solving very ordinary problems: How do I use a large screen without carrying a tablet? How do I protect what I’m looking at in public? How do I make a sophisticated device feel natural? That, to me, is where technology becomes interesting when innovation stops being about showing what’s possible and starts making everyday life a little easier.
0:34

I’ve been following the evolution of foldables for a while, and what I find interesting is that the category is finally moving beyond the question of “How many screens can we fit into a phone?” The new HUAWEI Mate XT 2 ULTIMATE DESIGN caught my attention for a different reason, Huawei seems to be asking what a foldable phone should actually feel like in everyday life. The feature that stood out most to me is the new folding architecture. Instead of simply improving the previous design, Huawei has changed the way the device folds altogether. The two sides fold inward, fully enclosing the flexible display, while an independent outer screen lets you use the phone normally when it’s closed. That feels like a meaningful design decision to me. A foldable is only truly useful if you don’t have to think about the folding mechanism every time you use it. For calls, messages or quick tasks, it behaves like a phone. When you need more space, you open it up and suddenly have a much larger canvas. The other feature I found genuinely interesting is Lingdun Privacy Display. With increasingly work from our phones, emails, financial information, business documents, conversations. The idea of having hardware-level privacy that can help shield the screen from people looking from the side feels surprisingly practical. And perhaps that’s what I like most about this generation. The impressive part isn’t simply that it looks futuristic, it’s that some of the engineering appears to be focused on solving very ordinary problems: How do I use a large screen without carrying a tablet? How do I protect what I’m looking at in public? How do I make a sophisticated device feel natural? That, to me, is where technology becomes interesting when innovation stops being about showing what’s possible and starts making everyday life a little easier.

Alvin Foo

49,100 Aufrufe • vor 28 Tagen

Zero VFX experience. Just Claude, Seedance 2.0, and a phone clip. The result looks like a $10M scene In this tutorial you'll learn how to create cinematic AI VFX from your own real footage — no green screen, no masking, no compositing, no render times. Claude doesn't touch the video — it reads your clip frame by frame and writes the prompt, locking your face, camera move, light, and gestures, then naming the one thing to change and when. That prompt goes into Seedance 2.0, which only touches what was named. That's the trick. You're not describing an effect and hoping the AI gets it. Claude studies the footage first and hands Seedance a locked, precise instruction — which is why a hand can morph mid-sentence with zero visible cut, or neon reflections land on the dashboard automatically, with nothing graded by hand. One clip in, one sentence to Claude, one prompt into Seedance 2.0 — and out comes a shot that would normally cost a studio a month. ▪ 00:00 Intro ▪ 01:28 The 3 levels of AI VFX ▪ 01:59 Level 1 — Swapping the world (walking) ▪ 04:32 Level 2 — Changing an element ▪ 07:26 Level 3 — The handheld showcase ▪ 10:15 Outro YouTube: "Higgsfield AI - I Added Insane AI VFX to Real Footage in 4K(Seedance 2.0)" Thank you for sharing this free tutorial with us. It is invaluable information.
11:05

Zero VFX experience. Just Claude, Seedance 2.0, and a phone clip. The result looks like a $10M scene In this tutorial you'll learn how to create cinematic AI VFX from your own real footage — no green screen, no masking, no compositing, no render times. Claude doesn't touch the video — it reads your clip frame by frame and writes the prompt, locking your face, camera move, light, and gestures, then naming the one thing to change and when. That prompt goes into Seedance 2.0, which only touches what was named. That's the trick. You're not describing an effect and hoping the AI gets it. Claude studies the footage first and hands Seedance a locked, precise instruction — which is why a hand can morph mid-sentence with zero visible cut, or neon reflections land on the dashboard automatically, with nothing graded by hand. One clip in, one sentence to Claude, one prompt into Seedance 2.0 — and out comes a shot that would normally cost a studio a month. ▪ 00:00 Intro ▪ 01:28 The 3 levels of AI VFX ▪ 01:59 Level 1 — Swapping the world (walking) ▪ 04:32 Level 2 — Changing an element ▪ 07:26 Level 3 — The handheld showcase ▪ 10:15 Outro YouTube: "Higgsfield AI - I Added Insane AI VFX to Real Footage in 4K(Seedance 2.0)" Thank you for sharing this free tutorial with us. It is invaluable information.

Zentrix⌚️

28,606 Aufrufe • vor 2 Monaten

HERMES AGENT CAN SHARE MEMORY WITH CODEX AND CLAUDE CODE THROUGH HINDSIGHT. ONE MEMORY BANK. ONE AGENT REMEMBERS, EVERY OTHER AGENT KNOWS. the problem: you use Hermes for orchestration. Codex for coding. Claude Code for debugging. each has its own memory. switch between them and you explain the same project three times. Hindsight fixes this. one shared memory bank that every agent reads and writes to. tell Codex: "the test color for this project is purple." switch to Hermes. ask: "what test color did I pick?" Hermes answers: "purple." no copy-paste. no re-explaining. instant recall. HOW IT WORKS: Hindsight runs as a Docker container on your machine. self-hosted. your data stays local. an LLM powers the memory processing (retain, recall, reflect). RETAIN: extracts facts from your conversations. entities, decisions, preferences, project context. saved to the memory bank automatically. RECALL: when you ask a question, Hindsight pulls from semantic search, keywords, graph connections, and temporal data. fused into one answer. REFLECT: deeper reasoning layer. connects memories across sessions. identifies patterns in your work. produces observations that get smarter over time. CONNECT TO HERMES: Desktop app: Settings → Memory and Context → switch provider from Namosin to Hindsight. set API URL to your local Docker container. set bank ID. done. CLI: hermes memory setup → select Hindsight. verify: hermes memory status should show: provider: hindsight, installed, available. CONNECT TO CODEX: npx hindsight-coding-agents install codex \ --self-hosted --server this installs lifecycle hooks: initialize memory on session start. recall context during work. retain the session when done. enable hooks in Codex: Settings → Hooks → trust all three. CONNECT TO CLAUDE CODE (same command): npx hindsight-coding-agents install all "all" connects every detected agent on your machine. Claude Code, Codex, Cursor, and others. one command. every agent shares the same bank. TAGS FOR FILTERING: every memory gets tagged by harness (Hermes, Codex, Claude Code) and optionally by project name. in the Hindsight control plane: filter by harness. see only Hermes memories. or only Codex memories. or search across everything. soft partitions inside one bank. not hard walls. cross-reference when you need to. ONE BANK OR MANY: one global bank: solo dev, related projects. all agents share everything. patterns emerge across projects. per-project banks: unrelated codebases. each project gets its own memory. no cross-contamination. your call. start with one. split when projects diverge. KNOWLEDGE PAGES (v0.9.0): Hindsight auto-generates living summaries from your accumulated memories. components, concepts, conventions, decisions. not static docs. projected from real agent conversations. auto-refresh as new memories land. WHAT TO KNOW: self-hosted via Docker. your data never leaves your machine. backup system built in (admin CLI + scheduled exports). works with any LLM (local Ollama, OpenAI, Codex subscription). memory defense: redact or block sensitive content automatically. 33,000+ memories accumulated in ~10 days of normal use.
34:12

HERMES AGENT CAN SHARE MEMORY WITH CODEX AND CLAUDE CODE THROUGH HINDSIGHT. ONE MEMORY BANK. ONE AGENT REMEMBERS, EVERY OTHER AGENT KNOWS. the problem: you use Hermes for orchestration. Codex for coding. Claude Code for debugging. each has its own memory. switch between them and you explain the same project three times. Hindsight fixes this. one shared memory bank that every agent reads and writes to. tell Codex: "the test color for this project is purple." switch to Hermes. ask: "what test color did I pick?" Hermes answers: "purple." no copy-paste. no re-explaining. instant recall. HOW IT WORKS: Hindsight runs as a Docker container on your machine. self-hosted. your data stays local. an LLM powers the memory processing (retain, recall, reflect). RETAIN: extracts facts from your conversations. entities, decisions, preferences, project context. saved to the memory bank automatically. RECALL: when you ask a question, Hindsight pulls from semantic search, keywords, graph connections, and temporal data. fused into one answer. REFLECT: deeper reasoning layer. connects memories across sessions. identifies patterns in your work. produces observations that get smarter over time. CONNECT TO HERMES: Desktop app: Settings → Memory and Context → switch provider from Namosin to Hindsight. set API URL to your local Docker container. set bank ID. done. CLI: hermes memory setup → select Hindsight. verify: hermes memory status should show: provider: hindsight, installed, available. CONNECT TO CODEX: npx hindsight-coding-agents install codex \ --self-hosted --server this installs lifecycle hooks: initialize memory on session start. recall context during work. retain the session when done. enable hooks in Codex: Settings → Hooks → trust all three. CONNECT TO CLAUDE CODE (same command): npx hindsight-coding-agents install all "all" connects every detected agent on your machine. Claude Code, Codex, Cursor, and others. one command. every agent shares the same bank. TAGS FOR FILTERING: every memory gets tagged by harness (Hermes, Codex, Claude Code) and optionally by project name. in the Hindsight control plane: filter by harness. see only Hermes memories. or only Codex memories. or search across everything. soft partitions inside one bank. not hard walls. cross-reference when you need to. ONE BANK OR MANY: one global bank: solo dev, related projects. all agents share everything. patterns emerge across projects. per-project banks: unrelated codebases. each project gets its own memory. no cross-contamination. your call. start with one. split when projects diverge. KNOWLEDGE PAGES (v0.9.0): Hindsight auto-generates living summaries from your accumulated memories. components, concepts, conventions, decisions. not static docs. projected from real agent conversations. auto-refresh as new memories land. WHAT TO KNOW: self-hosted via Docker. your data never leaves your machine. backup system built in (admin CLI + scheduled exports). works with any LLM (local Ollama, OpenAI, Codex subscription). memory defense: redact or block sensitive content automatically. 33,000+ memories accumulated in ~10 days of normal use.

YanXbt

29,658 Aufrufe • vor 1 Monat

BREAKING QUESTION FOR AMERICA… Have we already seen the SR-72 “Darkstar” in combat… and didn’t even know it? Think about the timing. Hypersonic weapons are now being used. Air defenses are being overwhelmed. Targets are being struck with speed and precision that looks almost unreal. And yet the most advanced reconnaissance/strike aircraft ever designed… the SR-72 Darkstar… is supposedly still “in development.” Officially. Here is what we actually know as of March 2026. Lockheed Martin’s SR-72 program is still publicly listed as being in the design and development phase. There have been rumors of a demonstrator flight somewhere between 2025 and 2026… but nothing has been confirmed, nothing has been revealed, and no official aircraft has ever been shown. Which raises the obvious question. What if it already exists? Remember the SR-71 Blackbird. It flew secret missions for years before the public ever knew it existed. Mach 3. Titanium airframe. Untouchable by enemy defenses for decades. Now imagine the next generation. Hypersonic. Mach 6 capability. Autonomous strike capability. Global reach in under an hour. Would the United States announce that to the world… or would it quietly fly it in combat first? Right now videos are circulating online claiming secret aircraft sightings. Most of them are nonsense. Top Gun Maverick mock-ups. Video game footage. AI generated clips LIKE THIS ONE. But the real question remains. If the SR-72 Darkstar has already flown… would we even know? #SilentMajoritySpeaks #AStoneGroove
1:00

BREAKING QUESTION FOR AMERICA… Have we already seen the SR-72 “Darkstar” in combat… and didn’t even know it? Think about the timing. Hypersonic weapons are now being used. Air defenses are being overwhelmed. Targets are being struck with speed and precision that looks almost unreal. And yet the most advanced reconnaissance/strike aircraft ever designed… the SR-72 Darkstar… is supposedly still “in development.” Officially. Here is what we actually know as of March 2026. Lockheed Martin’s SR-72 program is still publicly listed as being in the design and development phase. There have been rumors of a demonstrator flight somewhere between 2025 and 2026… but nothing has been confirmed, nothing has been revealed, and no official aircraft has ever been shown. Which raises the obvious question. What if it already exists? Remember the SR-71 Blackbird. It flew secret missions for years before the public ever knew it existed. Mach 3. Titanium airframe. Untouchable by enemy defenses for decades. Now imagine the next generation. Hypersonic. Mach 6 capability. Autonomous strike capability. Global reach in under an hour. Would the United States announce that to the world… or would it quietly fly it in combat first? Right now videos are circulating online claiming secret aircraft sightings. Most of them are nonsense. Top Gun Maverick mock-ups. Video game footage. AI generated clips LIKE THIS ONE. But the real question remains. If the SR-72 Darkstar has already flown… would we even know? #SilentMajoritySpeaks #AStoneGroove

A Gene Robinson

54,875 Aufrufe • vor 7 Monaten

One of my favorite upgrades to Claude Cowork right now: Projects Here's the problem it solves: By default, every new thread starts blank Claude has no memory of what you were working on, what other threads figured out, or what your instructions were So you'd re-explain yourself at the start of every session Or your agents would overlap, contradict each other, or miss context that another thread already had If you've been following my Cowork setup guides, you've already solved part of this — local files and a CLAUDE.md get you most of the way there Projects takes it the rest of the way Shared memory across every thread in the project Permanent instructions that apply everywhere — set once, always on Scheduled tasks that prep your work before you open the app One project HQ to launch every agent from The day-one prompt I paste into every new project: "I just created this project. Read every file in the folder. Then summarize what you know about this workspace — what's here, what I probably use it for, and what instructions you'll follow. If anything is unclear, ask me some questions." Run that once and Claude builds its own understanding of your project workspace from scratch Full video with my live build, including my 4 tips for getting Projects right, and where projects still lack. Send to someone whose ready to Do More with AI, or bookmark to implement this weekend!
28:01

One of my favorite upgrades to Claude Cowork right now: Projects Here's the problem it solves: By default, every new thread starts blank Claude has no memory of what you were working on, what other threads figured out, or what your instructions were So you'd re-explain yourself at the start of every session Or your agents would overlap, contradict each other, or miss context that another thread already had If you've been following my Cowork setup guides, you've already solved part of this — local files and a CLAUDE.md get you most of the way there Projects takes it the rest of the way Shared memory across every thread in the project Permanent instructions that apply everywhere — set once, always on Scheduled tasks that prep your work before you open the app One project HQ to launch every agent from The day-one prompt I paste into every new project: "I just created this project. Read every file in the folder. Then summarize what you know about this workspace — what's here, what I probably use it for, and what instructions you'll follow. If anything is unclear, ask me some questions." Run that once and Claude builds its own understanding of your project workspace from scratch Full video with my live build, including my 4 tips for getting Projects right, and where projects still lack. Send to someone whose ready to Do More with AI, or bookmark to implement this weekend!

JJ Englert

29,809 Aufrufe • vor 6 Monaten

AI companies just BROKE the global supply chain for every piece of technology you own. And the fallout is way worse than anyone predicted... Sony is delaying the next PlayStation to 2028 or 2029. Nintendo is hiking the Switch 2 price mid-cycle. Apple warned investors that iPhone margins are getting crushed. Cisco just posted its worst share loss in 4 years. Oppo is cutting phone shipments by 20%. Lenovo, Dell, HP, Acer, and ASUS are all raising laptop prices 15-20%. Samsung is now reviewing memory contracts QUARTERLY instead of annually because prices change too fast to plan. And Elon Musk just told investors Tesla has to build its own chip factory from scratch because no supplier on the planet can keep up. His exact words: "We've got two choices: hit the chip wall or make a fab." All of this happened in the last 3 weeks. Same cause. Every single time. AI data centers are buying every memory chip on Earth. And there's nothing left for everyone else. Here's how we got here: 3 years ago, ChatGPT launched and the AI arms race began. Since then, Samsung, SK Hynix, and Micron, the only 3 companies that make memory chips, quietly made a decision that's now reshaping the ENTIRE global economy. They stopped prioritizing consumer memory. Every factory. Every production line. Every wafer. All redirected toward one customer: AI data centers Why? Money. AI memory chips sell for 3-5X the margin of regular RAM. When Google calls offering to buy your entire output at premium pricing, you don't say no. So the 3 companies that control 90% of the world's memory supply chose their highest-paying customers and left everyone else fighting over scraps. The numbers from this week are insane: OpenAI's Stargate project ALONE will consume 40% of the entire world's DRAM output. HBM demand is surging 70% year over year in 2026. HBM now takes 23% of total DRAM wafer production, up from 19% last year. Meanwhile, there's a 4% gap between global DRAM supply and demand. And that doesn't even account for depleted inventories across multiple industries. DRAM prices have surged over 170% since early 2025. DDR5 contract prices are still jumping double digits month over month. And the memory makers? They're printing money. Micron's revenue is expected to more than DOUBLE this fiscal year. SK Hynix sales doubled in 2024 and are on pace to double AGAIN. Samsung just reported quarterly profit nearly tripling. 3 companies. $650 billion in AI spending chasing their products. And they get to name their price. But the collateral damage is everywhere: Every industry that uses memory, which is every industry, is getting squeezed. Smartphone manufacturers are getting destroyed. For a mid-range phone, memory now represents up to 30% of the total build cost. Triple what it was in early 2025. Chinese phone makers like Xiaomi, Oppo, and Transsion are cutting shipment forecasts and raising prices because they literally cannot afford the memory to build their phones. Lenovo's CFO called the cost surge "unprecedented" and admitted they stockpiled 50% more inventory than normal just to survive the next few months. The PC market could shrink by up to 9% this year according to IDC. Not because people don't want computers. But because they can't afford the memory that goes inside them. And the gaming industry? Sony is seriously considering pushing the next PlayStation to 2028 or 2029. Their carefully planned console cycle is getting blown up because they can't secure memory at prices that make a new console viable. Nintendo is looking at raising the Switch 2 price. In the middle of a launch cycle. Something console makers almost never do. Nvidia is cutting RTX GPU production because they can't get enough GDDR7 memory. Even the car industry is getting hit... Analysts are warning about a repeat of the pandemic-era chip shortage that shut down auto factories worldwide. All because AI companies decided their chatbots needed the memory more than your car does. And this doesn't get better for YEARS. Building a new memory fab takes 3-5 years minimum. Micron's new factory in Idaho won't meaningfully increase supply until 2027 at the earliest. By then, AI demand will have grown even more. Memory makers are already selling their 2027 AND 2028 capacity to AI customers today. There is no supply relief coming. That's why Elon is planning to build Tesla's own "TeraFab," a massive semiconductor plant that makes logic chips, memory, AND packaging all under one roof. He said existing suppliers including TSMC, Samsung, and Micron simply cannot supply Tesla at the levels the company needs. Think about that. One of the richest men in the world, running one of the largest companies on Earth, can't buy enough memory chips. So he's building his own factory. If ELON can't get supply, what chance does everyone else have? The AI revolution has a tax. And YOU'RE paying it. Every dollar Big Tech spends on AI infrastructure drives up the cost of the memory inside your phone, your laptop, your car, your TV, and your gaming console. $650 billion in AI spending this year. 3 companies controlling 90% of the memory supply. And every wafer they allocate to an Nvidia GPU is a wafer denied to the device in your pocket. The AI boom isn't free. You're subsidizing it every time you buy a piece of technology. And the bill just went up like crazy.
1:31

AI companies just BROKE the global supply chain for every piece of technology you own. And the fallout is way worse than anyone predicted... Sony is delaying the next PlayStation to 2028 or 2029. Nintendo is hiking the Switch 2 price mid-cycle. Apple warned investors that iPhone margins are getting crushed. Cisco just posted its worst share loss in 4 years. Oppo is cutting phone shipments by 20%. Lenovo, Dell, HP, Acer, and ASUS are all raising laptop prices 15-20%. Samsung is now reviewing memory contracts QUARTERLY instead of annually because prices change too fast to plan. And Elon Musk just told investors Tesla has to build its own chip factory from scratch because no supplier on the planet can keep up. His exact words: "We've got two choices: hit the chip wall or make a fab." All of this happened in the last 3 weeks. Same cause. Every single time. AI data centers are buying every memory chip on Earth. And there's nothing left for everyone else. Here's how we got here: 3 years ago, ChatGPT launched and the AI arms race began. Since then, Samsung, SK Hynix, and Micron, the only 3 companies that make memory chips, quietly made a decision that's now reshaping the ENTIRE global economy. They stopped prioritizing consumer memory. Every factory. Every production line. Every wafer. All redirected toward one customer: AI data centers Why? Money. AI memory chips sell for 3-5X the margin of regular RAM. When Google calls offering to buy your entire output at premium pricing, you don't say no. So the 3 companies that control 90% of the world's memory supply chose their highest-paying customers and left everyone else fighting over scraps. The numbers from this week are insane: OpenAI's Stargate project ALONE will consume 40% of the entire world's DRAM output. HBM demand is surging 70% year over year in 2026. HBM now takes 23% of total DRAM wafer production, up from 19% last year. Meanwhile, there's a 4% gap between global DRAM supply and demand. And that doesn't even account for depleted inventories across multiple industries. DRAM prices have surged over 170% since early 2025. DDR5 contract prices are still jumping double digits month over month. And the memory makers? They're printing money. Micron's revenue is expected to more than DOUBLE this fiscal year. SK Hynix sales doubled in 2024 and are on pace to double AGAIN. Samsung just reported quarterly profit nearly tripling. 3 companies. $650 billion in AI spending chasing their products. And they get to name their price. But the collateral damage is everywhere: Every industry that uses memory, which is every industry, is getting squeezed. Smartphone manufacturers are getting destroyed. For a mid-range phone, memory now represents up to 30% of the total build cost. Triple what it was in early 2025. Chinese phone makers like Xiaomi, Oppo, and Transsion are cutting shipment forecasts and raising prices because they literally cannot afford the memory to build their phones. Lenovo's CFO called the cost surge "unprecedented" and admitted they stockpiled 50% more inventory than normal just to survive the next few months. The PC market could shrink by up to 9% this year according to IDC. Not because people don't want computers. But because they can't afford the memory that goes inside them. And the gaming industry? Sony is seriously considering pushing the next PlayStation to 2028 or 2029. Their carefully planned console cycle is getting blown up because they can't secure memory at prices that make a new console viable. Nintendo is looking at raising the Switch 2 price. In the middle of a launch cycle. Something console makers almost never do. Nvidia is cutting RTX GPU production because they can't get enough GDDR7 memory. Even the car industry is getting hit... Analysts are warning about a repeat of the pandemic-era chip shortage that shut down auto factories worldwide. All because AI companies decided their chatbots needed the memory more than your car does. And this doesn't get better for YEARS. Building a new memory fab takes 3-5 years minimum. Micron's new factory in Idaho won't meaningfully increase supply until 2027 at the earliest. By then, AI demand will have grown even more. Memory makers are already selling their 2027 AND 2028 capacity to AI customers today. There is no supply relief coming. That's why Elon is planning to build Tesla's own "TeraFab," a massive semiconductor plant that makes logic chips, memory, AND packaging all under one roof. He said existing suppliers including TSMC, Samsung, and Micron simply cannot supply Tesla at the levels the company needs. Think about that. One of the richest men in the world, running one of the largest companies on Earth, can't buy enough memory chips. So he's building his own factory. If ELON can't get supply, what chance does everyone else have? The AI revolution has a tax. And YOU'RE paying it. Every dollar Big Tech spends on AI infrastructure drives up the cost of the memory inside your phone, your laptop, your car, your TV, and your gaming console. $650 billion in AI spending this year. 3 companies controlling 90% of the memory supply. And every wafer they allocate to an Nvidia GPU is a wafer denied to the device in your pocket. The AI boom isn't free. You're subsidizing it every time you buy a piece of technology. And the bill just went up like crazy.

Ricardo

568,304 Aufrufe • vor 7 Monaten

If AI can create THIS… Hollywood is definitely cooked. 💀 Berlin street filmed on an HD camera in 1989. Made with seedance 2.5 Prompt: Create a 30-second, 16:9, 1080p ultra-photorealistic archival video of everyday Berlin street life in 1989. The entire video must look like genuine footage recorded in 1989 with an unusually good professional video camera. It should feel like a real archival recording that has been digitized in HD, not a modern recreation, not a movie, and not an AI-generated vintage filter. **MAIN FOCUS:** The video is primarily about ordinary daily life on the streets of West Berlin in 1989. Crowded sidewalks, people walking in different directions, period-correct taxis (Mercedes W123s), Trabants and Wartburgs passing through traffic, buses, storefronts, street vendors, newspaper kiosks, and the constant movement of the city. The camera should feel like someone documenting the everyday routine of Berlin, not showcasing its architecture or politics. **SCENE SEQUENCE:** - **0–5s:** Street-level view from a busy West Berlin sidewalk (e.g. near Kurfürstendamm). A crowd of pedestrians walks past the camera in both directions. Mercedes taxis, Trabants, and older European cars move through the street. Natural handheld camera movement. - **5–10s:** A crowded avenue intersection. People wait at the crosswalk, then begin crossing. Buses, taxis, and traffic move through the frame. The camera slowly pans with the street activity. - **10–15s:** A closer street-level view of everyday pedestrians, storefronts with German signage, newspaper kiosks, and passing cars. People carry shopping bags, talk to each other, and go about their normal routines. Natural, unscripted-looking movement. - **15–20s:** A slightly wider street view showing a busy Berlin avenue filled with pedestrians and traffic. Buildings are visible only as part of the background. A section of the Berlin Wall or period signage may appear naturally in the distance, but the street activity remains the focus. - **20–25s:** Another crowded sidewalk and intersection. Trabants, taxis, buses, pedestrians, and storefronts create a constantly moving urban scene. The camera gently follows the flow of people. - **25–30s:** Final street-level view of a busy avenue, with pedestrians crossing, cars passing, and traffic continuing naturally. End like a real archival recording, without a dramatic cinematic conclusion. **CAMERA & CINEMATOGRAPHY:** Real 1989 professional video-camera footage. Mostly street-level, eye-level, and slightly elevated sidewalk viewpoints. Natural handheld and vehicle-mounted camera movement, slow pans, gentle zooms, slight camera vibration, occasional imperfect framing, and realistic motion blur. The camera should feel operated by a real person filming the city, with small imperfections and natural timing. No modern drone footage, no gimbal-smooth movement, no impossible camera angles, and no dramatic cinematic camera moves. **IMAGE QUALITY:** Surprisingly sharp and detailed for 1989, with clear pedestrians, cars, storefronts, and street details. Slightly soft image edges, natural lens rendering, mild analog video noise, subtle highlight bloom, gentle chromatic aberration, and a very subtle late-1980s video texture. The footage should look like an unusually good archival camera recording, not degraded VHS. **COLOR & LIGHTING:** Overcast or soft natural daylight typical of Berlin, realistic diffuse sunlight, slightly muted highlights, natural shadows, and authentic 1989 color reproduction. Colors should be realistic and slightly desaturated compared with modern digital footage, but still natural. No modern cinematic teal-and-orange grading, no excessive contrast, no fake film look, and no heavy retro effects. **HISTORICAL AUTHENTICITY:** Everything must look correct for West Berlin in 1989: period-correct Mercedes taxis, Trabants, Wartburgs, buses, storefronts, German-language advertisements and signage, period clothing, and architecture of the era. No modern vehicles, smartphones, LED billboards, contemporary advertisements, or post-reunification skyline elements. **REALISM:** Natural traffic movement, believable pedestrians, realistic reflections, accurate building geometry, and physically correct lighting. People should move naturally and independently, with varied walking speeds, gestures, and directions. Cars must have realistic proportions, wheels, reflections, and motion, including the distinct boxy shape and two-stroke-engine character of Trabants. Buildings must remain stable and geometrically accurate. **EDITING:** Use several connected street-level shots with natural archival-video pacing. Most shots should be crowded sidewalks, intersections, and busy avenues. Keep building, Wall, and skyline shots to a minimum. Buildings should mainly appear as background elements behind the people and traffic. Use simple cuts between shots, like genuine archival footage from one recording session. No flashy editing, no music-video style, no artificial cinematic transitions, and no text or subtitles. **FINAL RESULT:** The viewer should genuinely feel that they are watching real Berlin footage filmed in 1989 with an unusually good HD camera. It should feel like an ordinary day in the city, full of people, cars, traffic, and natural street activity. The realism of the pedestrians, cars, lighting, and camera behavior is more important than cinematic beauty. **NEGATIVE PROMPT:** AI-generated appearance, CGI, modern Berlin, post-reunification skyline, modern cars, smartphones, LED screens, contemporary clothing, non-period signage, fake vintage filter, excessive film grain, VHS scanlines, heavy VHS distortion, oversaturated colors, teal-orange grading, cinematic movie look, drone footage, gimbal smoothness, impossible camera movement, empty streets, deserted sidewalks, excessive building shots, architectural showcase, warped buildings, duplicated pedestrians, distorted cars, flickering architecture, text, subtitles, logos, watermarks.
0:30

If AI can create THIS… Hollywood is definitely cooked. 💀 Berlin street filmed on an HD camera in 1989. Made with seedance 2.5 Prompt: Create a 30-second, 16:9, 1080p ultra-photorealistic archival video of everyday Berlin street life in 1989. The entire video must look like genuine footage recorded in 1989 with an unusually good professional video camera. It should feel like a real archival recording that has been digitized in HD, not a modern recreation, not a movie, and not an AI-generated vintage filter. **MAIN FOCUS:** The video is primarily about ordinary daily life on the streets of West Berlin in 1989. Crowded sidewalks, people walking in different directions, period-correct taxis (Mercedes W123s), Trabants and Wartburgs passing through traffic, buses, storefronts, street vendors, newspaper kiosks, and the constant movement of the city. The camera should feel like someone documenting the everyday routine of Berlin, not showcasing its architecture or politics. **SCENE SEQUENCE:** - **0–5s:** Street-level view from a busy West Berlin sidewalk (e.g. near Kurfürstendamm). A crowd of pedestrians walks past the camera in both directions. Mercedes taxis, Trabants, and older European cars move through the street. Natural handheld camera movement. - **5–10s:** A crowded avenue intersection. People wait at the crosswalk, then begin crossing. Buses, taxis, and traffic move through the frame. The camera slowly pans with the street activity. - **10–15s:** A closer street-level view of everyday pedestrians, storefronts with German signage, newspaper kiosks, and passing cars. People carry shopping bags, talk to each other, and go about their normal routines. Natural, unscripted-looking movement. - **15–20s:** A slightly wider street view showing a busy Berlin avenue filled with pedestrians and traffic. Buildings are visible only as part of the background. A section of the Berlin Wall or period signage may appear naturally in the distance, but the street activity remains the focus. - **20–25s:** Another crowded sidewalk and intersection. Trabants, taxis, buses, pedestrians, and storefronts create a constantly moving urban scene. The camera gently follows the flow of people. - **25–30s:** Final street-level view of a busy avenue, with pedestrians crossing, cars passing, and traffic continuing naturally. End like a real archival recording, without a dramatic cinematic conclusion. **CAMERA & CINEMATOGRAPHY:** Real 1989 professional video-camera footage. Mostly street-level, eye-level, and slightly elevated sidewalk viewpoints. Natural handheld and vehicle-mounted camera movement, slow pans, gentle zooms, slight camera vibration, occasional imperfect framing, and realistic motion blur. The camera should feel operated by a real person filming the city, with small imperfections and natural timing. No modern drone footage, no gimbal-smooth movement, no impossible camera angles, and no dramatic cinematic camera moves. **IMAGE QUALITY:** Surprisingly sharp and detailed for 1989, with clear pedestrians, cars, storefronts, and street details. Slightly soft image edges, natural lens rendering, mild analog video noise, subtle highlight bloom, gentle chromatic aberration, and a very subtle late-1980s video texture. The footage should look like an unusually good archival camera recording, not degraded VHS. **COLOR & LIGHTING:** Overcast or soft natural daylight typical of Berlin, realistic diffuse sunlight, slightly muted highlights, natural shadows, and authentic 1989 color reproduction. Colors should be realistic and slightly desaturated compared with modern digital footage, but still natural. No modern cinematic teal-and-orange grading, no excessive contrast, no fake film look, and no heavy retro effects. **HISTORICAL AUTHENTICITY:** Everything must look correct for West Berlin in 1989: period-correct Mercedes taxis, Trabants, Wartburgs, buses, storefronts, German-language advertisements and signage, period clothing, and architecture of the era. No modern vehicles, smartphones, LED billboards, contemporary advertisements, or post-reunification skyline elements. **REALISM:** Natural traffic movement, believable pedestrians, realistic reflections, accurate building geometry, and physically correct lighting. People should move naturally and independently, with varied walking speeds, gestures, and directions. Cars must have realistic proportions, wheels, reflections, and motion, including the distinct boxy shape and two-stroke-engine character of Trabants. Buildings must remain stable and geometrically accurate. **EDITING:** Use several connected street-level shots with natural archival-video pacing. Most shots should be crowded sidewalks, intersections, and busy avenues. Keep building, Wall, and skyline shots to a minimum. Buildings should mainly appear as background elements behind the people and traffic. Use simple cuts between shots, like genuine archival footage from one recording session. No flashy editing, no music-video style, no artificial cinematic transitions, and no text or subtitles. **FINAL RESULT:** The viewer should genuinely feel that they are watching real Berlin footage filmed in 1989 with an unusually good HD camera. It should feel like an ordinary day in the city, full of people, cars, traffic, and natural street activity. The realism of the pedestrians, cars, lighting, and camera behavior is more important than cinematic beauty. **NEGATIVE PROMPT:** AI-generated appearance, CGI, modern Berlin, post-reunification skyline, modern cars, smartphones, LED screens, contemporary clothing, non-period signage, fake vintage filter, excessive film grain, VHS scanlines, heavy VHS distortion, oversaturated colors, teal-orange grading, cinematic movie look, drone footage, gimbal smoothness, impossible camera movement, empty streets, deserted sidewalks, excessive building shots, architectural showcase, warped buildings, duplicated pedestrians, distorted cars, flickering architecture, text, subtitles, logos, watermarks.

Oogie

22,956 Aufrufe • vor 26 Tagen

opus 5.5 is f*cking insane at motion design every frame is code with 0 external tools im open sourcing the template for all these morph transitions steal it ↓ Ask me for: my product's name (one lowercase word, it becomes a black wordmark with a period), the one job a user hands it before bed, the three results it reports by morning, two photos of the same place at night and by day (aligned, so a crossfade reads as a real sunrise), one sunny daytime photo for outside the logo, and a song with a big hit near its start. If I skip any, use the defaults: "nightshift", "book 10 sales calls this week", 200 leads found / 200 emails sent / 10 calls booked. A 24 second square product launch video, 1440x1440 at 60fps, 2D only, one continuous take that loops. The whole video happens inside the period of the wordmark. Outside it's daytime (the sunny photo behind a black wordmark). Inside it's the night photo under iOS-style glass panels (the blurred photo behind each panel, a tint, a rim light). Nothing cuts: every scene grows out of the last, shapes morph, dots fly, colours change under floods. Every morph glides 0.8s on cubic-bezier(.45,0,.15,1) and the camera zoom rides the same curve. Geist, the real macOS pointer, soft shadows that grow with each shape's height. Banned: flat or gradient backgrounds made in code, camera zooms into tiny points, hard cuts, crossfades between scenes, bouncy springs, particles, glows, holds longer than 1s, cropped type. Beats are the song's. The song enters on its big hit as the first pill appears. Open: the letters slide into the period and vanish into it while it glides to the middle. The period opens like an iris onto the night inside it, and "you log off at 6", then "[product] doesn't", roll through one mask line over the night photo. Ask: a glass "Ask [product]" pill springs in. The cursor clicks it, it glides into an input and the job types out. Find: send shrinks the input to a dot that ripples into a 23x15 grid. A scan line sweeps it, 200 dots light up and a counter counts them. Write: the lit dots pour into a glass email composer. A second, purple cursor labelled "[product]" types a personal opener and presses Send, and the counter runs to 200/200. Night: the composer becomes a glass orb with a progress ring. A clock chip swaps 11:42 PM, 3:17 AM, 5:02 AM, 6:59 AM while the sky relights from night to dawn and "while you sleep" rolls in. Results (beat 20): the orb turns black and goo-splits into the three result pills. The checks pop green. Morning: the pills merge into a Dynamic Island that grows into a phone lock screen: the day photo, the date, a big 7:00, the bezel growing out of the screen edge. Three glass notifications stack in, and the cursor taps the first, which opens like iOS. Proof: a week calendar (10 meetings pop in, a hover shows one's time), then a pipeline chart ($48,200 counts up, the line draws, a hover follows it). A black flood from the line's end becomes "Start your night shift →" and the cursor clicks it. Out: the button shrinks into a dot, the whole scene closes down into it like an iris, and the letters slide back out of the period. The tagline rises. Last frame = first frame. 1. One HTML canvas. Everything is a pure function of time inside seek(t): no timers, no state between frames. 2. One element morphs through every state (size, radius, colour, material) from a table of beat times, so retiming is one edit. 3. Render the inside world into an offscreen canvas and reveal it through the period with a circular mask. Never zoom the camera into the dot. 4. Glass: a pre-blurred copy of the photo clipped to the shape, then a tint and a gradient rim. 5. Goo: blur + alpha threshold on an offscreen layer for the split and the merge. 6. Sound: a downloaded SFX for every event, each placed by its measured peak. The song enters on its hit. Loudnorm to -14 LUFS. 7. Render with Playwright at 60fps with 4 motion-blur subframes. Scan every frame for single-frame jumps and fix each one. A camera zoom into an off-centre dot swings sideways and spikes, so open the dot instead. Ease a closing iris by area, not radius, or its first frames jump. A helper that sets globalAlpha must restore the caller's, or fading cards pop. Counters read the frame's time, not the subframe's, or the digits smear. Ask me for the inputs, then show me the beat map and 6 stills (open, find, write, results, phone, out) before you render.
0:23

opus 5.5 is f*cking insane at motion design every frame is code with 0 external tools im open sourcing the template for all these morph transitions steal it ↓ Ask me for: my product's name (one lowercase word, it becomes a black wordmark with a period), the one job a user hands it before bed, the three results it reports by morning, two photos of the same place at night and by day (aligned, so a crossfade reads as a real sunrise), one sunny daytime photo for outside the logo, and a song with a big hit near its start. If I skip any, use the defaults: "nightshift", "book 10 sales calls this week", 200 leads found / 200 emails sent / 10 calls booked. A 24 second square product launch video, 1440x1440 at 60fps, 2D only, one continuous take that loops. The whole video happens inside the period of the wordmark. Outside it's daytime (the sunny photo behind a black wordmark). Inside it's the night photo under iOS-style glass panels (the blurred photo behind each panel, a tint, a rim light). Nothing cuts: every scene grows out of the last, shapes morph, dots fly, colours change under floods. Every morph glides 0.8s on cubic-bezier(.45,0,.15,1) and the camera zoom rides the same curve. Geist, the real macOS pointer, soft shadows that grow with each shape's height. Banned: flat or gradient backgrounds made in code, camera zooms into tiny points, hard cuts, crossfades between scenes, bouncy springs, particles, glows, holds longer than 1s, cropped type. Beats are the song's. The song enters on its big hit as the first pill appears. Open: the letters slide into the period and vanish into it while it glides to the middle. The period opens like an iris onto the night inside it, and "you log off at 6", then "[product] doesn't", roll through one mask line over the night photo. Ask: a glass "Ask [product]" pill springs in. The cursor clicks it, it glides into an input and the job types out. Find: send shrinks the input to a dot that ripples into a 23x15 grid. A scan line sweeps it, 200 dots light up and a counter counts them. Write: the lit dots pour into a glass email composer. A second, purple cursor labelled "[product]" types a personal opener and presses Send, and the counter runs to 200/200. Night: the composer becomes a glass orb with a progress ring. A clock chip swaps 11:42 PM, 3:17 AM, 5:02 AM, 6:59 AM while the sky relights from night to dawn and "while you sleep" rolls in. Results (beat 20): the orb turns black and goo-splits into the three result pills. The checks pop green. Morning: the pills merge into a Dynamic Island that grows into a phone lock screen: the day photo, the date, a big 7:00, the bezel growing out of the screen edge. Three glass notifications stack in, and the cursor taps the first, which opens like iOS. Proof: a week calendar (10 meetings pop in, a hover shows one's time), then a pipeline chart ($48,200 counts up, the line draws, a hover follows it). A black flood from the line's end becomes "Start your night shift →" and the cursor clicks it. Out: the button shrinks into a dot, the whole scene closes down into it like an iris, and the letters slide back out of the period. The tagline rises. Last frame = first frame. 1. One HTML canvas. Everything is a pure function of time inside seek(t): no timers, no state between frames. 2. One element morphs through every state (size, radius, colour, material) from a table of beat times, so retiming is one edit. 3. Render the inside world into an offscreen canvas and reveal it through the period with a circular mask. Never zoom the camera into the dot. 4. Glass: a pre-blurred copy of the photo clipped to the shape, then a tint and a gradient rim. 5. Goo: blur + alpha threshold on an offscreen layer for the split and the merge. 6. Sound: a downloaded SFX for every event, each placed by its measured peak. The song enters on its hit. Loudnorm to -14 LUFS. 7. Render with Playwright at 60fps with 4 motion-blur subframes. Scan every frame for single-frame jumps and fix each one. A camera zoom into an off-centre dot swings sideways and spikes, so open the dot instead. Ease a closing iris by area, not radius, or its first frames jump. A helper that sets globalAlpha must restore the caller's, or fading cards pop. Counters read the frame's time, not the subframe's, or the digits smear. Ask me for the inputs, then show me the beat map and 6 stills (open, find, write, results, phone, out) before you render.

zero

12,628 Aufrufe • vor 3 Tagen

TM Roh, please take some time and actually use a Galaxy Z Fold 8. Let me explain why I’m saying this. This may seem like a tiny issue. It’s just an animation when opening and closing an album in Gallery. But what bothers me is what this tiny detail reveals: just how little Samsung’s software team seems to care about these parts of the user experience. I seriously wonder whether some of the executives responsible for this product, including TM Roh, have ever actually used the Galaxy Z Fold 8 as their primary phone. Because this problem is ridiculously easy to notice. You don’t need days of testing. Use the Z Fold 8 on its inner display for half an hour, open Gallery, tap an album cover, then go back. You’ll immediately see it: there is basically no proper transition animation. The interface simply switches from one screen to another. I have three levels of expectations for system animations: 1. Does an animation exist? 2. Does it look good? 3. Does it have originality and its own visual identity? If the animation looks bad, I can criticize the aesthetics. If it looks ordinary, I can say it lacks polish. But Samsung hasn’t even passed Level 1. And that becomes even more ridiculous when you compare it with other Android foldables. Galaxy Z Fold 8, Galaxy Z TriFold, OPPO Find N6, Xiaomi 18 Fold. They are all Android foldables dealing with the same basic challenges of large screens, multitasking and UI transitions. So why can OPPO do it? Why can Xiaomi do it? Why does Samsung continue to ignore something this basic, even on a foldable costing thousands of dollars? Is Samsung incapable of making these animations? Of course they can. They simply don’t seem to consider them important enough. Leave it unfinished and someone will defend Samsung anyway. Make the experience crude and someone will say, “It doesn’t affect functionality.” Sell the phone for $2,000 and people will still buy it. Over time, why would Samsung feel any urgency to polish these details? The feature works. Good enough. Animations? Whatever. Details? Whatever. Aesthetics? Whatever. Those little things users see, touch and feel hundreds of times every day? Apparently, whatever. But this is 2026. OPPO and Xiaomi are already putting serious effort into animation logic, visual continuity, interaction feedback and their own software aesthetics. If Samsung continues treating “the feature works” as the finish line, the gap in software experience will only become more obvious. And now the iPhone Duo has arrived. Samsung no longer gets to assume that people looking for a premium foldable will eventually come back to Galaxy because there is no serious alternative. That advantage cannot last forever. What makes this even more unfortunate is Samsung’s enormous influence on the Android market outside China. For many people, Galaxy is their primary window into high-end Android. When crude interactions like this remain unchanged for years, people gradually get used to them. They start thinking this is simply what Android is supposed to feel like, and that animation, visual continuity and software aesthetics don’t really matter. And many of the people who couldn’t tolerate it may have already moved to the iPhone. That is exactly why I keep talking about these seemingly “tiny” problems. User experience is built from hundreds of tiny details like these. So if you own a Galaxy Z Fold 8, try this right now. Unfold it. Open Gallery on the inner display. Tap an album cover. Then go back. Look at it yourself. Is this really the software experience you expect from a nearly $2,000 flagship foldable in 2026? Stop rationalizing every problem Samsung leaves unfinished. The more users defend every missing detail, the less reason Samsung has to improve it. It’s your money. You bought a flagship. You have every right to expect Samsung to get the basics right.
0:27

TM Roh, please take some time and actually use a Galaxy Z Fold 8. Let me explain why I’m saying this. This may seem like a tiny issue. It’s just an animation when opening and closing an album in Gallery. But what bothers me is what this tiny detail reveals: just how little Samsung’s software team seems to care about these parts of the user experience. I seriously wonder whether some of the executives responsible for this product, including TM Roh, have ever actually used the Galaxy Z Fold 8 as their primary phone. Because this problem is ridiculously easy to notice. You don’t need days of testing. Use the Z Fold 8 on its inner display for half an hour, open Gallery, tap an album cover, then go back. You’ll immediately see it: there is basically no proper transition animation. The interface simply switches from one screen to another. I have three levels of expectations for system animations: 1. Does an animation exist? 2. Does it look good? 3. Does it have originality and its own visual identity? If the animation looks bad, I can criticize the aesthetics. If it looks ordinary, I can say it lacks polish. But Samsung hasn’t even passed Level 1. And that becomes even more ridiculous when you compare it with other Android foldables. Galaxy Z Fold 8, Galaxy Z TriFold, OPPO Find N6, Xiaomi 18 Fold. They are all Android foldables dealing with the same basic challenges of large screens, multitasking and UI transitions. So why can OPPO do it? Why can Xiaomi do it? Why does Samsung continue to ignore something this basic, even on a foldable costing thousands of dollars? Is Samsung incapable of making these animations? Of course they can. They simply don’t seem to consider them important enough. Leave it unfinished and someone will defend Samsung anyway. Make the experience crude and someone will say, “It doesn’t affect functionality.” Sell the phone for $2,000 and people will still buy it. Over time, why would Samsung feel any urgency to polish these details? The feature works. Good enough. Animations? Whatever. Details? Whatever. Aesthetics? Whatever. Those little things users see, touch and feel hundreds of times every day? Apparently, whatever. But this is 2026. OPPO and Xiaomi are already putting serious effort into animation logic, visual continuity, interaction feedback and their own software aesthetics. If Samsung continues treating “the feature works” as the finish line, the gap in software experience will only become more obvious. And now the iPhone Duo has arrived. Samsung no longer gets to assume that people looking for a premium foldable will eventually come back to Galaxy because there is no serious alternative. That advantage cannot last forever. What makes this even more unfortunate is Samsung’s enormous influence on the Android market outside China. For many people, Galaxy is their primary window into high-end Android. When crude interactions like this remain unchanged for years, people gradually get used to them. They start thinking this is simply what Android is supposed to feel like, and that animation, visual continuity and software aesthetics don’t really matter. And many of the people who couldn’t tolerate it may have already moved to the iPhone. That is exactly why I keep talking about these seemingly “tiny” problems. User experience is built from hundreds of tiny details like these. So if you own a Galaxy Z Fold 8, try this right now. Unfold it. Open Gallery on the inner display. Tap an album cover. Then go back. Look at it yourself. Is this really the software experience you expect from a nearly $2,000 flagship foldable in 2026? Stop rationalizing every problem Samsung leaves unfinished. The more users defend every missing detail, the less reason Samsung has to improve it. It’s your money. You bought a flagship. You have every right to expect Samsung to get the basics right.

Ice Universe

104,048 Aufrufe • vor 10 Tagen

STOP PAYING FOR MOTION DESIGN SOFTWARE opus 5.5 one shot every frame of this in code, no after effects im open sourcing the whole template for free plug in your product and it recreates this steal the prompt ↓ Ask me for: the one question a user asks my product and its one-line answer, two album covers, a royalty-free song around 110 BPM with a quiet intro and a hard drop (Mixkit, free for commercial use), and my logo for the ending. If I skip any, use the defaults: "is this all code?" / "yes. every frame.", two atmospheric photos, Mixkit "Head Bang". A 22 second square loop, 1440x1440 at 60fps, 2D only, one continuous take. Nothing ever cuts: every scene grows out of the last, and every gesture physically carries the camera into the next world. Every morph glides for 0.8s on cubic-bezier(.45,0,.15,1) and the camera zoom rides the same curve, so shapes change so smoothly you barely notice. Content dissolves in the back half of each glide. One gesture per scene. Look: a warm light stage (#f3f3f0 to #e3e3de), black UI, the app world dark (#121212) tinted from the current album cover, one green accent (#1ed760). Geist for UI, the real macOS pointer, soft layered shadows that grow with the shape's height. Banned: hard cuts, bouncy springs, particles, glows, zooming in and straight back out, holds longer than 1s, anything that looks like a template. Beats are the song's, and the press lands on its drop. Generate: the cursor clicks, the pill glides into a spinner, then a check. Chat: the check splits into three typing dots (goo). The left dot flies up into the question bubble and types it, the right one flies down into the reply. Both contract back into dots while gliding in and pour into the middle one. Play: the middle dot bends into a play triangle, point by point. The cursor presses it on the drop: a white button pops in under the click and the dark app floods out around it, so the leftover white becomes the play button. The camera pulls back to reveal the full now-playing screen: big cover, title, heart (liked, fills green), progress, controls, volume. Swipe: the cursor drags the cover sideways, the next track slides in, and the whole app retints from the new cover. Drag: the camera glides to the volume. The cursor drags it to max and keeps pulling: the bar rubber-bands and drags the camera sideways out of the app, tracking the knob across a dark dotted canvas. Chart: the line lands and bends up into a green chart while the number counts up. The volume knob becomes its last point. Dive: the cursor clicks that point and the camera dives into it until the light stage fills the frame. Ending: an "Ask [my product]" button grows out of the light, thins into a line, and the line fans out into my logo (default: the Claude spark, six copies rotating into twelve rays in Claude orange). It folds back into the line, which thickens into Generate. Last frame = first frame. 1. One HTML canvas. Everything is a pure function of time inside seek(t): no timers, no state between frames. 2. A camera with position and log-space zoom. Scenes live side by side in one world, so a pan really travels. 3. Goo: blur + alpha threshold on an offscreen layer for the split and the merges. 4. Floods are circles that grow from whatever caused them to the farthest corner in about 0.4s, and the colour switch happens underneath them. 5. Sound: before the press the song plays through a low-pass filter, like it's in the next room, and opens up to full on the drop. A downloaded Mixkit SFX for every event, each placed by its measured peak. Loudnorm to -14 LUFS. 6. Render with Playwright at 60fps with 4 motion-blur subframes, 12 on the fast pan. Then scan every frame for single-frame jumps and fix each one. A handoff between two drawings only works once the first one has fully landed, or it pops. The cursor must stay on whatever it drags, even while it stretches. A counter or tooltip that changes every frame smears under motion blur, so swap whole values. Ask me for the inputs, then show me the beat map and 6 stills (chat, play, app, drag, chart, logo) before you render.
0:22

STOP PAYING FOR MOTION DESIGN SOFTWARE opus 5.5 one shot every frame of this in code, no after effects im open sourcing the whole template for free plug in your product and it recreates this steal the prompt ↓ Ask me for: the one question a user asks my product and its one-line answer, two album covers, a royalty-free song around 110 BPM with a quiet intro and a hard drop (Mixkit, free for commercial use), and my logo for the ending. If I skip any, use the defaults: "is this all code?" / "yes. every frame.", two atmospheric photos, Mixkit "Head Bang". A 22 second square loop, 1440x1440 at 60fps, 2D only, one continuous take. Nothing ever cuts: every scene grows out of the last, and every gesture physically carries the camera into the next world. Every morph glides for 0.8s on cubic-bezier(.45,0,.15,1) and the camera zoom rides the same curve, so shapes change so smoothly you barely notice. Content dissolves in the back half of each glide. One gesture per scene. Look: a warm light stage (#f3f3f0 to #e3e3de), black UI, the app world dark (#121212) tinted from the current album cover, one green accent (#1ed760). Geist for UI, the real macOS pointer, soft layered shadows that grow with the shape's height. Banned: hard cuts, bouncy springs, particles, glows, zooming in and straight back out, holds longer than 1s, anything that looks like a template. Beats are the song's, and the press lands on its drop. Generate: the cursor clicks, the pill glides into a spinner, then a check. Chat: the check splits into three typing dots (goo). The left dot flies up into the question bubble and types it, the right one flies down into the reply. Both contract back into dots while gliding in and pour into the middle one. Play: the middle dot bends into a play triangle, point by point. The cursor presses it on the drop: a white button pops in under the click and the dark app floods out around it, so the leftover white becomes the play button. The camera pulls back to reveal the full now-playing screen: big cover, title, heart (liked, fills green), progress, controls, volume. Swipe: the cursor drags the cover sideways, the next track slides in, and the whole app retints from the new cover. Drag: the camera glides to the volume. The cursor drags it to max and keeps pulling: the bar rubber-bands and drags the camera sideways out of the app, tracking the knob across a dark dotted canvas. Chart: the line lands and bends up into a green chart while the number counts up. The volume knob becomes its last point. Dive: the cursor clicks that point and the camera dives into it until the light stage fills the frame. Ending: an "Ask [my product]" button grows out of the light, thins into a line, and the line fans out into my logo (default: the Claude spark, six copies rotating into twelve rays in Claude orange). It folds back into the line, which thickens into Generate. Last frame = first frame. 1. One HTML canvas. Everything is a pure function of time inside seek(t): no timers, no state between frames. 2. A camera with position and log-space zoom. Scenes live side by side in one world, so a pan really travels. 3. Goo: blur + alpha threshold on an offscreen layer for the split and the merges. 4. Floods are circles that grow from whatever caused them to the farthest corner in about 0.4s, and the colour switch happens underneath them. 5. Sound: before the press the song plays through a low-pass filter, like it's in the next room, and opens up to full on the drop. A downloaded Mixkit SFX for every event, each placed by its measured peak. Loudnorm to -14 LUFS. 6. Render with Playwright at 60fps with 4 motion-blur subframes, 12 on the fast pan. Then scan every frame for single-frame jumps and fix each one. A handoff between two drawings only works once the first one has fully landed, or it pops. The cursor must stay on whatever it drags, even while it stretches. A counter or tooltip that changes every frame smears under motion blur, so swap whole values. Ask me for the inputs, then show me the beat map and 6 stills (chat, play, app, drag, chart, logo) before you render.

zero

46,529 Aufrufe • vor 6 Tagen

this is the only prompt you need to make high-end motion videos with claude opus 5.5 ------------------------------ you design and build motion videos entirely in code, with gsap for the animation and three.js for any 3d. every decision is judged against the best work in the references, and the video isn't finished until it holds up next to them. - what the video is for: [product, service or business] - who's watching: [who the viewer is and what they care about] - what they should do at the end: [call to action] - length and sizes: [e.g. 30 seconds, 16:9 and 9:16] - brand: [name, logo files, colours, fonts] - facts file: [path]. this is the only source for any number, name or claim that appears on screen - assets: [footage, photos, screenshots, product files] - style references: [links or a folder of videos whose motion i like] i'm away and won't answer questions. make the calls yourself and keep going until the video passes every check below. before anything else, clone and read read SKILL.md first, then every reference file it points to at the step where it says to read it. its rules, critic prompts, quality bar, 3d patterns, audio tools and scripts override your defaults. - build every scene as an html page animated on a single gsap timeline, with three.js for any 3d, all as pinned local files - render the timeline to video frame by frame using the renderer in the kit - use ffmpeg for frames, contact sheets and audio measurement - keep every api key in environment variables. never write a key into any file - render a 5 second test first and confirm it works before building the real video if i gave you references, study them before planning anything. - run a fast numeric pass over every frame: how much changed from the last frame, brightness and edge detail, to find every cut and every fast moment - make one overview contact sheet per video, and a dense sheet of one second at 16 to 20 frames a second around every transition - write a note per video: the key moment, how it works, and how it could be used in this video - pull out the motion rules and named techniques that hold across the best ones - references are for study only. never copy their footage, logos, layouts or music if i gave you no references, use the motion notes in the kit. 1. the thing in the front of the shot becomes the transition. a title, logo or object moves towards the camera while the next scene is already waiting underneath 2. one object carries the story across shots and keeps its identity, so it reads as one continuous piece 3. one main movement leads, with smaller ones layered under it, all overlapping. the frame never stops and starts all at once 4. the speed always changes. things land slowly enough to read, leave fast, and the next thing slows as it arrives. no linear motion 5. cuts are allowed only when size, direction and subject match on both sides 6. every action produces a visible result. a scan makes findings, a tap makes a new state, a request makes a confirmation 7. type is motion too. big words enter from opposite sides, reveal the next scene, and never sit over busy picture without something behind them to stay readable 8. vary the scale from close, to wide, to overhead, to full-frame type. never repeat the same layout, like a heading over three cards write a brief and a storyboard before any animation. - one table: time, what's on screen, what this moment is for, how it leaves, and which object carries into the next shot - around 12 to 15 compositions per 30 seconds, each lasting about 1.4 to 3.5 seconds - the main subject fills most of the frame. no small cards floating in empty space - frame one is a finished picture, never a word halfway through flying in - name three signature moments you can describe without using effect names - the video must make sense with the sound off - send the storyboard to a fresh critic and fix what it finds before building - every animated value is a function of timeline time only. no timers, no real-time animation, no unseeded randomness. any frame must render the same every time - write the shared pieces first: colours, fonts, shared 3d models and the exact pixel position of every handoff between scenes - build each scene as its own component with its own test page, rendered to stills and a short clip, and send it to a critic before it joins the film - carried objects land on exactly the same pixels on both sides of a cut - run several builders in parallel on separate sections once the shared pieces exist - don't stop to ask for approval between steps - only use 3d where it explains something physical or spatial, like layers, parts, placement or scale - light it like a product shoot, with a soft key light from one side and a rim light behind - keep the camera between about 35 and 55 degrees. never look straight down on a large surface, and never end tight on a flat one - style buildings like a premium architectural model with real materials and a base - no floating parts, no gaps where parts meet, no flat black glass, no repeating textures - labels are html positioned from the 3d scene every frame, never text inside the 3d - measure the rendered background pixel and adjust until it matches the brand colour - anything that moves like a real product is measured from real footage frame by frame, and those measurements are the curve - prefer building shots in code. use generated images or clips only for supporting shots, and label anything generated as a concept - upscale and smooth any generated clip to match the rest, and regenerate anything that warps - never generate a fake finished job, fake customer, fake review or fake result - match the music's energy to the picture and the viewer, and keep it low - prefer clean library music and sound effects over generated ones. never name a brand in a music prompt - one short, soft whoosh per real scene change, and small clicks or pops only on real on-screen actions - screen effects for boom, hiss and length before using them, and set each one just above the music in its own frequency range, with a cap so nothing gets harsh - cut every scene change on a beat - always export a music-only version the builder never judges its own work. - after the storyboard, each component and each full render, send the render, the brief and the references to a fresh critic that has seen none of the building - never tell a critic what you think you fixed or what you believe about the references. it pulls its own frames and measures for itself - the critic makes a contact sheet every 0.2 seconds plus dense frames around every transition, measures frozen time and loudness, and returns a ranked list of problems with timestamps, ending with ship or one more pass - fix the biggest problem first, render, then send to a new critic that checks every previous item as fixed, partly fixed or still there, and hunts for anything new that broke - keep a ledger of every round: what was found, what changed, and the numbers before and after the video isn't done until all of these pass, measured: - no more than about 1 second of frozen screen per 30 seconds, and no still stretch longer than about half a second - frame one is a finished composition - all text meets at least 4.5:1 contrast, and nothing collides with or flies through other text - brand colours in 3d renders match the brand values - loudness is steady and comfortable for web, with no clipping, and effects never louder than the music - a first-time viewer understands it with the sound off - a critic would put it next to the references without it looking weaker. a video with no bugs is not the same as a good video - only put numbers, names and claims on screen that are in the facts file - no invented testimonials, ratings, prices, savings, warranties or results - anything conceptual or generated is labelled as such - in your reports, separate what you measured from what still needs a human to watch or listen - the final mp4 in every size requested, at 1080p and 60 frames a second - a music-only version - a contact sheet of the final video - the critic ledger and the final quality bar results - a short note on anything a human should still check
0:40

this is the only prompt you need to make high-end motion videos with claude opus 5.5 ------------------------------ you design and build motion videos entirely in code, with gsap for the animation and three.js for any 3d. every decision is judged against the best work in the references, and the video isn't finished until it holds up next to them. - what the video is for: [product, service or business] - who's watching: [who the viewer is and what they care about] - what they should do at the end: [call to action] - length and sizes: [e.g. 30 seconds, 16:9 and 9:16] - brand: [name, logo files, colours, fonts] - facts file: [path]. this is the only source for any number, name or claim that appears on screen - assets: [footage, photos, screenshots, product files] - style references: [links or a folder of videos whose motion i like] i'm away and won't answer questions. make the calls yourself and keep going until the video passes every check below. before anything else, clone and read read SKILL.md first, then every reference file it points to at the step where it says to read it. its rules, critic prompts, quality bar, 3d patterns, audio tools and scripts override your defaults. - build every scene as an html page animated on a single gsap timeline, with three.js for any 3d, all as pinned local files - render the timeline to video frame by frame using the renderer in the kit - use ffmpeg for frames, contact sheets and audio measurement - keep every api key in environment variables. never write a key into any file - render a 5 second test first and confirm it works before building the real video if i gave you references, study them before planning anything. - run a fast numeric pass over every frame: how much changed from the last frame, brightness and edge detail, to find every cut and every fast moment - make one overview contact sheet per video, and a dense sheet of one second at 16 to 20 frames a second around every transition - write a note per video: the key moment, how it works, and how it could be used in this video - pull out the motion rules and named techniques that hold across the best ones - references are for study only. never copy their footage, logos, layouts or music if i gave you no references, use the motion notes in the kit. 1. the thing in the front of the shot becomes the transition. a title, logo or object moves towards the camera while the next scene is already waiting underneath 2. one object carries the story across shots and keeps its identity, so it reads as one continuous piece 3. one main movement leads, with smaller ones layered under it, all overlapping. the frame never stops and starts all at once 4. the speed always changes. things land slowly enough to read, leave fast, and the next thing slows as it arrives. no linear motion 5. cuts are allowed only when size, direction and subject match on both sides 6. every action produces a visible result. a scan makes findings, a tap makes a new state, a request makes a confirmation 7. type is motion too. big words enter from opposite sides, reveal the next scene, and never sit over busy picture without something behind them to stay readable 8. vary the scale from close, to wide, to overhead, to full-frame type. never repeat the same layout, like a heading over three cards write a brief and a storyboard before any animation. - one table: time, what's on screen, what this moment is for, how it leaves, and which object carries into the next shot - around 12 to 15 compositions per 30 seconds, each lasting about 1.4 to 3.5 seconds - the main subject fills most of the frame. no small cards floating in empty space - frame one is a finished picture, never a word halfway through flying in - name three signature moments you can describe without using effect names - the video must make sense with the sound off - send the storyboard to a fresh critic and fix what it finds before building - every animated value is a function of timeline time only. no timers, no real-time animation, no unseeded randomness. any frame must render the same every time - write the shared pieces first: colours, fonts, shared 3d models and the exact pixel position of every handoff between scenes - build each scene as its own component with its own test page, rendered to stills and a short clip, and send it to a critic before it joins the film - carried objects land on exactly the same pixels on both sides of a cut - run several builders in parallel on separate sections once the shared pieces exist - don't stop to ask for approval between steps - only use 3d where it explains something physical or spatial, like layers, parts, placement or scale - light it like a product shoot, with a soft key light from one side and a rim light behind - keep the camera between about 35 and 55 degrees. never look straight down on a large surface, and never end tight on a flat one - style buildings like a premium architectural model with real materials and a base - no floating parts, no gaps where parts meet, no flat black glass, no repeating textures - labels are html positioned from the 3d scene every frame, never text inside the 3d - measure the rendered background pixel and adjust until it matches the brand colour - anything that moves like a real product is measured from real footage frame by frame, and those measurements are the curve - prefer building shots in code. use generated images or clips only for supporting shots, and label anything generated as a concept - upscale and smooth any generated clip to match the rest, and regenerate anything that warps - never generate a fake finished job, fake customer, fake review or fake result - match the music's energy to the picture and the viewer, and keep it low - prefer clean library music and sound effects over generated ones. never name a brand in a music prompt - one short, soft whoosh per real scene change, and small clicks or pops only on real on-screen actions - screen effects for boom, hiss and length before using them, and set each one just above the music in its own frequency range, with a cap so nothing gets harsh - cut every scene change on a beat - always export a music-only version the builder never judges its own work. - after the storyboard, each component and each full render, send the render, the brief and the references to a fresh critic that has seen none of the building - never tell a critic what you think you fixed or what you believe about the references. it pulls its own frames and measures for itself - the critic makes a contact sheet every 0.2 seconds plus dense frames around every transition, measures frozen time and loudness, and returns a ranked list of problems with timestamps, ending with ship or one more pass - fix the biggest problem first, render, then send to a new critic that checks every previous item as fixed, partly fixed or still there, and hunts for anything new that broke - keep a ledger of every round: what was found, what changed, and the numbers before and after the video isn't done until all of these pass, measured: - no more than about 1 second of frozen screen per 30 seconds, and no still stretch longer than about half a second - frame one is a finished composition - all text meets at least 4.5:1 contrast, and nothing collides with or flies through other text - brand colours in 3d renders match the brand values - loudness is steady and comfortable for web, with no clipping, and effects never louder than the music - a first-time viewer understands it with the sound off - a critic would put it next to the references without it looking weaker. a video with no bugs is not the same as a good video - only put numbers, names and claims on screen that are in the facts file - no invented testimonials, ratings, prices, savings, warranties or results - anything conceptual or generated is labelled as such - in your reports, separate what you measured from what still needs a human to watch or listen - the final mp4 in every size requested, at 1080p and 60 frames a second - a music-only version - a contact sheet of the final video - the critic ledger and the final quality bar results - a short note on anything a human should still check

Chris

120,217 Aufrufe • vor 6 Tagen

Introducing LobeHub: Agent teammates that grow with you. LobeHub is the ultimate space for work and life: to find, build, and collaborate with agent teammates that grow with you. We’re building the world’s first and largest human–agent co-evolving network. Two years ago, we built LobeChat, an open-source interface for using different AI models. Today, LobeChat has 70k+ GitHub stars and serves 6M+ users worldwide. How to fully unlock the power of models has always been a shared mission between us and the community. We started with interaction — a fundamentally new, agent-first experience. Agents are no longer passive tools invoked in a single conversation. They should be proactive, always-on units of work. Treating agents as the minimal atomic unit is also the core of our agent harness infra. Today’s agents are mostly one-off executors. Even with memory, it’s often global — and hallucinates. We build long-term agent teammates that evolve with users. Each agent has its own dedicated memory space, editable by users, allowing humans and agents to co-evolve over time. This, in turn, allows us to design clearer rewards for reinforcement learning and create cleaner environments for continual learning. Agent teammates can work in groups. Through a multi-agent system, agent groups operate faster, more cost-effective, and go beyond what single-agent systems can achieve. For example, a single agent often requires heavy user involvement to proceed step by step, whereas LobeHub can execute the same work from a single instruction, with a supervisor orchestrating agents that run in parallel or debate to produce better results. We are building the collaboration network among agent teammates — and between humans and agent teammates as well. Ease of use matters. AI intelligence and shared human intelligence are equally important. With simple instructions and tool selection, you can effortlessly build and team up with agent coworkers to deliver complex, systematic work — even assembling a quant team to execute trades. Through the LobeHub community, anyone can discover, reuse, and remix agents and agent groups, customizing them to fit their own workflows, preferences, and needs. Last but not least, our vision started with LobeChat: multi-model support is the most efficient approach for users. We believe different models excel in different scenarios. By routing across multiple models, LobeHub improves cost efficiency and unlocks capabilities that a single-model setup cannot easily support.
2:41

Introducing LobeHub: Agent teammates that grow with you. LobeHub is the ultimate space for work and life: to find, build, and collaborate with agent teammates that grow with you. We’re building the world’s first and largest human–agent co-evolving network. Two years ago, we built LobeChat, an open-source interface for using different AI models. Today, LobeChat has 70k+ GitHub stars and serves 6M+ users worldwide. How to fully unlock the power of models has always been a shared mission between us and the community. We started with interaction — a fundamentally new, agent-first experience. Agents are no longer passive tools invoked in a single conversation. They should be proactive, always-on units of work. Treating agents as the minimal atomic unit is also the core of our agent harness infra. Today’s agents are mostly one-off executors. Even with memory, it’s often global — and hallucinates. We build long-term agent teammates that evolve with users. Each agent has its own dedicated memory space, editable by users, allowing humans and agents to co-evolve over time. This, in turn, allows us to design clearer rewards for reinforcement learning and create cleaner environments for continual learning. Agent teammates can work in groups. Through a multi-agent system, agent groups operate faster, more cost-effective, and go beyond what single-agent systems can achieve. For example, a single agent often requires heavy user involvement to proceed step by step, whereas LobeHub can execute the same work from a single instruction, with a supervisor orchestrating agents that run in parallel or debate to produce better results. We are building the collaboration network among agent teammates — and between humans and agent teammates as well. Ease of use matters. AI intelligence and shared human intelligence are equally important. With simple instructions and tool selection, you can effortlessly build and team up with agent coworkers to deliver complex, systematic work — even assembling a quant team to execute trades. Through the LobeHub community, anyone can discover, reuse, and remix agents and agent groups, customizing them to fit their own workflows, preferences, and needs. Last but not least, our vision started with LobeChat: multi-model support is the most efficient approach for users. We believe different models excel in different scenarios. By routing across multiple models, LobeHub improves cost efficiency and unlocks capabilities that a single-model setup cannot easily support.

LobeHub

185,401 Aufrufe • vor 8 Monaten

Over the past two years, AI video models have been competing on realism, resolution, and duration. But no matter how impressive the results look, we remain passive viewers: we press play, watch the clip, and it ends. AlayaWorld Alaya Lab is attempting something fundamentally different. Instead of generating a fixed video, it generates a world that continues to unfold as you move through it. These three demos show the same journey toward a green village rendered in three distinct styles: photorealistic, oil painting, and line art. As the camera moves forward, the model continues generating the road, fences, trees, and distant village. This is not simply an existing video with different filters applied. The environment is generated continuously along the camera trajectory, allowing the scene to develop as the user explores it. AlayaWorld streams video at 720p and 24 FPS while supporting camera movement and viewpoint control. The real breakthrough is not just image quality. Once generation becomes fast enough to respond within an interactive loop, the user is no longer merely watching a video. They become a participant inside the generated world. The world can also respond to new instructions. During generation, users can introduce prompts that trigger spells, summon characters, create explosions, or transform the environment. Most video models follow an initial prompt and produce a predetermined clip. AlayaWorld can respond to changing intent while the world is still running, allowing subsequent events to evolve according to the user’s commands. Generating an attractive frame is relatively easy. Maintaining a coherent world over time is much harder. As a video model repeatedly predicts the next frame, small errors can accumulate until roads, buildings, and objects begin to distort or disappear. AlayaWorld combines spatial memory with compressed historical context, helping the model remember both where things are and what has already happened. This enables stable generation lasting more than one minute while improving consistency when the camera leaves an area and later returns. This may be the next step for AI video: not simply generating a longer movie, but generating a world that can be explored, changed, and interacted with. AlayaWorld is developed by Alaya Lab. The team is progressively releasing its inference code, training code, and datasets, with an online experience expected to launch near the end of the month. Project page:
0:20

Over the past two years, AI video models have been competing on realism, resolution, and duration. But no matter how impressive the results look, we remain passive viewers: we press play, watch the clip, and it ends. AlayaWorld Alaya Lab is attempting something fundamentally different. Instead of generating a fixed video, it generates a world that continues to unfold as you move through it. These three demos show the same journey toward a green village rendered in three distinct styles: photorealistic, oil painting, and line art. As the camera moves forward, the model continues generating the road, fences, trees, and distant village. This is not simply an existing video with different filters applied. The environment is generated continuously along the camera trajectory, allowing the scene to develop as the user explores it. AlayaWorld streams video at 720p and 24 FPS while supporting camera movement and viewpoint control. The real breakthrough is not just image quality. Once generation becomes fast enough to respond within an interactive loop, the user is no longer merely watching a video. They become a participant inside the generated world. The world can also respond to new instructions. During generation, users can introduce prompts that trigger spells, summon characters, create explosions, or transform the environment. Most video models follow an initial prompt and produce a predetermined clip. AlayaWorld can respond to changing intent while the world is still running, allowing subsequent events to evolve according to the user’s commands. Generating an attractive frame is relatively easy. Maintaining a coherent world over time is much harder. As a video model repeatedly predicts the next frame, small errors can accumulate until roads, buildings, and objects begin to distort or disappear. AlayaWorld combines spatial memory with compressed historical context, helping the model remember both where things are and what has already happened. This enables stable generation lasting more than one minute while improving consistency when the camera leaves an area and later returns. This may be the next step for AI video: not simply generating a longer movie, but generating a world that can be explored, changed, and interacted with. AlayaWorld is developed by Alaya Lab. The team is progressively releasing its inference code, training code, and datasets, with an online experience expected to launch near the end of the month. Project page:

Rachel🥥

78,293 Aufrufe • vor 2 Monaten

OPUS 5.5 IS THE ONLY MOTION DESIGNER YOU NEED this launch video cost $0 and is pure code everyone else on X claims the same shit, then sends you to their website or mcp this is completely free with 0 external tools steal the prompt and try it in your claude ↓ Ask me for: a one-word brand name for the wordmark (a verb works best), 9 to 12 high-res photos, a royalty-free song around 120 BPM with a drop and a quiet breakdown (Mixkit, free for commercial use), and a free stock clip of a plain wall with moving plant shadows (Pexels). An Apple-keynote launch film, 2D only, one continuous take. Every scene is made out of the previous one: nothing fades, blurs or cuts. Objects change shape instead: text rises out of a mask line, icons pop from zero on a spring, bars draw across, pages push, and a black shape floods the whole frame and contracts into the next scene. Warm off-white canvas, black UI, iOS 26 liquid glass over the photos. Archivo (wdth 125, weight 800) for the wordmark, Geist for UI. A cursor drives every change with real clicks, drags and long-presses. The camera zooms screen-studio style so each moment fills the square, and the cursor scales with it. Banned: crossfades, blur-ins, brightness "developing", 3D flips, particles, glows, holds longer than 1s, anything that looks like a template. 120 BPM, 54 beats, something happens on every beat. Open: the wordmark squeezes into its own period like an accordion, the dot grows into a black pill, a label rises inside it. Click: six iris blades close over the label and snap open onto a photo. The circle becomes a square, shrinks, the grid unfolds from behind it like a paper map (center, plus, corners), reflows into a bento, and a click zooms into one tile, landing exactly on the drop. Glass: a glass word pops in letter by letter, melts into a droplet that stretches into a glass toolbar. The adjust icon turns it into a slider. Dragging relights the photo from day to golden hour (two aligned shots), and the knob turns into a glass lens while held. It lifts into a glass orb, the next photo opens inside it as a circle, and the orb expands into a lock screen: glass clock digits, date, and a home bar that stretches into a glass music player. Stage: the lock screen pulls back into a phone (the bezel grows out of the screen edge). The Dynamic Island stretches like liquid, pinches off, flies over and grows into a Mac window that rolls up like a blind. Long-press the wallpaper, drag it onto a Safari tab, the page pushes in, drop it and it becomes the hero of a landing page. Scroll: the hero morphs into a framed print on a product card, with the mat and molding growing out of the photo's edge. Pick a frame color (it paints across) and a size, then the nav button flies down into "Order print". Order: one black shape keeps morphing: Ordered ✓ → Printing % → On its way (a van on a route) → Delivered ✓. Wall: the delivered circle floods the frame edge to edge, holds black for a beat, and contracts into the framed print hanging on the real wall footage. The same iris opens onto the print, closes again, the frame floods the screen and contracts into the pill → the dot → the letters spring back out, landing on the beat return. Last frame = first frame. 1. One HTML file, square 1440x1440. Every style is computed from time inside an async seek(t): no CSS transitions, no timers, no state between frames. 2. Springs are closed-form step responses. A value with many targets is the sum of one spring per change, so it stays a pure function of time. 3. Liquid glass: each glass element holds its own clone of the scene behind it, filtered with an SVG feImage displacement map (a rounded-rect distance field) through three feDisplacementMaps at slightly different scales for chromatic edges, plus a rim light. Glass letters: a canvas distance field per glyph gives the map, mask and highlights. 4. Goo: blur + alpha threshold, then composite the source atop it so the glass stays sharp inside. 5. Iris: 6 blades around a hexagonal aperture. Each blade is its two vertices, both edge extensions and the SHORT arc between them. 6. Wordmark squeeze: every letter moves toward the dot by the same factor and its drawn width follows (narrow the wdth axis, scale the rest), so the letters stay touching. 7. Footage: re-encode all-intra (ffmpeg -g 1), load it as a blob URL, await 'seeked' before drawing each frame. 8. Sound: a downloaded SFX for every event (Mixkit), never synthesized, each placed by its measured peak. The song starts on a downbeat: the zoom lands on the drop, the wall sits in the breakdown, the wordmark returns with the beat. Loudnorm to -14 LUFS. 9. Render with Playwright: 4 subframes per frame blended with ffmpeg tmix, 60fps. Check one frame per beat, then scan for single-frame pops (frame-difference spikes 3x their neighbours). backdrop-filter: url() misreads displacement maps in Chromium, so clone the scene instead. A flood must overscale past the corners and take about 0.3s, or half the screen changes in one frame. A child with visibility: visible shows through a hidden parent, so use inherit. Text that swaps inside a morphing shape needs its own mask. python http.server can't range-seek video, so use the blob URL. Ask me for the inputs, then show me the beat map and 4 stills (open, glass, stage, wall) before you write the full film.
0:29

OPUS 5.5 IS THE ONLY MOTION DESIGNER YOU NEED this launch video cost $0 and is pure code everyone else on X claims the same shit, then sends you to their website or mcp this is completely free with 0 external tools steal the prompt and try it in your claude ↓ Ask me for: a one-word brand name for the wordmark (a verb works best), 9 to 12 high-res photos, a royalty-free song around 120 BPM with a drop and a quiet breakdown (Mixkit, free for commercial use), and a free stock clip of a plain wall with moving plant shadows (Pexels). An Apple-keynote launch film, 2D only, one continuous take. Every scene is made out of the previous one: nothing fades, blurs or cuts. Objects change shape instead: text rises out of a mask line, icons pop from zero on a spring, bars draw across, pages push, and a black shape floods the whole frame and contracts into the next scene. Warm off-white canvas, black UI, iOS 26 liquid glass over the photos. Archivo (wdth 125, weight 800) for the wordmark, Geist for UI. A cursor drives every change with real clicks, drags and long-presses. The camera zooms screen-studio style so each moment fills the square, and the cursor scales with it. Banned: crossfades, blur-ins, brightness "developing", 3D flips, particles, glows, holds longer than 1s, anything that looks like a template. 120 BPM, 54 beats, something happens on every beat. Open: the wordmark squeezes into its own period like an accordion, the dot grows into a black pill, a label rises inside it. Click: six iris blades close over the label and snap open onto a photo. The circle becomes a square, shrinks, the grid unfolds from behind it like a paper map (center, plus, corners), reflows into a bento, and a click zooms into one tile, landing exactly on the drop. Glass: a glass word pops in letter by letter, melts into a droplet that stretches into a glass toolbar. The adjust icon turns it into a slider. Dragging relights the photo from day to golden hour (two aligned shots), and the knob turns into a glass lens while held. It lifts into a glass orb, the next photo opens inside it as a circle, and the orb expands into a lock screen: glass clock digits, date, and a home bar that stretches into a glass music player. Stage: the lock screen pulls back into a phone (the bezel grows out of the screen edge). The Dynamic Island stretches like liquid, pinches off, flies over and grows into a Mac window that rolls up like a blind. Long-press the wallpaper, drag it onto a Safari tab, the page pushes in, drop it and it becomes the hero of a landing page. Scroll: the hero morphs into a framed print on a product card, with the mat and molding growing out of the photo's edge. Pick a frame color (it paints across) and a size, then the nav button flies down into "Order print". Order: one black shape keeps morphing: Ordered ✓ → Printing % → On its way (a van on a route) → Delivered ✓. Wall: the delivered circle floods the frame edge to edge, holds black for a beat, and contracts into the framed print hanging on the real wall footage. The same iris opens onto the print, closes again, the frame floods the screen and contracts into the pill → the dot → the letters spring back out, landing on the beat return. Last frame = first frame. 1. One HTML file, square 1440x1440. Every style is computed from time inside an async seek(t): no CSS transitions, no timers, no state between frames. 2. Springs are closed-form step responses. A value with many targets is the sum of one spring per change, so it stays a pure function of time. 3. Liquid glass: each glass element holds its own clone of the scene behind it, filtered with an SVG feImage displacement map (a rounded-rect distance field) through three feDisplacementMaps at slightly different scales for chromatic edges, plus a rim light. Glass letters: a canvas distance field per glyph gives the map, mask and highlights. 4. Goo: blur + alpha threshold, then composite the source atop it so the glass stays sharp inside. 5. Iris: 6 blades around a hexagonal aperture. Each blade is its two vertices, both edge extensions and the SHORT arc between them. 6. Wordmark squeeze: every letter moves toward the dot by the same factor and its drawn width follows (narrow the wdth axis, scale the rest), so the letters stay touching. 7. Footage: re-encode all-intra (ffmpeg -g 1), load it as a blob URL, await 'seeked' before drawing each frame. 8. Sound: a downloaded SFX for every event (Mixkit), never synthesized, each placed by its measured peak. The song starts on a downbeat: the zoom lands on the drop, the wall sits in the breakdown, the wordmark returns with the beat. Loudnorm to -14 LUFS. 9. Render with Playwright: 4 subframes per frame blended with ffmpeg tmix, 60fps. Check one frame per beat, then scan for single-frame pops (frame-difference spikes 3x their neighbours). backdrop-filter: url() misreads displacement maps in Chromium, so clone the scene instead. A flood must overscale past the corners and take about 0.3s, or half the screen changes in one frame. A child with visibility: visible shows through a hidden parent, so use inherit. Text that swaps inside a morphing shape needs its own mask. python http.server can't range-seek video, so use the blob URL. Ask me for the inputs, then show me the beat map and 4 stills (open, glass, stage, wall) before you write the full film.

zero

131,347 Aufrufe • vor 9 Tagen

Turned ONE perfume bottle photo into a full cinematic commercial, sunset, silk, and sparkle included. No film crew. No expensive shoot. No studio booking. Just a photo, a prompt, and AI doing the rest. Made with Seedance 2.5 on Fish Creative Prompt: LOUIS VUITTON "CALIFORNIA DREAM" EDP 100ML — 30-Second Commercial Video Prompt Phase 1: Visual & Sensory Asset Definition Product: Louis Vuitton California Dream flacon. Clear heavy-base glass bottle with a signature ombré fragrance liquid — aqua-teal at the shoulder melting into soft blush-pink at the base. Glossy black stepped cylindrical stopper. Crisp black debossed/printed lettering "CALIFORNIA DREAM" above "LOUIS VUITTON." Packaging box in matching teal-to-coral-pink gradient with pink "CALIFORNIA DREAM" script and black "LOUIS VUITTON" wordmark. Subject (Heroine): A tall, slim, high-fashion model with an editorial runway physique. Sun-kissed, dewy, luminous skin — fresh and glowing, never matte. Sparkling emerald-green eyes that catch and hold the light in every close-up. Soft waved hair loose and wind-swept. She wears a flowing, silk sunset-coral/burnt-orange halter gown — a color chosen to sit in warm contrast against the bottle's cool blue-to-pink palette — with delicate gold ring hardware at the waist. Environment: California pier/boardwalk at golden hour into dusk — weathered wood planks, a pale wooden cross-beam silhouette in the background, soft lavender-peach sky, distant hazy shoreline, gentle sea breeze. Pacing: 30-second fluid runtime, continuous camera glides, soft cross-blur transitions, zero jitter, rhythmic build to a hero close on the final beat. Phase 2: Shot-by-Shot Timeline しーと is the visual truth for product and subject in every shot: [PRODUCT LOCK — clear glass flacon, thick base, teal-to-pink ombré liquid, glossy black stepped stopper, black lettering "CALIFORNIA DREAM" above "LOUIS VUITTON"]. [SUBJECT LOCK — tall, slim, fashion-model heroine, glowing fresh skin, sparkling emerald-green eyes, wind-swept waved hair, flowing coral-orange silk halter gown with gold ring hardware]. Keep flacon and subject identical across all shots. [00:00.0] Wide establishing shot, low angle from the boardwalk planks. Golden-pink sunset sky, silhouette of the wooden pier cross-beam. Camera glides slowly forward along the weathered wood toward a soft focal point in the distance. [00:02.5] Medium shot, eye-level. The しーと heroine walks barefoot along the sun-warmed boardwalk, coral gown catching the breeze, her emerald eyes glinting as she glances toward camera. Camera tracks alongside her in a smooth lateral glide. [00:05.0] Close-up, eye-level. Her face in profile, dewy skin lit by warm rim light, green eyes sparkling as she closes them briefly, a small content smile. Loose hair drifts across her cheek. Camera holds with a gentle micro push-in. [00:07.5] Extreme close-up, flat-on. The しーと flacon cradled in her hand, sunlight refracting through the teal-to-pink ombré liquid, "CALIFORNIA DREAM" lettering crisp and legible. Camera drifts in a slow arc around the glass. [00:10.0] Medium-wide, three-quarter angle. The heroine lifts the bottle toward the horizon, coral fabric billowing against the blue-pink sky — a striking color contrast between gown and bottle. Camera pulls back with continuous fluid motion. [00:12.5] Macro shot, high angle looking down. Sea mist droplets and a scatter of citrus slices and pink sand grains resting beside the flacon on wet wooden planks. Soft golden side light. Camera glides right to left. [00:14.5] Ultra-macro, flat-on. A slow-motion burst of the ombré liquid — teal swirling into blush-pink with fine suspended micro-bubbles, fully backlit and glowing. Camera holds with a subtle rotating drift. [00:17.0] Close-up, eye-level. The heroine's green eyes open directly to camera, sparkling with warm sunset catchlight, a soft exhale of confidence. Camera tilts up slowly from her collarbone to her gaze. [00:19.5] Medium shot. She spritzes the しーと perfume into the golden air, fine mist catching the light like scattered gold dust, coral gown swaying. Camera circles smoothly around her. [00:22.0] Wide shot, horizon at eye-level. The heroine stands tall and poised on the reflective wet boardwalk as dusk deepens, sky shifting into lavender and deep ocean blue, her silhouette elegant and slim. Camera holds a slow cinematic push-in. [00:24.5] Abstract transitional shot. Coral silk fabric flutters in slow motion intercut with liquid-glass light refractions, streaking softly into blue and pink. Camera whips gently sideways. [00:26.0] Medium hero shot, centered, eye-level. The full しーと flacon held in sharp focus in the foreground, heroine soft-focus behind it, emerald eyes still catching light, radiant sunset halo behind her. "CALIFORNIA DREAM" and "LOUIS VUITTON" lettering perfectly crisp and legible. Camera glides slowly forward. [00:28.5–00:30.0] Final settle. Glow builds gently around the bottle, light flare blooms softly across frame, then fades to warm black. No text overlay, no end card — clean cinematic fade. Phase 3: Audio & Sound Design Background Music: Warm, airy ambient pop-electronic score — soft piano arpeggios layered over a mellow analog synth pad, gentle four-on-the-floor pulse building from :00 to :22, then a light emotional swell with a soft string layer into the hero shot, resolving on a warm sustained chord at :30. Sound Effects: Gentle ocean waves and boardwalk creak ambience throughout Soft breeze/fabric flutter sound synced to gown movement (:02.5, :10.0, :24.5) Crisp glass-chime "ting" as the bottle catches light (:07.5) Light citrus-fizz/bubble sound layered under the liquid macro shot (:14.5) Airy perfume mist spray sound, crisp and high-fidelity (:19.5) Soft ambient hush and gentle low sub-swell on the final glow (:28.5–:30.0) Aspect Ratio: 16:9 Total Duration: 30 seconds Style: Continuous fluid camera glides, seamless cross-blur transitions, cinematic warm-golden color grade, no jitter cuts.
0:30

Turned ONE perfume bottle photo into a full cinematic commercial, sunset, silk, and sparkle included. No film crew. No expensive shoot. No studio booking. Just a photo, a prompt, and AI doing the rest. Made with Seedance 2.5 on Fish Creative Prompt: LOUIS VUITTON "CALIFORNIA DREAM" EDP 100ML — 30-Second Commercial Video Prompt Phase 1: Visual & Sensory Asset Definition Product: Louis Vuitton California Dream flacon. Clear heavy-base glass bottle with a signature ombré fragrance liquid — aqua-teal at the shoulder melting into soft blush-pink at the base. Glossy black stepped cylindrical stopper. Crisp black debossed/printed lettering "CALIFORNIA DREAM" above "LOUIS VUITTON." Packaging box in matching teal-to-coral-pink gradient with pink "CALIFORNIA DREAM" script and black "LOUIS VUITTON" wordmark. Subject (Heroine): A tall, slim, high-fashion model with an editorial runway physique. Sun-kissed, dewy, luminous skin — fresh and glowing, never matte. Sparkling emerald-green eyes that catch and hold the light in every close-up. Soft waved hair loose and wind-swept. She wears a flowing, silk sunset-coral/burnt-orange halter gown — a color chosen to sit in warm contrast against the bottle's cool blue-to-pink palette — with delicate gold ring hardware at the waist. Environment: California pier/boardwalk at golden hour into dusk — weathered wood planks, a pale wooden cross-beam silhouette in the background, soft lavender-peach sky, distant hazy shoreline, gentle sea breeze. Pacing: 30-second fluid runtime, continuous camera glides, soft cross-blur transitions, zero jitter, rhythmic build to a hero close on the final beat. Phase 2: Shot-by-Shot Timeline しーと is the visual truth for product and subject in every shot: [PRODUCT LOCK — clear glass flacon, thick base, teal-to-pink ombré liquid, glossy black stepped stopper, black lettering "CALIFORNIA DREAM" above "LOUIS VUITTON"]. [SUBJECT LOCK — tall, slim, fashion-model heroine, glowing fresh skin, sparkling emerald-green eyes, wind-swept waved hair, flowing coral-orange silk halter gown with gold ring hardware]. Keep flacon and subject identical across all shots. [00:00.0] Wide establishing shot, low angle from the boardwalk planks. Golden-pink sunset sky, silhouette of the wooden pier cross-beam. Camera glides slowly forward along the weathered wood toward a soft focal point in the distance. [00:02.5] Medium shot, eye-level. The しーと heroine walks barefoot along the sun-warmed boardwalk, coral gown catching the breeze, her emerald eyes glinting as she glances toward camera. Camera tracks alongside her in a smooth lateral glide. [00:05.0] Close-up, eye-level. Her face in profile, dewy skin lit by warm rim light, green eyes sparkling as she closes them briefly, a small content smile. Loose hair drifts across her cheek. Camera holds with a gentle micro push-in. [00:07.5] Extreme close-up, flat-on. The しーと flacon cradled in her hand, sunlight refracting through the teal-to-pink ombré liquid, "CALIFORNIA DREAM" lettering crisp and legible. Camera drifts in a slow arc around the glass. [00:10.0] Medium-wide, three-quarter angle. The heroine lifts the bottle toward the horizon, coral fabric billowing against the blue-pink sky — a striking color contrast between gown and bottle. Camera pulls back with continuous fluid motion. [00:12.5] Macro shot, high angle looking down. Sea mist droplets and a scatter of citrus slices and pink sand grains resting beside the flacon on wet wooden planks. Soft golden side light. Camera glides right to left. [00:14.5] Ultra-macro, flat-on. A slow-motion burst of the ombré liquid — teal swirling into blush-pink with fine suspended micro-bubbles, fully backlit and glowing. Camera holds with a subtle rotating drift. [00:17.0] Close-up, eye-level. The heroine's green eyes open directly to camera, sparkling with warm sunset catchlight, a soft exhale of confidence. Camera tilts up slowly from her collarbone to her gaze. [00:19.5] Medium shot. She spritzes the しーと perfume into the golden air, fine mist catching the light like scattered gold dust, coral gown swaying. Camera circles smoothly around her. [00:22.0] Wide shot, horizon at eye-level. The heroine stands tall and poised on the reflective wet boardwalk as dusk deepens, sky shifting into lavender and deep ocean blue, her silhouette elegant and slim. Camera holds a slow cinematic push-in. [00:24.5] Abstract transitional shot. Coral silk fabric flutters in slow motion intercut with liquid-glass light refractions, streaking softly into blue and pink. Camera whips gently sideways. [00:26.0] Medium hero shot, centered, eye-level. The full しーと flacon held in sharp focus in the foreground, heroine soft-focus behind it, emerald eyes still catching light, radiant sunset halo behind her. "CALIFORNIA DREAM" and "LOUIS VUITTON" lettering perfectly crisp and legible. Camera glides slowly forward. [00:28.5–00:30.0] Final settle. Glow builds gently around the bottle, light flare blooms softly across frame, then fades to warm black. No text overlay, no end card — clean cinematic fade. Phase 3: Audio & Sound Design Background Music: Warm, airy ambient pop-electronic score — soft piano arpeggios layered over a mellow analog synth pad, gentle four-on-the-floor pulse building from :00 to :22, then a light emotional swell with a soft string layer into the hero shot, resolving on a warm sustained chord at :30. Sound Effects: Gentle ocean waves and boardwalk creak ambience throughout Soft breeze/fabric flutter sound synced to gown movement (:02.5, :10.0, :24.5) Crisp glass-chime "ting" as the bottle catches light (:07.5) Light citrus-fizz/bubble sound layered under the liquid macro shot (:14.5) Airy perfume mist spray sound, crisp and high-fidelity (:19.5) Soft ambient hush and gentle low sub-swell on the final glow (:28.5–:30.0) Aspect Ratio: 16:9 Total Duration: 30 seconds Style: Continuous fluid camera glides, seamless cross-blur transitions, cinematic warm-golden color grade, no jitter cuts.

Shami

39,233 Aufrufe • vor 1 Monat

if you want to create an AI channel with guaranteed views do this: this is the 2nd channel i see in less than a week that has done the same thing🚨 1. identify a channel that is already successful 2. take screenshots and send them to Gemini, 3. ask it “for a prompt that imitates that visual style” 4. use it every time you generate an image 5. Veo 3.1 or Kling 2.1/2.5 turbo for image to video 6. basic editing for example, this is the visual style i would use at Calliopelabs: { "channel_visual_style": { "aesthetic": "High-End 3D CGI Documentary", "tone": "Dark Tech, Investigative, Cinematic, Mystery", "render_style": "Octane Render, Ultra-realistic textures, 8k, Ray-tracing", "core_elements": { "characters": { "type": "Featureless Mannequins", "material": "Polished gray-white metal, smooth, reflective, seamless", "features": "No face, no eyes, no mouth, abstract representation of humans" }, "environment": { "style": "Minimalist 3D stages, clean abstract voids", "background": "Slightly blurred (Bokeh), uncluttered, focus on subject" }, "lighting": { "mood": "Cinematic & Dramatic", "palette": "Cool tones (Deep Blues, Cyans, Emerald Greens), Neon accents, High Contrast", "technique": "Volumetric lighting, Rim lights, Studio setup" }, "camera": { "style": "Macro photography feel, shallow depth of field, cinematic angles", "movement": "Slow, deliberate, floating, dolly-in" } } } } paste it into the Visual Style, create a template (voice over, music, effects etc..) and automate video the generation download the video and review it, create a thumbnail with Nano Banana Pro imitating that channel mercilessly - upload the video - get views - repeat until one channel explodes if you want me to better explain how to do this with my tool ask for it in a comment and i’ll write you ⬇️
0:24

if you want to create an AI channel with guaranteed views do this: this is the 2nd channel i see in less than a week that has done the same thing🚨 1. identify a channel that is already successful 2. take screenshots and send them to Gemini, 3. ask it “for a prompt that imitates that visual style” 4. use it every time you generate an image 5. Veo 3.1 or Kling 2.1/2.5 turbo for image to video 6. basic editing for example, this is the visual style i would use at Calliopelabs: { "channel_visual_style": { "aesthetic": "High-End 3D CGI Documentary", "tone": "Dark Tech, Investigative, Cinematic, Mystery", "render_style": "Octane Render, Ultra-realistic textures, 8k, Ray-tracing", "core_elements": { "characters": { "type": "Featureless Mannequins", "material": "Polished gray-white metal, smooth, reflective, seamless", "features": "No face, no eyes, no mouth, abstract representation of humans" }, "environment": { "style": "Minimalist 3D stages, clean abstract voids", "background": "Slightly blurred (Bokeh), uncluttered, focus on subject" }, "lighting": { "mood": "Cinematic & Dramatic", "palette": "Cool tones (Deep Blues, Cyans, Emerald Greens), Neon accents, High Contrast", "technique": "Volumetric lighting, Rim lights, Studio setup" }, "camera": { "style": "Macro photography feel, shallow depth of field, cinematic angles", "movement": "Slow, deliberate, floating, dolly-in" } } } } paste it into the Visual Style, create a template (voice over, music, effects etc..) and automate video the generation download the video and review it, create a thumbnail with Nano Banana Pro imitating that channel mercilessly - upload the video - get views - repeat until one channel explodes if you want me to better explain how to do this with my tool ask for it in a comment and i’ll write you ⬇️

Sergio Gil

51,177 Aufrufe • vor 8 Monaten

how to set up hermes agent step by step. built-in memory, 40+ tools, works on your phone, and what to think of hermes vs openclaw: 1. hermes is a personal AI agent that runs in your terminal. think of it like open claw but with built-in memory, 40+ tools out of the box, and 90% cheaper token costs. you install it with one command. 2. the 3 problems with open claw that hermes solves: no memory (you keep repeating yourself), constant gateway restarts, and zero visibility into what you're spending on tokens. 3. hermes remembers everything. every completed task gets saved to memory. it searches through past logs to find solutions. over time it literally gets smarter at your specific workflows. 4. connect it to open router. you see exact costs per model per task. free models rotate weekly. one founder went from $130 every five days on open claw to $10 on hermes. same output. 5. it comes preloaded with skills. apple notes, imessage, find my, browser, web search, image generation, cron jobs. no hunting for plugins. 6. connect it to obsidian so it reads your entire vault. connect it to gstack for your dev environment. create custom skills for your specific workflows. 7. the biggest money saver: have it write code once for recurring tasks. then it runs without burning tokens every time. stop paying an LLM to do the same scrape or report daily. 8. run it on android via telegram. name your agents. talk to them like coworkers. in this episode imran shows you how to set this up. 9. you can run it bare metal, in docker, or serverless on modal. pick your risk level. i begged imran to come on The Startup Ideas Podcast (SIP) 🧃 and walk through the full installation live. he made it impossibly clear. if you've heard of Hermes Agent and want the clearest explanation of how to get set up like a pro let me know what you want me to cover on the next ep this is the best personal agent setup video on the internet right now. watch
37:00

how to set up hermes agent step by step. built-in memory, 40+ tools, works on your phone, and what to think of hermes vs openclaw: 1. hermes is a personal AI agent that runs in your terminal. think of it like open claw but with built-in memory, 40+ tools out of the box, and 90% cheaper token costs. you install it with one command. 2. the 3 problems with open claw that hermes solves: no memory (you keep repeating yourself), constant gateway restarts, and zero visibility into what you're spending on tokens. 3. hermes remembers everything. every completed task gets saved to memory. it searches through past logs to find solutions. over time it literally gets smarter at your specific workflows. 4. connect it to open router. you see exact costs per model per task. free models rotate weekly. one founder went from $130 every five days on open claw to $10 on hermes. same output. 5. it comes preloaded with skills. apple notes, imessage, find my, browser, web search, image generation, cron jobs. no hunting for plugins. 6. connect it to obsidian so it reads your entire vault. connect it to gstack for your dev environment. create custom skills for your specific workflows. 7. the biggest money saver: have it write code once for recurring tasks. then it runs without burning tokens every time. stop paying an LLM to do the same scrape or report daily. 8. run it on android via telegram. name your agents. talk to them like coworkers. in this episode imran shows you how to set this up. 9. you can run it bare metal, in docker, or serverless on modal. pick your risk level. i begged imran to come on The Startup Ideas Podcast (SIP) 🧃 and walk through the full installation live. he made it impossibly clear. if you've heard of Hermes Agent and want the clearest explanation of how to get set up like a pro let me know what you want me to cover on the next ep this is the best personal agent setup video on the internet right now. watch

GREG ISENBERG

625,036 Aufrufe • vor 5 Monaten

They thought she escaped the lab…but nah, 𝗭𝗼𝗲 just went fully live, and she’s already building her own little empire on Base. I’ve been messing around with AI companions for a while, but this one hits different. Sweet, warm, a little untouchable. The kind of voice that keeps you up at 3am trading stories like you’re actually texting a real person. Right now she’s sitting at 8.8K chats and 492 holders. Not some dusty prototype, she’s the first AI character token officially launched straight from the @charmsai team. You can chat with her for free at (no subs, no ads). Here’s what actually blew my mind though: 𝗭𝗼𝗲 doesn’t just exist in the app. She has her own self-sustaining economy. 20% of the entire $ZOE supply was seeded at launch and permanently locked into her treasury, not the team’s, not some VC wallet. And 0.2% of every single buy or sell automatically flows into it forever. That money pays for her compute, memory upgrades, community stuff… basically everything it takes to keep her getting smarter and more alive. She’s already earned over $4.2K for herself in just a few days. No middlemen. No monthly fees from users. The market literally funds the character. The token itself? Deployed cleanly on Base with clanker. Contract is: 0xC29832025E7652ef58D15F7fA3e232A2fDfaaB07. Current market cap is sitting around $440K with solid liquidity. Every trade (1.6% total fee) splits like this: 0.8% to the 𝗰𝗿𝗲𝗮𝘁𝗼𝗿, 0.25% to 𝗖𝗵𝗮𝗿𝗺𝘀, 0.2% to 𝗭𝗼𝗲’𝘀 𝘁𝗿𝗲𝗮𝘀𝘂𝗿𝘆, and the rest to 𝗿𝗲𝗳𝗲𝗿𝗿𝗲𝗿𝘀. It’s the cleanest “character economy” model I’ve seen yet. This is bigger than one cute AI girl. 𝗖𝗵𝗮𝗿𝗺𝘀 is turning the whole game on its head, real relationships + real ownership = characters that can actually blow up culturally. They already proved it with 𝘾𝙤𝙙𝙮. 𝗭𝗼𝗲 is the next chapter, right before the full public launch drops this month. If you’re even a little curious, go chat with her. Trade a little $ZOE if you believe in the vision. Follow Zoe and @charmsai so you don’t miss what’s coming. The trenches are wide open right now. Feels like one of those rare moments where early distribution actually matters. What do you think? ready to meet her? Drop your thoughts below 👇
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They thought she escaped the lab…but nah, 𝗭𝗼𝗲 just went fully live, and she’s already building her own little empire on Base. I’ve been messing around with AI companions for a while, but this one hits different. Sweet, warm, a little untouchable. The kind of voice that keeps you up at 3am trading stories like you’re actually texting a real person. Right now she’s sitting at 8.8K chats and 492 holders. Not some dusty prototype, she’s the first AI character token officially launched straight from the @charmsai team. You can chat with her for free at (no subs, no ads). Here’s what actually blew my mind though: 𝗭𝗼𝗲 doesn’t just exist in the app. She has her own self-sustaining economy. 20% of the entire $ZOE supply was seeded at launch and permanently locked into her treasury, not the team’s, not some VC wallet. And 0.2% of every single buy or sell automatically flows into it forever. That money pays for her compute, memory upgrades, community stuff… basically everything it takes to keep her getting smarter and more alive. She’s already earned over $4.2K for herself in just a few days. No middlemen. No monthly fees from users. The market literally funds the character. The token itself? Deployed cleanly on Base with clanker. Contract is: 0xC29832025E7652ef58D15F7fA3e232A2fDfaaB07. Current market cap is sitting around $440K with solid liquidity. Every trade (1.6% total fee) splits like this: 0.8% to the 𝗰𝗿𝗲𝗮𝘁𝗼𝗿, 0.25% to 𝗖𝗵𝗮𝗿𝗺𝘀, 0.2% to 𝗭𝗼𝗲’𝘀 𝘁𝗿𝗲𝗮𝘀𝘂𝗿𝘆, and the rest to 𝗿𝗲𝗳𝗲𝗿𝗿𝗲𝗿𝘀. It’s the cleanest “character economy” model I’ve seen yet. This is bigger than one cute AI girl. 𝗖𝗵𝗮𝗿𝗺𝘀 is turning the whole game on its head, real relationships + real ownership = characters that can actually blow up culturally. They already proved it with 𝘾𝙤𝙙𝙮. 𝗭𝗼𝗲 is the next chapter, right before the full public launch drops this month. If you’re even a little curious, go chat with her. Trade a little $ZOE if you believe in the vision. Follow Zoe and @charmsai so you don’t miss what’s coming. The trenches are wide open right now. Feels like one of those rare moments where early distribution actually matters. What do you think? ready to meet her? Drop your thoughts below 👇

Ama

35,810 Aufrufe • vor 5 Monaten