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Ash, Brock, May, Max, and Team Rocket in dust cloud w/ Ed, Edd, n Eddy SFX. #anipoke

UltraAfroman403 (4 Days 🎂)

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24,022 views • 2 months ago •via X (Twitter)

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clipped an ult but lost the audio so I replaced it with ed edd 'n eddy sfx

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The amount of Ed Edd n Eddy line deliveries that just exist as vocal stims in my head. "You guys must think I'm STUPID or something."

The amount of Ed Edd n Eddy line deliveries that just exist as vocal stims in my head. "You guys must think I'm STUPID or something."

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On Wednesday 8 May 2024, a joint team from the Jomo Kenyatta University of Agriculture and Technology (JKUAT) and KSA achieved a significant milestone in field tests of the Nakuja 3.5 rocket. Read more: #Nakuja #rocketry #launch #spacecapability

On Wednesday 8 May 2024, a joint team from the Jomo Kenyatta University of Agriculture and Technology (JKUAT) and KSA achieved a significant milestone in field tests of the Nakuja 3.5 rocket. Read more: #Nakuja #rocketry #launch #spacecapability

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A ring of 4 permanent magnets will spin either WITH a rotating magnetic field (made by 6 wire coils wired as U-V-W-U-V-W), or AGAINST a rotating magnetic field, depending on whether those 4 rotor magnets are arranged as N-S-N-S or N-N-N-N. The same principle holds true for 9 wire coils and 8 rotor magnets, wired as N-S-N-S-N-S-N-S (please see another video posted one week ago). Academics do not know. Engineers do not know. Their "accepted" textbook theories say that what you see in the movie should be "impossible". 🤡 Such reverse-spin may be useful for UFO levitation, a subject I am investigating. 🛸

A ring of 4 permanent magnets will spin either WITH a rotating magnetic field (made by 6 wire coils wired as U-V-W-U-V-W), or AGAINST a rotating magnetic field, depending on whether those 4 rotor magnets are arranged as N-S-N-S or N-N-N-N. The same principle holds true for 9 wire coils and 8 rotor magnets, wired as N-S-N-S-N-S-N-S (please see another video posted one week ago). Academics do not know. Engineers do not know. Their "accepted" textbook theories say that what you see in the movie should be "impossible". 🤡 Such reverse-spin may be useful for UFO levitation, a subject I am investigating. 🛸

Red Collie (Dr. Horace Drew) scientist/inventor

14,907 views • 8 months ago

When the storm chooses its champion even giants fall. Made with Seedance 2.0 Prompt: A cinematic action sequence set in a ruined, post-apocalyptic city under heavy dark storm clouds. A young East Asian woman with a short black bob haircut, wearing a white tank top, an open white overshirt, and grey track pants, stands facing a massive, menacing magma titan made of jagged black volcanic rock with glowing orange lava veins. Electric blue lightning crackles across her face and body as she powers up. A sudden massive bolt of blue lightning strikes down from the sky, engulfing the giant monster. The woman sprints at high speed through city rubble, leaps into the air with electric blue energy swirling around her fist, and delivers a powerful lightning-infused punch straight into the giant beast. The monster explodes into a massive cloud of black smoke and ash, and the woman lands on one knee in a dynamic superhero pose as dust and debris settle around her. Photorealistic, hyper-detailed, high-contrast VFX, cinematic color grading, dramatic low-angle camera, blockbuster action movie style, 8k resolution.

When the storm chooses its champion even giants fall. Made with Seedance 2.0 Prompt: A cinematic action sequence set in a ruined, post-apocalyptic city under heavy dark storm clouds. A young East Asian woman with a short black bob haircut, wearing a white tank top, an open white overshirt, and grey track pants, stands facing a massive, menacing magma titan made of jagged black volcanic rock with glowing orange lava veins. Electric blue lightning crackles across her face and body as she powers up. A sudden massive bolt of blue lightning strikes down from the sky, engulfing the giant monster. The woman sprints at high speed through city rubble, leaps into the air with electric blue energy swirling around her fist, and delivers a powerful lightning-infused punch straight into the giant beast. The monster explodes into a massive cloud of black smoke and ash, and the woman lands on one knee in a dynamic superhero pose as dust and debris settle around her. Photorealistic, hyper-detailed, high-contrast VFX, cinematic color grading, dramatic low-angle camera, blockbuster action movie style, 8k resolution.

Zyrella

16,275 views • 2 months ago

Wall Street does not try to predict one future. It generates thousands of them and lets probability decide what the answer should be. The model is Monte Carlo Simulation: π ≈ 4 · Ninside / Ntotal Throw random points into a square with a circle inside it. Some land inside the circle, some outside. One point means nothing. A hundred are noisy. But as N grows, the ratio starts converging toward 3.14159. That is the law of large numbers in motion. The same idea is used in finance. If a payoff is too complex to solve directly, quants simulate thousands of possible market paths, calculate the result in each one, and average them. The breakthrough came from Stanislaw Ulam, John von Neumann and Nicholas Metropolis at Los Alamos. The strange idea was that randomness itself could be turned into a computational tool. But the math has a cost: error ∝ 1/√N Cut the error in half, and you need roughly 4x more simulations. Want 10x more precision, and you may need about 100x more work. That is why early estimates jump everywhere. Then the cloud fills in, the noise cancels, and one stable number emerges. Wall Street uses the same structure for option pricing, risk models and portfolio simulations. the edge was never removing randomness. it is generating enough of it that the randomness averages itself out.

Wall Street does not try to predict one future. It generates thousands of them and lets probability decide what the answer should be. The model is Monte Carlo Simulation: π ≈ 4 · Ninside / Ntotal Throw random points into a square with a circle inside it. Some land inside the circle, some outside. One point means nothing. A hundred are noisy. But as N grows, the ratio starts converging toward 3.14159. That is the law of large numbers in motion. The same idea is used in finance. If a payoff is too complex to solve directly, quants simulate thousands of possible market paths, calculate the result in each one, and average them. The breakthrough came from Stanislaw Ulam, John von Neumann and Nicholas Metropolis at Los Alamos. The strange idea was that randomness itself could be turned into a computational tool. But the math has a cost: error ∝ 1/√N Cut the error in half, and you need roughly 4x more simulations. Want 10x more precision, and you may need about 100x more work. That is why early estimates jump everywhere. Then the cloud fills in, the noise cancels, and one stable number emerges. Wall Street uses the same structure for option pricing, risk models and portfolio simulations. the edge was never removing randomness. it is generating enough of it that the randomness averages itself out.

Di Krass

103,040 views • 1 month ago

ICYMI: The RAISE AI Summit in Paris was "hot AF" this year We recorded 25 interviews in 50 hours w/ some of the biggest names in AI, Semis & Enterprise: • Tony Kim (BlackRock) • Mark Papermaster (AMD) • Andrew Feldman (Cerebras) • Dylan Patel (SemiAnalysis) • CJ Desai (MongoDB) • Rodrigo Liang (SambaNova) • Scott Wu (Cognition) • Marc Boroditsky (Nebius) • Apoorv Agrawal (Altimeter) • Nikhil Benesch (turbopuffer) • Ramin Hasani (Liquid AI) • Robin Rombach (Black Forest Labs) • Gil Feig (Merge) • Ariel Cohen (Navan) • Matan Grinberg (Factory) • Michael Hurlston (Lumentum) • Philip Johnston (Starcloud) • Max Junestrand (Legora) • Max Cook (Coatue) • Pim de Witte (General Intuition) • Henri Delahaye (RAISE) • Laura Diorio (NYSE) • Qasar Younis (Applied Intuition) • Arvind Jain (Glean) • Barak Kaufman (Wonderful AI) Huge thank you to Henri Delahaye, Hadrien Gardeur, Riwa, Vanessa, & the entire RAISE Summit team for putting together an incredible event. And Brex MongoDB & AssemblyAI for helping make this Paris trip & content happen! Hope you enjoyed the hot takes. Excited to start sharing the full interviews soon.

ICYMI: The RAISE AI Summit in Paris was "hot AF" this year We recorded 25 interviews in 50 hours w/ some of the biggest names in AI, Semis & Enterprise: • Tony Kim (BlackRock) • Mark Papermaster (AMD) • Andrew Feldman (Cerebras) • Dylan Patel (SemiAnalysis) • CJ Desai (MongoDB) • Rodrigo Liang (SambaNova) • Scott Wu (Cognition) • Marc Boroditsky (Nebius) • Apoorv Agrawal (Altimeter) • Nikhil Benesch (turbopuffer) • Ramin Hasani (Liquid AI) • Robin Rombach (Black Forest Labs) • Gil Feig (Merge) • Ariel Cohen (Navan) • Matan Grinberg (Factory) • Michael Hurlston (Lumentum) • Philip Johnston (Starcloud) • Max Junestrand (Legora) • Max Cook (Coatue) • Pim de Witte (General Intuition) • Henri Delahaye (RAISE) • Laura Diorio (NYSE) • Qasar Younis (Applied Intuition) • Arvind Jain (Glean) • Barak Kaufman (Wonderful AI) Huge thank you to Henri Delahaye, Hadrien Gardeur, Riwa, Vanessa, & the entire RAISE Summit team for putting together an incredible event. And Brex MongoDB & AssemblyAI for helping make this Paris trip & content happen! Hope you enjoyed the hot takes. Excited to start sharing the full interviews soon.

Molly O’Shea

21,664 views • 2 months ago

Qwen 3.8 27B Q4_K_M - 90 tokens/sec on a single NVIDIA RTX 4090 (24 GB VRAM) with Dflash2! (MTP 60 tps -> 90 tps Dflash2!!!!) Local AI moves so fast (literally!) it’s terrifying. Z lab just dropped DFlash 2 for Qwen 3.8 27b and Muse Glimmer. I patched llama.cpp (PR #27342) and paired it with Unsloth’s Qwen 3.8 27B UD-Q4_K_XL quant. The result? Lossless 90 tokens/s decode. My last post highlighted native MTP hitting 60 t/s at 130,000 context. But DFlash 2 just completely shattered that ceiling. By using parallel block diffusion drafting (predicting whole blocks of tokens in a single pass using dynamic convolutions), DFlash achieves a massive 5.39 token acceptance rate. THE ALPHA TWEAK: `n-max 7` eats too much VRAM for draft states. But if you drop the draft limit to `--spec-draft-n-max 4`, you slash the VRAM overhead and actually increase the throughput. Here is the new 24GB VRAM Physics Matrix (DFlash 2 @ n-max 4): - 30k Context: 1,725 t/s prefill | 87.05 t/s decode | 22.2 GB VRAM - 80k Context: 1,789 t/s prefill | 84.20 t/s decode | 23.3 GB VRAM - 110k Context: 1,767 t/s prefill | 83.35 t/s decode | 23.96 GB VRAM (110k context at 83+ tokens a second sitting exactly on the 24GB hardware limit is absolute wizardry). How to compile the PR today: git clone cd llama.cpp git fetch origin pull/27342/head:pr-27342 git switch pr-27342 cmake -B build -DGGML_CUDA=ON && cmake --build build -j Llama.cpp flags for Dflash (110k Context Ceiling): ./build/bin/llama-server -m Qwen3.8-27B-UD-Q4_K_XL.gguf -md Qwen3.8-27B-DFlash2-Q4_K_M.gguf --spec-type draft-dflash --spec-draft-n-max 4 -c 110000 -ngl 99 --port 8080 -ctv q4_0 -ctk q4_0 The fact that the open source community is shipping block diffusion drafters so quickly that run entirely locally on a gaming GPU is unbelievable. If you own a single RTX 3090 or 4090, it is officially time to upgrade to qwen 3.8 27b with dflash 2 and cancel your API subscriptions and let local silicon eat the cloud. This model beats GPT 5.6 Terra, GLM 5.2 DeepSeek V4 Pro, Muse Spark 1.2 and Claude Opus 4.8 on the artificial analysis agentic index (details in the replies) Hugging Face GGUF links (Base + DFlash2) and the full visual VRAM scaling and Dflash2 vs MTP graphs are also in the replies below. are you sticking to native MTP for the 130k context, or sacrificing 20k context to redline your decode speed? How many tokens/sec are you pushing on your current local rig?

Qwen 3.8 27B Q4_K_M - 90 tokens/sec on a single NVIDIA RTX 4090 (24 GB VRAM) with Dflash2! (MTP 60 tps -> 90 tps Dflash2!!!!) Local AI moves so fast (literally!) it’s terrifying. Z lab just dropped DFlash 2 for Qwen 3.8 27b and Muse Glimmer. I patched llama.cpp (PR #27342) and paired it with Unsloth’s Qwen 3.8 27B UD-Q4_K_XL quant. The result? Lossless 90 tokens/s decode. My last post highlighted native MTP hitting 60 t/s at 130,000 context. But DFlash 2 just completely shattered that ceiling. By using parallel block diffusion drafting (predicting whole blocks of tokens in a single pass using dynamic convolutions), DFlash achieves a massive 5.39 token acceptance rate. THE ALPHA TWEAK: `n-max 7` eats too much VRAM for draft states. But if you drop the draft limit to `--spec-draft-n-max 4`, you slash the VRAM overhead and actually increase the throughput. Here is the new 24GB VRAM Physics Matrix (DFlash 2 @ n-max 4): - 30k Context: 1,725 t/s prefill | 87.05 t/s decode | 22.2 GB VRAM - 80k Context: 1,789 t/s prefill | 84.20 t/s decode | 23.3 GB VRAM - 110k Context: 1,767 t/s prefill | 83.35 t/s decode | 23.96 GB VRAM (110k context at 83+ tokens a second sitting exactly on the 24GB hardware limit is absolute wizardry). How to compile the PR today: git clone cd llama.cpp git fetch origin pull/27342/head:pr-27342 git switch pr-27342 cmake -B build -DGGML_CUDA=ON && cmake --build build -j Llama.cpp flags for Dflash (110k Context Ceiling): ./build/bin/llama-server -m Qwen3.8-27B-UD-Q4_K_XL.gguf -md Qwen3.8-27B-DFlash2-Q4_K_M.gguf --spec-type draft-dflash --spec-draft-n-max 4 -c 110000 -ngl 99 --port 8080 -ctv q4_0 -ctk q4_0 The fact that the open source community is shipping block diffusion drafters so quickly that run entirely locally on a gaming GPU is unbelievable. If you own a single RTX 3090 or 4090, it is officially time to upgrade to qwen 3.8 27b with dflash 2 and cancel your API subscriptions and let local silicon eat the cloud. This model beats GPT 5.6 Terra, GLM 5.2 DeepSeek V4 Pro, Muse Spark 1.2 and Claude Opus 4.8 on the artificial analysis agentic index (details in the replies) Hugging Face GGUF links (Base + DFlash2) and the full visual VRAM scaling and Dflash2 vs MTP graphs are also in the replies below. are you sticking to native MTP for the 130k context, or sacrificing 20k context to redline your decode speed? How many tokens/sec are you pushing on your current local rig?

Alok

105,633 views • 1 month ago

On May 12, 2022, Deborah Samuel Yakubu, a 22-year-old second-year Christian student at Shehu Shagari College of Education in Sokoto, Nigeria, was brutally stoned to death and set ablaze by a mob of Muslim students. Her "crime"? An alleged blasphemous WhatsApp message against Islam. Fast-forward to 2023. The two main suspects, charged only with "criminal conspiracy and incitement of public disturbance", bailable offenses carrying a max of 2 years were acquitted. Why? Prosecution lawyers simply didn't show up in court. Meanwhile, a powerhouse team of 34 lawyers, led by Prof. Mansur Ibrahim, swooped in to defend them from day one. Two years later, justice for Deborah remains a ghost. This is not isolated blasphemy mobs thrive under Nigeria's dual legal system. Sharia law in the north clashes violently with secular codes, breeding impunity and division. If Nigeria truly believes in "One Nigeria," the government must abolish Sharia law NOW. Two separate laws cannot coexist in peace. They fuel hatred and murder. Bola Ahmed Tinubu what legacy will you leave behind? Take action and reset Nigeria, Mr President you got nothing to lose in this life anymore.

On May 12, 2022, Deborah Samuel Yakubu, a 22-year-old second-year Christian student at Shehu Shagari College of Education in Sokoto, Nigeria, was brutally stoned to death and set ablaze by a mob of Muslim students. Her "crime"? An alleged blasphemous WhatsApp message against Islam. Fast-forward to 2023. The two main suspects, charged only with "criminal conspiracy and incitement of public disturbance", bailable offenses carrying a max of 2 years were acquitted. Why? Prosecution lawyers simply didn't show up in court. Meanwhile, a powerhouse team of 34 lawyers, led by Prof. Mansur Ibrahim, swooped in to defend them from day one. Two years later, justice for Deborah remains a ghost. This is not isolated blasphemy mobs thrive under Nigeria's dual legal system. Sharia law in the north clashes violently with secular codes, breeding impunity and division. If Nigeria truly believes in "One Nigeria," the government must abolish Sharia law NOW. Two separate laws cannot coexist in peace. They fuel hatred and murder. Bola Ahmed Tinubu what legacy will you leave behind? Take action and reset Nigeria, Mr President you got nothing to lose in this life anymore.

BMO

694,299 views • 10 months ago

Seedance 2.0 on Haimeta is next level. It doesn’t even look AI-generated anymore, it looks filmed. Prompt: FORMAT: 15s / 180 BPM / ONE CONTINUOUS SHOT / 360 POV downhill stair run, viral energy, max chaos SUBJECTS: First-person cyclist, handlebars and front wheel flashing low in frame during drops and hard turns. Vendors, laundry, scooters, dogs, chickens, cars, and pedestrians erupt around the rider as sudden obstacles. ENVIRONMENT: Dense Brazilian hillside streets, painted concrete stairs, tight landings, tiled corners, hanging wires, murals, awnings, puddles, hot late afternoon light, deep alley shadows, city sprawling below. MOOD: Adrenaline, max chaos, and nonstop street speed with violent spatial intensity in every direction. COLOR LOGIC: Hyperreal Pop Look CAMERA DETAILS: 360 action-cam POV, horizon-stable but brutal, nonstop forward drive, minimal roll, heavy stair vibration, sharp side and rear parallax, full-sphere chaos, no release. TIMELINE: 0:00-0:03: POV freefalls down a steep stairwell. The front wheel punches over the first steps, bars jackhammer below frame, the whole sphere shuddering with every hit while a child lunges in from the left to yank a rolling soccer ball out of the rider's line and walls, rails, balconies, and faces whip past on both sides. Violent forward descent with brutal stair vibration. SFX: (city hum, distant funk beat, tire chatter, breath, rapid stair hits, frame rattle). Hard sun above, deep shadow pockets below. 0:03-0:05: POV slashes left across a tiny landing, skips a broken crate, and drops again as laundry cracks across the front hemisphere, shoulder missing painted concrete by inches while side-wrap onlookers recoil. Hard lateral shake, immediate snap back into the stair run. SFX: (cloth slap, skid, crowd shout, chain buzz, stair chatter). 0:05-0:08: POV hammers the next staircase as a stray dog cuts center frame and startled chickens burst upward from the side steps, wings flaring across the sphere. The rider flicks the bars, rear wheel skates loose, then needles between a fruit cart and handrail with almost no clearance while the sphere jitters from every stair impact. Fast vibrating continuous-shot chaos. SFX: (tire chirp, crate clack, wings flapping, squawks, paw skitter, stair thuds, bass from window, metal rattle). 0:08-0:10: POV blasts out of one stair run, skips across a short asphalt gap between two stair sections without slowing, slams the opposite curb, and drops straight into the next descending steps. Only once the rider is fully back on the stairs do horns burst behind while passing cars rip through the side wrap. Full-speed crossing with strong lateral parallax and zero release. SFX: (engine idle, tire buzz, chain rattle, curb thump, car horns behind). 0:10-0:13: POV keeps attacking the next stair section immediately after the asphalt gap, machine-gunning through two tight landings and another steep stepped lane, every hit punching a fresh jolt through the sphere as stacked homes, wires, and alley mouths curl around the viewer and the overlook rushes closer. Forward lunge with impact drive and nonstop shake. SFX: (air rush, heavy thump, stair chatter, horn echo fading, chain lash, wind buffeting). 0:13-0:15: POV rips through the final stepped approach to the overlook and throws the rear wheel into a savage sideways skid, dust and gravel spraying across the lower frame while stair-lined drops fall away to both sides and the skyline blooms around the entire sphere in one fast violent sweep. The bike stays hot through the slide as the city fills every direction. SFX: (rear tire screech, gravel spray, freewheel spin, city roar, music drop)."

Seedance 2.0 on Haimeta is next level. It doesn’t even look AI-generated anymore, it looks filmed. Prompt: FORMAT: 15s / 180 BPM / ONE CONTINUOUS SHOT / 360 POV downhill stair run, viral energy, max chaos SUBJECTS: First-person cyclist, handlebars and front wheel flashing low in frame during drops and hard turns. Vendors, laundry, scooters, dogs, chickens, cars, and pedestrians erupt around the rider as sudden obstacles. ENVIRONMENT: Dense Brazilian hillside streets, painted concrete stairs, tight landings, tiled corners, hanging wires, murals, awnings, puddles, hot late afternoon light, deep alley shadows, city sprawling below. MOOD: Adrenaline, max chaos, and nonstop street speed with violent spatial intensity in every direction. COLOR LOGIC: Hyperreal Pop Look CAMERA DETAILS: 360 action-cam POV, horizon-stable but brutal, nonstop forward drive, minimal roll, heavy stair vibration, sharp side and rear parallax, full-sphere chaos, no release. TIMELINE: 0:00-0:03: POV freefalls down a steep stairwell. The front wheel punches over the first steps, bars jackhammer below frame, the whole sphere shuddering with every hit while a child lunges in from the left to yank a rolling soccer ball out of the rider's line and walls, rails, balconies, and faces whip past on both sides. Violent forward descent with brutal stair vibration. SFX: (city hum, distant funk beat, tire chatter, breath, rapid stair hits, frame rattle). Hard sun above, deep shadow pockets below. 0:03-0:05: POV slashes left across a tiny landing, skips a broken crate, and drops again as laundry cracks across the front hemisphere, shoulder missing painted concrete by inches while side-wrap onlookers recoil. Hard lateral shake, immediate snap back into the stair run. SFX: (cloth slap, skid, crowd shout, chain buzz, stair chatter). 0:05-0:08: POV hammers the next staircase as a stray dog cuts center frame and startled chickens burst upward from the side steps, wings flaring across the sphere. The rider flicks the bars, rear wheel skates loose, then needles between a fruit cart and handrail with almost no clearance while the sphere jitters from every stair impact. Fast vibrating continuous-shot chaos. SFX: (tire chirp, crate clack, wings flapping, squawks, paw skitter, stair thuds, bass from window, metal rattle). 0:08-0:10: POV blasts out of one stair run, skips across a short asphalt gap between two stair sections without slowing, slams the opposite curb, and drops straight into the next descending steps. Only once the rider is fully back on the stairs do horns burst behind while passing cars rip through the side wrap. Full-speed crossing with strong lateral parallax and zero release. SFX: (engine idle, tire buzz, chain rattle, curb thump, car horns behind). 0:10-0:13: POV keeps attacking the next stair section immediately after the asphalt gap, machine-gunning through two tight landings and another steep stepped lane, every hit punching a fresh jolt through the sphere as stacked homes, wires, and alley mouths curl around the viewer and the overlook rushes closer. Forward lunge with impact drive and nonstop shake. SFX: (air rush, heavy thump, stair chatter, horn echo fading, chain lash, wind buffeting). 0:13-0:15: POV rips through the final stepped approach to the overlook and throws the rear wheel into a savage sideways skid, dust and gravel spraying across the lower frame while stair-lined drops fall away to both sides and the skyline blooms around the entire sphere in one fast violent sweep. The bike stays hot through the slide as the city fills every direction. SFX: (rear tire screech, gravel spray, freewheel spin, city roar, music drop)."

Iqra Saifi

25,934 views • 6 months ago

🌟 Engines are fired up for the launch of a new Solana Memecoin! 🌟 ⏳ Countdown: 34 hours until launch! 👉 Details: Quick Rundown: 🚀 10% team tokens (locked for 2 months) 🚫 Zero tax – this coin is all fun, with no fees 🎨 A unique design and concept sure to captivate fans The ticker and contract address will be revealed on Twitter right after the countdown hits zero. Pro tip: be ready at least 15 minutes early. Sometimes I may need to initiate the contract setup a bit sooner than expected or might encounter minor delays due to unforeseen issues. The goal? To give everyone a fair chance to grab a piece of this exciting new token. Our aim is to create a memecoin that's not just cute and funny but one that has staying power and makes a difference. 🖌Art Contest Alert: To celebrate launch day (in just 34 hours!), we're hosting an art contest with rewards at the end of the week. So dust off your creativity and join in for a chance to win! 👉 Stay tuned for more details – keep reading! 👈

🌟 Engines are fired up for the launch of a new Solana Memecoin! 🌟 ⏳ Countdown: 34 hours until launch! 👉 Details: Quick Rundown: 🚀 10% team tokens (locked for 2 months) 🚫 Zero tax – this coin is all fun, with no fees 🎨 A unique design and concept sure to captivate fans The ticker and contract address will be revealed on Twitter right after the countdown hits zero. Pro tip: be ready at least 15 minutes early. Sometimes I may need to initiate the contract setup a bit sooner than expected or might encounter minor delays due to unforeseen issues. The goal? To give everyone a fair chance to grab a piece of this exciting new token. Our aim is to create a memecoin that's not just cute and funny but one that has staying power and makes a difference. 🖌Art Contest Alert: To celebrate launch day (in just 34 hours!), we're hosting an art contest with rewards at the end of the week. So dust off your creativity and join in for a chance to win! 👉 Stay tuned for more details – keep reading! 👈

jagged

14,205 views • 1 year ago

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

roman

106,768 views • 2 months ago

AI just hit a wall that no amount of money can move. The planet itself. There is not enough power, water, or land on Earth to build the data centers the AI race now demands. So the most valuable bet in artificial intelligence is no longer a chip company or a model. It is a rocket company. The plan is to leave. In January, SpaceX filed with the FCC to launch up to 1 million solar-powered data center satellites into orbit. In February it bought xAI, the maker of Grok, folding an entire frontier AI lab into a rocket company in the largest corporate merger ever recorded. On June 8 it unveiled the AI1, a compute satellite with a 70-meter wingspan, wider than a Boeing 747, powered by the sun, cooled by the vacuum of space, and wired to the ground through Starlink. Four days later it went public in the largest IPO in history, near 1.77 trillion dollars, touched 2.1 trillion on its first day, raised close to 86 billion, and made one man the first trillionaire alive. Now read the direction of that merger, because it is the whole story. A rocket company bought the AI lab. Not the reverse. For three years everyone assumed the constraint on AI was chips, or data, or talent. It is none of them anymore. It is energy and heat and dirt. The head of Anthropic said his company grew faster than the exponential, 80 times in a single year, and that is exactly why it ran out of compute. The answer was not to build more data centers in Virginia. It was to leave the atmosphere, where the sun never sets and a solar panel does five times the work. The moat in artificial intelligence is no longer the model. It is the launch. And the first rent is already being paid. A rival lab, Anthropic, is reported to be sending roughly 1.25 billion dollars a month to Musk for compute. Google near 920 million. If intelligence moves to orbit, the company that owns the only affordable road there becomes the landlord of the next layer of the internet, the way one bookstore became the landlord of the cloud. The merger is the proof of concept. The IPO is the war chest. Those monthly checks are the lease. Here is the part the price tag does not want you to read. Close to a trillion dollars of that valuation rests on orbital data centers that do not yet exist, and on a chip factory, Terafab, that SpaceX's own public filing calls a general framework with no binding deal, one that may not achieve commercial viability. Musk said it on camera. This is not a promise. The largest IPO ever written is priced on a future the filing itself cannot verify. The other side is just as real. Compute in orbit costs about four times what it costs on the ground today, and the curve may not cross for fifteen years. The machines that print the chips are backordered for years. Shedding heat in a vacuum at this scale has never been done. Musk's timelines have a long history of meaning later. And Bezos is racing the same orbit with a constellation of 51,600 satellites of his own. But strip it all away and the trade underneath is one sentence. Earth has run out of room for intelligence, and whoever owns the road off the planet owns whatever gets built next. Call it the most expensive science fiction ever sold, or the first time the map of the internet pointed up.

AI just hit a wall that no amount of money can move. The planet itself. There is not enough power, water, or land on Earth to build the data centers the AI race now demands. So the most valuable bet in artificial intelligence is no longer a chip company or a model. It is a rocket company. The plan is to leave. In January, SpaceX filed with the FCC to launch up to 1 million solar-powered data center satellites into orbit. In February it bought xAI, the maker of Grok, folding an entire frontier AI lab into a rocket company in the largest corporate merger ever recorded. On June 8 it unveiled the AI1, a compute satellite with a 70-meter wingspan, wider than a Boeing 747, powered by the sun, cooled by the vacuum of space, and wired to the ground through Starlink. Four days later it went public in the largest IPO in history, near 1.77 trillion dollars, touched 2.1 trillion on its first day, raised close to 86 billion, and made one man the first trillionaire alive. Now read the direction of that merger, because it is the whole story. A rocket company bought the AI lab. Not the reverse. For three years everyone assumed the constraint on AI was chips, or data, or talent. It is none of them anymore. It is energy and heat and dirt. The head of Anthropic said his company grew faster than the exponential, 80 times in a single year, and that is exactly why it ran out of compute. The answer was not to build more data centers in Virginia. It was to leave the atmosphere, where the sun never sets and a solar panel does five times the work. The moat in artificial intelligence is no longer the model. It is the launch. And the first rent is already being paid. A rival lab, Anthropic, is reported to be sending roughly 1.25 billion dollars a month to Musk for compute. Google near 920 million. If intelligence moves to orbit, the company that owns the only affordable road there becomes the landlord of the next layer of the internet, the way one bookstore became the landlord of the cloud. The merger is the proof of concept. The IPO is the war chest. Those monthly checks are the lease. Here is the part the price tag does not want you to read. Close to a trillion dollars of that valuation rests on orbital data centers that do not yet exist, and on a chip factory, Terafab, that SpaceX's own public filing calls a general framework with no binding deal, one that may not achieve commercial viability. Musk said it on camera. This is not a promise. The largest IPO ever written is priced on a future the filing itself cannot verify. The other side is just as real. Compute in orbit costs about four times what it costs on the ground today, and the curve may not cross for fifteen years. The machines that print the chips are backordered for years. Shedding heat in a vacuum at this scale has never been done. Musk's timelines have a long history of meaning later. And Bezos is racing the same orbit with a constellation of 51,600 satellites of his own. But strip it all away and the trade underneath is one sentence. Earth has run out of room for intelligence, and whoever owns the road off the planet owns whatever gets built next. Call it the most expensive science fiction ever sold, or the first time the map of the internet pointed up.

Shanaka Anslem Perera ⚡

54,545 views • 3 months ago

ONE TRADER TURNED FOMO INTO A MEMECOIN MONEY PRINTER 🤯 I’m not exaggerating. His results are hard to believe. He started with $20 and turned it into $2.8M He’s not an insider. Not friends with some crypto whale. He’s a trader who uses FOMO and bots to hunt meme coin opportunities. Check → I broke down his strategy and was genuinely surprised. No massive trading team. No insane infrastructure. Nothing “rocket science” level. Just smart-wallet tracking, fast execution and automation. His FULL strategy: “Early entry” via smart wallets The bot scans newly launched meme coins and watches wallets that consistently enter before the crowd. When several profitable wallets start accumulating the same token, the system flags it before the move becomes obvious. Fast meme coin flips Instead of holding random tokens for days, the strategy looks for short-term momentum. The bot tracks volume, liquidity, wallet activity and price movement to identify coins where the crowd is starting to pile in. While you’re still searching through hundreds of tokens, the bot is already filtering them down. The real edge — automation Meme coin markets move insanely fast. By the time a human notices a token trending, the biggest wallets may already be positioned. Bots can scan thousands of transactions, monitor wallets and react in seconds. Scale matters. Hundreds of trades. Thousands of wallets monitored. Tiny edges repeated over and over. That’s how small meme coin flips can potentially compound into much bigger numbers. Bottom line: There’s a real bot war happening in meme coins. The edge isn’t just finding the next 100x. It’s finding the right wallets, spotting momentum early and executing before the crowd. FOMO just makes that process much faster. Comment “TRADING” and I’ll send you the strategy.

ONE TRADER TURNED FOMO INTO A MEMECOIN MONEY PRINTER 🤯 I’m not exaggerating. His results are hard to believe. He started with $20 and turned it into $2.8M He’s not an insider. Not friends with some crypto whale. He’s a trader who uses FOMO and bots to hunt meme coin opportunities. Check → I broke down his strategy and was genuinely surprised. No massive trading team. No insane infrastructure. Nothing “rocket science” level. Just smart-wallet tracking, fast execution and automation. His FULL strategy: “Early entry” via smart wallets The bot scans newly launched meme coins and watches wallets that consistently enter before the crowd. When several profitable wallets start accumulating the same token, the system flags it before the move becomes obvious. Fast meme coin flips Instead of holding random tokens for days, the strategy looks for short-term momentum. The bot tracks volume, liquidity, wallet activity and price movement to identify coins where the crowd is starting to pile in. While you’re still searching through hundreds of tokens, the bot is already filtering them down. The real edge — automation Meme coin markets move insanely fast. By the time a human notices a token trending, the biggest wallets may already be positioned. Bots can scan thousands of transactions, monitor wallets and react in seconds. Scale matters. Hundreds of trades. Thousands of wallets monitored. Tiny edges repeated over and over. That’s how small meme coin flips can potentially compound into much bigger numbers. Bottom line: There’s a real bot war happening in meme coins. The edge isn’t just finding the next 100x. It’s finding the right wallets, spotting momentum early and executing before the crowd. FOMO just makes that process much faster. Comment “TRADING” and I’ll send you the strategy.

OLEKSA

45,518 views • 11 days ago

‼️ Intentional Sabotage at Leimakhong plant suspected‼️ Is it a #CrimeAgainstHumanity as per Article 54 of Geneva convention of 1949 ? Investigation finding : One of the crucial pipes affixed to the Leimakhong Power plant was cut off and the investigating team lead by Justice UB Saha stated that it can be only done from outside and it could not be an accident This Manipur Human rights commission ( MHRC) investigating team of as lead by Justice UB Saha found that Even Members of the Kuki Community, who were present during the inspection, shared that they are trying to find the culprit MHRC - The leaked heavy fuel spilled into several streams and rivers. The matter is relating to safety and security of large number of human lives and their rights. This is another act of #genocide committed by the #KukiMilitants and their supporters against the Meitei civilians . Please see the video of the inspection by the MHRC team Narendra Modi Amit Shah should take action immediately and help the many civilians who do not have access to drinking and usable water as a result of this #CrimeAgainstWater During the inspection, womenfolk of #Khurkhul village informed the media persons that the villagers are facing acute water scarcity. They also informed that supply of water from #KantoSabal Water Supply has been stopped since last year May due to water not being provided from Leimakhong. They also told that the villagers of Khrukhul and adjoining could not go to paddy field and Leimakhong Chingmang for collecting firewood despite the place being their own land as there are frequent firings from nearby hills allegedly by Kuki militants. It is reported that there are around 150 Meitei houses in Leimakhong, Ingourok Chingmang and Ex-Servicemen Colony, of which 70 houses were burned down. One Jiban, a Ward Member told that two houses including his own were also burned down on January 18, 2024. Bhupender Yadav N. Biren Singh TIMES NOW Hindustan Times The Indian Express 🇮🇳 The Bharat Tweeter 🇮🇳 ThePrintIndia The Quint Scroll.in News9 Wasbir Hussain Adivasi - Indigenous People @ridhimapandey7 @Ranjana_rahul Sneha Shahi

‼️ Intentional Sabotage at Leimakhong plant suspected‼️ Is it a #CrimeAgainstHumanity as per Article 54 of Geneva convention of 1949 ? Investigation finding : One of the crucial pipes affixed to the Leimakhong Power plant was cut off and the investigating team lead by Justice UB Saha stated that it can be only done from outside and it could not be an accident This Manipur Human rights commission ( MHRC) investigating team of as lead by Justice UB Saha found that Even Members of the Kuki Community, who were present during the inspection, shared that they are trying to find the culprit MHRC - The leaked heavy fuel spilled into several streams and rivers. The matter is relating to safety and security of large number of human lives and their rights. This is another act of #genocide committed by the #KukiMilitants and their supporters against the Meitei civilians . Please see the video of the inspection by the MHRC team Narendra Modi Amit Shah should take action immediately and help the many civilians who do not have access to drinking and usable water as a result of this #CrimeAgainstWater During the inspection, womenfolk of #Khurkhul village informed the media persons that the villagers are facing acute water scarcity. They also informed that supply of water from #KantoSabal Water Supply has been stopped since last year May due to water not being provided from Leimakhong. They also told that the villagers of Khrukhul and adjoining could not go to paddy field and Leimakhong Chingmang for collecting firewood despite the place being their own land as there are frequent firings from nearby hills allegedly by Kuki militants. It is reported that there are around 150 Meitei houses in Leimakhong, Ingourok Chingmang and Ex-Servicemen Colony, of which 70 houses were burned down. One Jiban, a Ward Member told that two houses including his own were also burned down on January 18, 2024. Bhupender Yadav N. Biren Singh TIMES NOW Hindustan Times The Indian Express 🇮🇳 The Bharat Tweeter 🇮🇳 ThePrintIndia The Quint Scroll.in News9 Wasbir Hussain Adivasi - Indigenous People @ridhimapandey7 @Ranjana_rahul Sneha Shahi

TheBlueHills

10,228 views • 2 years ago

49ers just wrapped up Block 2 of camp with a reminder of how good Brock Purdy is — even without his top 3 WR (Evans/Stribling injuries are NOT serious), Purdy's offense managed some crisp success: 🏈Demarcus Robinson was Purdy's favorite WR, reminiscent of when 49ers beat Philly with a skeleton crew. The deep out was the duo's bread and better 🏈Best play: Excellent one-handed catch from TE Brayden Willis on a corner route from Mac Jones. 🏈Deommodore Lenoir had two more PBUs — including one on a Purdy-Robinson deep out. CB1 been very active this camp and said this morning on KNBR that he's as locked in as ever 🏈6-3 rookie CB Ephesians Prysock notched a nice reaching PBU vs 5-9 Junior Bergen. 🏈Speaking of Bergen, he's making quite a few plays on offense and I wouldn't be quick to discount him in the punt return battle. FWIW, Bergen has made more offensive plays than Jacob Cowing, with whom he may be in a battle for a 53-man spot 🏈49ers did some red-zone work today where safety Ji'Ayir Brown had a nice, athletic PBU in the corner against TE Jake Tonges. Jordan Watkins later caught a TD from Jones in the corner 🏈New RB Khalil Herbert is wearing No. 40. He dished out some real contact on his first run — at 212 but just 5-9, Herbert is not a player defenders enjoy running in to. He'll be in the KR mix alongside Deebo Samuel — "hell yeah, let's go!" was Boyer's reaction to the Deebo signing 🏈LB Nick Martin dropped what should've been an easy INT from Kurtis Rourke, but he was in correct position. Later he made a nice stop on a Kyle Juszczyk catch 🏈Team drills started with a nice CMC run (he's had a handful already). And yes, as I've stated already and will discuss more, rookie Jaden Dugger worked with the thinned-out DE group for the first time. He did notch a would-be sack. A lot to unpack when it comes to his talent and that move as the 49ers navigate the dog days. More soon...

49ers just wrapped up Block 2 of camp with a reminder of how good Brock Purdy is — even without his top 3 WR (Evans/Stribling injuries are NOT serious), Purdy's offense managed some crisp success: 🏈Demarcus Robinson was Purdy's favorite WR, reminiscent of when 49ers beat Philly with a skeleton crew. The deep out was the duo's bread and better 🏈Best play: Excellent one-handed catch from TE Brayden Willis on a corner route from Mac Jones. 🏈Deommodore Lenoir had two more PBUs — including one on a Purdy-Robinson deep out. CB1 been very active this camp and said this morning on KNBR that he's as locked in as ever 🏈6-3 rookie CB Ephesians Prysock notched a nice reaching PBU vs 5-9 Junior Bergen. 🏈Speaking of Bergen, he's making quite a few plays on offense and I wouldn't be quick to discount him in the punt return battle. FWIW, Bergen has made more offensive plays than Jacob Cowing, with whom he may be in a battle for a 53-man spot 🏈49ers did some red-zone work today where safety Ji'Ayir Brown had a nice, athletic PBU in the corner against TE Jake Tonges. Jordan Watkins later caught a TD from Jones in the corner 🏈New RB Khalil Herbert is wearing No. 40. He dished out some real contact on his first run — at 212 but just 5-9, Herbert is not a player defenders enjoy running in to. He'll be in the KR mix alongside Deebo Samuel — "hell yeah, let's go!" was Boyer's reaction to the Deebo signing 🏈LB Nick Martin dropped what should've been an easy INT from Kurtis Rourke, but he was in correct position. Later he made a nice stop on a Kyle Juszczyk catch 🏈Team drills started with a nice CMC run (he's had a handful already). And yes, as I've stated already and will discuss more, rookie Jaden Dugger worked with the thinned-out DE group for the first time. He did notch a would-be sack. A lot to unpack when it comes to his talent and that move as the 49ers navigate the dog days. More soon...

David Lombardi

46,415 views • 2 months ago