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#AussieBloke steps out from behind the #Gloryhole to get his nuts licked. #AussieBoy #AAB #Gay4Pay #AussieBJ #BiCuriousGuys #straightbait #Tricked #BigLoad #UncutDick #Str8CuriousGuys #Str8 #GayGloryhole #GloryholeBJ #GayBJ #Tradie

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11 years ago today, we got one of the greatest interviews in MMA history. “You’re looking at the current king, Ariel. You’re interviewing the current king…and July 11th the current king will be there raising gold.” Less than two weeks later at UFC 189, during McGregor’s iconic walkout, Joe Rogan put the monumental moment for Ireland into words: “We’ve seen countries get behind their fighters before, but there’s never been anything like this. The Irish people have come out tonight in a way that just defines them as a nation. And this man has incredible weight on his shoulders right now. The pressure that he’s experiencing right now, the hype behind all of this, very few human beings in this world will ever experience anything remotely similar to what’s going on inside the mind and the body of Conor McGregor as he steps into this octagon.” That was the atmosphere surrounding Conor McGregor before and during UFC 189. But Conor’s interview with Ariel Helwani 10 days before fight night, at the UFC x Reebok launch in New York City, will forever be gold. He still didn’t know if Jose Aldo or Chad Mendes would be standing across from him. Conor didn’t care. When Ariel asked about Aldo potentially pulling out, Conor said he didn’t blame him: “If an individual is afraid to fight, you cannot force him. So it is what it is. If he’s running, if he’s scared, there’s nothing I can do…Sometimes I look in the mirror and get a little fright as well looking at myself. I am an absolute animal. A machine. So I probably wouldn’t want to fight me either.” The whole situation was unprecedented. A fighter had just traveled the world on the most intense media tour the sport had ever seen, only to have his championship opponent thrown into uncertainty 10 days out. McGregor embraced the chaos, and walked into UFC 189 with the backing of a country behind him like we’ve never seen before. Now, 11 years later, UFC 329 lands on that exact same date, July 11th. The last time he fought on July 11th, he opened as the slight underdog. By the time the Octagon door closed, he was around a -190 favorite. There are underdogs, and then there’s Conor McGregor, a one-man market mover. 👊🏼: Conor McGregor 🎙️: Ariel Helwani

11 years ago today, we got one of the greatest interviews in MMA history. “You’re looking at the current king, Ariel. You’re interviewing the current king…and July 11th the current king will be there raising gold.” Less than two weeks later at UFC 189, during McGregor’s iconic walkout, Joe Rogan put the monumental moment for Ireland into words: “We’ve seen countries get behind their fighters before, but there’s never been anything like this. The Irish people have come out tonight in a way that just defines them as a nation. And this man has incredible weight on his shoulders right now. The pressure that he’s experiencing right now, the hype behind all of this, very few human beings in this world will ever experience anything remotely similar to what’s going on inside the mind and the body of Conor McGregor as he steps into this octagon.” That was the atmosphere surrounding Conor McGregor before and during UFC 189. But Conor’s interview with Ariel Helwani 10 days before fight night, at the UFC x Reebok launch in New York City, will forever be gold. He still didn’t know if Jose Aldo or Chad Mendes would be standing across from him. Conor didn’t care. When Ariel asked about Aldo potentially pulling out, Conor said he didn’t blame him: “If an individual is afraid to fight, you cannot force him. So it is what it is. If he’s running, if he’s scared, there’s nothing I can do…Sometimes I look in the mirror and get a little fright as well looking at myself. I am an absolute animal. A machine. So I probably wouldn’t want to fight me either.” The whole situation was unprecedented. A fighter had just traveled the world on the most intense media tour the sport had ever seen, only to have his championship opponent thrown into uncertainty 10 days out. McGregor embraced the chaos, and walked into UFC 189 with the backing of a country behind him like we’ve never seen before. Now, 11 years later, UFC 329 lands on that exact same date, July 11th. The last time he fought on July 11th, he opened as the slight underdog. By the time the Octagon door closed, he was around a -190 favorite. There are underdogs, and then there’s Conor McGregor, a one-man market mover. 👊🏼: Conor McGregor 🎙️: Ariel Helwani

AFeldmanMMA

62,397 görüntüleme • 2 ay önce

Chargers EDGE Akheem Mesidor on developing his pass rush bag: "I used to rely a lot on a chop, like a chop dip rip, but then I started facing O-Linemen who are double punchers that punched pretty high. It's hard to chop a high hand, so I kind of transitioned to using a side scissor. And just trying different things out. I spend a lot of time at the facility alone trying to learn my body, my steps, how long it takes me to get to the fight line where I make a move on a tackle. Rush angles, width and how far I am from wherever I'm rushing. So I've done a ton of different stuff alone where I practice what moves I want to use. But my bag has gotten better throughout the years to where I can use a bunch of different moves." "I take stuff from everybody. Like Rueben [Bain] is younger than me, but when he came in as a freshman I was a true senior. I took stuff from Rueben. Like if I see it and I see that it works and I like it, I'll put it into my game. The way I run a t game on one of our stunts where the tackle penetrates and the D-End sells speed and loops behind, I've seen one of our D Tackles penetrate a certain way where he was attacking the tackle rather than the guard. The way he was using his hands. And it worked. I see it work, I told myself 'I like that', so I stole that and put it into my game. So I'm stealing everybody else's moves and putting it into mine, making it mine I guess."

Chargers EDGE Akheem Mesidor on developing his pass rush bag: "I used to rely a lot on a chop, like a chop dip rip, but then I started facing O-Linemen who are double punchers that punched pretty high. It's hard to chop a high hand, so I kind of transitioned to using a side scissor. And just trying different things out. I spend a lot of time at the facility alone trying to learn my body, my steps, how long it takes me to get to the fight line where I make a move on a tackle. Rush angles, width and how far I am from wherever I'm rushing. So I've done a ton of different stuff alone where I practice what moves I want to use. But my bag has gotten better throughout the years to where I can use a bunch of different moves." "I take stuff from everybody. Like Rueben [Bain] is younger than me, but when he came in as a freshman I was a true senior. I took stuff from Rueben. Like if I see it and I see that it works and I like it, I'll put it into my game. The way I run a t game on one of our stunts where the tackle penetrates and the D-End sells speed and loops behind, I've seen one of our D Tackles penetrate a certain way where he was attacking the tackle rather than the guard. The way he was using his hands. And it worked. I see it work, I told myself 'I like that', so I stole that and put it into my game. So I'm stealing everybody else's moves and putting it into mine, making it mine I guess."

Alex Insdorf

147,968 görüntüleme • 4 ay önce

The “trans” rally in Sheffield against “segregation” yesterday: No matter why the “trans” lunatics thought we went to their “protest” in Sheffield yesterday or how THEY reacted violently - we only went there to hold a suffragette flag and take a photo. I had a dog in one hand and my phone in the other and stood at the back. I did not provoke anyone other than … being me and them hating me. They lost their minds. They were looking out for us. They went nuts when we showed up shouting “they’re HERE! 12.05 are HERE!” and then swarmed LightninLex 🏴 following her in a mob. I was concerned for her safety at this point in the video which is why I’m shouting her name. A very big man pretending to be a woman is part of the mob surrounding her and has a gleeful look on his face as he puts both his arms round her with his big trans flag. She keeps her arms in the air. She did nothing to provoke them even when surrounded. She did not however give in or show fear - because she never does. They will never get that from her. Yet a woman with a baby on her chest who was also crowding in as part of the mob pushing at LightninLex calls me “hateful”. A man who has previously assaulted a TERF woman was right behind following me close. Wearing a Keffiyeh over his face - obviously. These men are very angry at the release of the “code of practice” which promises them a “third space” for their “safety” in changing rooms and toilets away from women - they are looking for women to take that anger out on. The overall message of speeches was “we are coming to get into women’s spaces and we will do it by force if the law tells us no”. They chanted (whilst they had her pinned in their midst) “STAND UP FIGHT BACK”. No one was “fighting” them yesterday. We had a flag. We were two women walking to the Town Hall. All we have done is highlight that risk to women. All they have done is show themselves as violent and worryingly quick to show it. They hate women - specifically women who say no. These men are angry, they will be “fighting” you, they will be violent towards women. #Terfs #sheffield #NoManisAWoman

The “trans” rally in Sheffield against “segregation” yesterday: No matter why the “trans” lunatics thought we went to their “protest” in Sheffield yesterday or how THEY reacted violently - we only went there to hold a suffragette flag and take a photo. I had a dog in one hand and my phone in the other and stood at the back. I did not provoke anyone other than … being me and them hating me. They lost their minds. They were looking out for us. They went nuts when we showed up shouting “they’re HERE! 12.05 are HERE!” and then swarmed LightninLex 🏴 following her in a mob. I was concerned for her safety at this point in the video which is why I’m shouting her name. A very big man pretending to be a woman is part of the mob surrounding her and has a gleeful look on his face as he puts both his arms round her with his big trans flag. She keeps her arms in the air. She did nothing to provoke them even when surrounded. She did not however give in or show fear - because she never does. They will never get that from her. Yet a woman with a baby on her chest who was also crowding in as part of the mob pushing at LightninLex calls me “hateful”. A man who has previously assaulted a TERF woman was right behind following me close. Wearing a Keffiyeh over his face - obviously. These men are very angry at the release of the “code of practice” which promises them a “third space” for their “safety” in changing rooms and toilets away from women - they are looking for women to take that anger out on. The overall message of speeches was “we are coming to get into women’s spaces and we will do it by force if the law tells us no”. They chanted (whilst they had her pinned in their midst) “STAND UP FIGHT BACK”. No one was “fighting” them yesterday. We had a flag. We were two women walking to the Town Hall. All we have done is highlight that risk to women. All they have done is show themselves as violent and worryingly quick to show it. They hate women - specifically women who say no. These men are angry, they will be “fighting” you, they will be violent towards women. #Terfs #sheffield #NoManisAWoman

Jean Hatchet

19,227 görüntüleme • 3 ay önce

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.

You finally get to see the scene that was never supposed to exist. 👀 Made with Pollo AI 365 days of unlimited MiniMax H3. No extra credits, no limits just create. Prompt: Vertical 9:16 smartphone vlog, shot on iPhone 17 Pro. ONE SINGLE UNINTERRUPTED HANDHELD TAKE, ~30 seconds, no cuts, no editing — every transition happens only through the vlogger panning, tilting, zooming or walking. Brisk, snappy pacing: quick whip pans, each beat lands in a few seconds, the camera never lingers. Sunny daytime New York City street >> — brick facades, fire escapes, a sidewalk café, parked cars. The filming style is the core of the video: natural hand micro-shake and walking bounce, slightly floaty digital stabilization, deep focus with everything sharp — no cinematic bokeh, no film look, no color grading. Natural HDR daylight, sky highlights slightly clipped, auto exposure and white balance visibly re-adjusting on every pan between shade and sun, quick autofocus hunting on fast pans, digital zoom bringing a slight quality drop and extra shake. Audio: raw street ambience only — traffic, distant horns, footsteps, chatter, wind brushing the mic, plus the live sounds written into the scenes. No music track, no captions, no watermark. IMPORTANT CHARACTER AND POV LOCK: The vlogger is ALWAYS >>. The vlogger is a man, and he remains the same person throughout the entire video. He is the person physically holding and operating the single camera. He is NEVER replaced by any other reference character. Reference images used in individual scenes describe ONLY the people or animals appearing in that specific scene, unless explicitly stated otherwise. The vlogger’s phone IS the camera — it never appears on screen, and he never holds a second phone or any other device. When the front camera is active, the viewer sees the vlogger himself in selfie view. When the rear camera is active, the viewer sees ONLY the environment and subjects in front of him from his physical walking POV. The phone itself is NEVER visible. This is a continuous real-world camera transition, not a cut. 0:00–0:05 — FRONT CAMERA / SELFIE POV: The vlogger >> films himself at arm’s length while walking down the sidewalk. His face is a touch overexposed by daylight. He starts excitedly: “Guys! I just—” Behind his shoulder, a couple walking the opposite way passes right beside him. A beat later, the guy >> stops and turns back, head over his shoulder, staring straight at the vlogger — matching the reference pose. His girlfriend >>, still gripping his hand, glares at him in outraged disbelief, mouth open. They hold the exact reference tableau. His stare reads odd and unreadable, NOT flirty. The vlogger sees them in his own selfie frame, cuts himself off mid-word and reacts instantly without breaking stride: “…What was that?” He keeps walking. 0:05–0:09 — FLIP TO REAR CAMERA / VLOGGER’S PHYSICAL POV: WITHOUT CUTTING, the vlogger physically flips the phone from front camera to rear camera. The camera itself is never visible. The image transitions naturally from selfie view into the rear-camera view of exactly what is in front of him. He immediately WHIPS the rear camera to the RIGHT toward a sidewalk café. By the entrance, a guy >> stands at a microphone on a stand, with a small speaker beside him looping a soft instrumental backing. He leans toward the microphone, takes a breath to sing the first line — and suddenly bursts out laughing instead, turning away and covering his mouth. He waves it off, then resets toward the microphone. The vlogger laughs quietly behind the camera. 0:09–0:13 — REAR CAMERA / CONTINUOUS POV: WITHOUT CUTTING, the vlogger continues physically panning RIGHT along the same café terrace. At one table, a woman >> is mid-meltdown — crying, shouting, jabbing an accusing finger across the terrace — while her friend >> leans in and holds her back. The camera then makes a QUICK PUNCH-IN DIGITAL ZOOM toward the opposite table. The cat >> sits upright behind a plate of salad, perfectly calm and completely unimpressed by the chaos. Autofocus hunts for a split second during the zoom. The vlogger continues walking. 0:13–0:17 — REAR CAMERA / FIRST SHOW THE MAN, THEN FOLLOW HIS GAZE UP: WITHOUT CUTTING, the camera moves slightly farther along the sidewalk and FIRST frames the man >> standing on the street near the building. IMPORTANT: The man >> is NOT the vlogger. He is a separate person standing in the environment. He is NOT holding the camera, NOT filming himself, and NEVER becomes the POV character. The camera clearly shows his full upper body as he stands below the building, looking UP toward the second floor. His head is tilted upward and his eyes are visibly directed toward something above him. The vlogger notices what the man is looking at and physically follows his gaze. The camera then TILTS UP from the man’s position toward the brick facade directly above the café awning, naturally following the man’s line of sight. The movement must clearly communicate: MAN LOOKS UP → CAMERA FOLLOWS HIS GAZE → WINDOW ABOVE. A second-floor open window comes into view, with a fire escape beside it. The dog >> is sitting in that window with its eyes closed, chin lifted, peacefully soaking up the warm golden sunlight hitting the facade. IMPORTANT: >> is ONLY the DOG. The dog is inside the upper window. It is NOT the vlogger and NOT a human character. The camera performs a QUICK DIGITAL ZOOM toward the dog. The image becomes slightly softer and shakier from the digital zoom. Hold only long enough to clearly reveal the dog enjoying the sunlight. The vlogger reacts behind the camera: “Awww, look at him…” 0:17–0:21 — REAR CAMERA / RETURN TO STREET LEVEL: WITHOUT CUTTING, the camera tilts back DOWN from the dog and window to street level, returning to the same sidewalk. The camera then swings FORWARD toward a few steps ahead on the same sidewalk, where the man from >> is standing. IMPORTANT: >> is a SEPARATE STREET CHARACTER. He is NOT the vlogger. He does NOT hold the camera. He does NOT interact physically with the vlogger. The vlogger is only observing him from behind the camera while walking past. The man wears the black leather jacket and black pants shown in the reference. He is standing on the sidewalk making an exaggerated “thinking / knowledge” gesture with his index finger touching or pointing toward his temple, matching the reference pose. He is NOT standing together with the vlogger. Maintain visible physical distance between the vlogger and this man. The vlogger walks past him while keeping the rear camera briefly trained on him and half-laughs: “What is going on?” 0:21–0:24 — REAR CAMERA / WHIP LEFT ACROSS THE ROAD: WITHOUT CUTTING, the vlogger whips the rear camera to the LEFT, across the two-lane road, toward a sedan parked at the opposite curb. Shaky digital zoom toward the driver’s window. A man >> sits behind the wheel, one hand draped over the top of the steering wheel. He stares directly into the rear-camera lens with a heavy, unblinking, suspicious expression. His eyes slowly track the vlogger as the vlogger walks past. The vlogger says flatly from behind the camera: “…What is his problem?” 0:24–0:30 — REAR CAMERA → FRONT CAMERA → REAR CAMERA: WITHOUT CUTTING, the camera swings back FORWARD toward the corner of the block. Ahead, a child >> is sitting sideways near the roadside, holding a coffee cup and looking toward the camera. The child is a completely separate background character and is NOT the vlogger. The vlogger continues WALKING TOWARD the child. As he gets closer, he performs a QUICK DIGITAL ZOOM. The child looks toward the camera, casually raises the coffee cup and takes a small SIP while looking at the camera. Keep the child as the only visual focus. Natural spontaneous behavior. Immediately after the child's sip, the vlogger physically FLIPS the phone from rear camera to FRONT CAMERA. This is a real camera flip, not a cinematic cut. The phone itself remains invisible. Says: “I can’t believe this”. The take ends naturally mid-walk, still handheld, still continuous, with NO CUT and NO EDIT.

Kashberg

17,892 görüntüleme • 16 gün önce

ANTHROPIC'S PRODUCT CHIEF HAS USED CLAUDE FABLE 5 FOR MONTHS BEFORE ANYONE ELSE. HERE'S WHAT HE LEARNED ABOUT THE MOST POWERFUL MODEL YET Mike Krieger co-founded Instagram and now runs product at Anthropic. He's had Claude Fable 5 for two months before the public, and his takeaway is that it changes how you have to work, not just how much you get done. Here's what stood out, and what to actually do with it 1. It holds the whole project, so stop chopping tasks small. The old habit was breaking work into model-sized pieces and stitching them. Fable keeps the whole thing in context. What to do: stop pre-slicing your prompts into tiny steps. Hand it the full goal and the intent behind it, the way you'd brief a senior engineer, and let it sequence the work itself 2. Delegate big, async, and overnight. He sets it on a hard task at night and wakes to it finished, including the model getting itself unstuck when a service died, scaffolding a workaround, and documenting it. What to do: stop babysitting one prompt at a time. Kick off long jobs and walk away. Run several sessions at once instead of one you watch 3. The skill is planning now, not typing. His day moved to long architecture conversations up front, then execution in chunks. What to do: spend your first prompts planning, not building. Then ask it to output an HTML page or markdown doc of the plan so your team aligns before any code is written. That early alignment is the new leverage 4. Match the effort level to the task. Fable's range is wide, so a heavy reasoning pass on a tiny UI tweak is overkill (and pricey). What to do: dial effort down for small jobs, save the deep thinking for hard ones. And don't use your most expensive model for quick questions, keep a fast model for those 5. Verification is the real bottleneck now. The hard part isn't getting output, it's trusting it. What to do: make every change ship with proof. Have Claude attach a screenshot or video of what it built, so you can see the result instead of reading the diff. Then stand behind the decisions yourself before you merge 6. Cost is per-result, not per-turn. Fable is expensive per call but often one-shots what other models need ten turns to get right. What to do: judge cost by what it takes to finish the task to your satisfaction, not the price of a single message. Give it a real task and see how far it gets before you jump in His bigger point: software engineering isn't over, it's different. The craft moved from writing code to owning intent, taste, and what actually ships. The floor rose so anyone can build, and the ceiling rose so experts go further than before Bookmark this

ANTHROPIC'S PRODUCT CHIEF HAS USED CLAUDE FABLE 5 FOR MONTHS BEFORE ANYONE ELSE. HERE'S WHAT HE LEARNED ABOUT THE MOST POWERFUL MODEL YET Mike Krieger co-founded Instagram and now runs product at Anthropic. He's had Claude Fable 5 for two months before the public, and his takeaway is that it changes how you have to work, not just how much you get done. Here's what stood out, and what to actually do with it 1. It holds the whole project, so stop chopping tasks small. The old habit was breaking work into model-sized pieces and stitching them. Fable keeps the whole thing in context. What to do: stop pre-slicing your prompts into tiny steps. Hand it the full goal and the intent behind it, the way you'd brief a senior engineer, and let it sequence the work itself 2. Delegate big, async, and overnight. He sets it on a hard task at night and wakes to it finished, including the model getting itself unstuck when a service died, scaffolding a workaround, and documenting it. What to do: stop babysitting one prompt at a time. Kick off long jobs and walk away. Run several sessions at once instead of one you watch 3. The skill is planning now, not typing. His day moved to long architecture conversations up front, then execution in chunks. What to do: spend your first prompts planning, not building. Then ask it to output an HTML page or markdown doc of the plan so your team aligns before any code is written. That early alignment is the new leverage 4. Match the effort level to the task. Fable's range is wide, so a heavy reasoning pass on a tiny UI tweak is overkill (and pricey). What to do: dial effort down for small jobs, save the deep thinking for hard ones. And don't use your most expensive model for quick questions, keep a fast model for those 5. Verification is the real bottleneck now. The hard part isn't getting output, it's trusting it. What to do: make every change ship with proof. Have Claude attach a screenshot or video of what it built, so you can see the result instead of reading the diff. Then stand behind the decisions yourself before you merge 6. Cost is per-result, not per-turn. Fable is expensive per call but often one-shots what other models need ten turns to get right. What to do: judge cost by what it takes to finish the task to your satisfaction, not the price of a single message. Give it a real task and see how far it gets before you jump in His bigger point: software engineering isn't over, it's different. The craft moved from writing code to owning intent, taste, and what actually ships. The floor rose so anyone can build, and the ceiling rose so experts go further than before Bookmark this

Yarchi

30,958 görüntüleme • 3 ay önce

During the first sneak preview of Norman Jewison's "In the Heat of the Night" (1968) in San Francisco, the audience went nuts. They stamped their feet and laughed. Norman Jewison's heart sank completely when there was a huge wave of laughter during Poitier's signature line in the movie, "They call me Mister Tibbs!". As the movie ended, he walked out of the theater dazed and sorrowful, with Hal Ashby trailing behind him. Jewison thought to himself, “'I had made a film that had a little bit of humor, but not a comedy.' I was devastated. Truly devastated. I said to Hal Ashby, ‘Oh, my God. What have we done here?’” However, Ashby was unfazed. He told Jewison that the audience weren’t laughing at the movie; they were just grooving on the humiliating comeuppance Poitier was handing to Steiger in every scene. He continued, “You don’t understand. They were enjoying the film. They were into it. They get it.” Jewison wondered if the movie needed a major recut; Ashby suggested losing a couple of lines here and there, but nothing more. Jewison returned to Los Angeles with serious misgivings. But he was able to console himself with one reaction. “Even in San Francisco, when we got to the scene where Endicott slaps Tibbs and Tibbs slaps him right back, there was suddenly no sardonic or ironic feeling in the audience. There was a gasp, an intake of breath throughout the theater that was almost palpable. From the white audience and the black audience. They didn’t take that as a joke. And at that moment, I knew we had them.” ("Pictures at a Revolution", Mark Harris, 2008) P.S: Remembering the great Canadian Filmmaker Norman Jewison on his 100th birthday!

During the first sneak preview of Norman Jewison's "In the Heat of the Night" (1968) in San Francisco, the audience went nuts. They stamped their feet and laughed. Norman Jewison's heart sank completely when there was a huge wave of laughter during Poitier's signature line in the movie, "They call me Mister Tibbs!". As the movie ended, he walked out of the theater dazed and sorrowful, with Hal Ashby trailing behind him. Jewison thought to himself, “'I had made a film that had a little bit of humor, but not a comedy.' I was devastated. Truly devastated. I said to Hal Ashby, ‘Oh, my God. What have we done here?’” However, Ashby was unfazed. He told Jewison that the audience weren’t laughing at the movie; they were just grooving on the humiliating comeuppance Poitier was handing to Steiger in every scene. He continued, “You don’t understand. They were enjoying the film. They were into it. They get it.” Jewison wondered if the movie needed a major recut; Ashby suggested losing a couple of lines here and there, but nothing more. Jewison returned to Los Angeles with serious misgivings. But he was able to console himself with one reaction. “Even in San Francisco, when we got to the scene where Endicott slaps Tibbs and Tibbs slaps him right back, there was suddenly no sardonic or ironic feeling in the audience. There was a gasp, an intake of breath throughout the theater that was almost palpable. From the white audience and the black audience. They didn’t take that as a joke. And at that moment, I knew we had them.” ("Pictures at a Revolution", Mark Harris, 2008) P.S: Remembering the great Canadian Filmmaker Norman Jewison on his 100th birthday!

DepressedBergman

97,226 görüntüleme • 2 ay önce

What a fever dream. This season has been absolutely demanding, mentally and physically. There have been so many points where I've just wanted to give up and throw in the towel. It seemed every time we made one step forward, we would take two steps back. The biggest thing that kept me going was the small glimpses here and there. Not many people saw them, but when things were going right, there were glimpses from within our team. We just kept saying if we could get a race to go our way, we would have a career day. Going into the dirt races we knew we would have a good run if we could just finish, but we did more than actually finish, we competed. For the first time this season, we actually felt a part of the upper-pack battle, fighting for the Lucky Dog, trading paint and throwing slide jobs. Attrition always plays a huge part of these races, but rarely are we able to benefit greatly from it. But yesterday was different. We were actually able to find ourselves in the lucky dog spot when we needed it most, got back on the lead lap and kept putting ourselves in a position to succeed. We know we'll have struggles throughout the rest of the season, we know we probably won't have another run like this all season, but for one day, for one race, we can say we felt like we competed. For us, such a small team with such a long history, to be a part of it week in and week out has been an awesome experience all year long and I'm excited to have this entire team behind me. I appreciate every single person that has been with us throughout my career and this awesome journey. It means a lot to see so much support, even through all the lows. It really does a mean a lot to me, and I appreciate it greatly. We're going up to Madison International Speedway this Friday, looking to put together some last second sponsors and help keep the good runs going. Stats/Accomplishment's from yesterdays 7th place finish (in 800+ ARCA Menards Series (Main Series Only) Races since 1984, stats only from when Wayne has fielded his own equipment): My new career best finish Best finish for Wayne Peterson Motorsports since 7th place (-14 laps) at Middle Georgia Raceway in 1984 Only his 10th lead lap finish since 1984 Only his 9th top ten finish since 1984 First lead lap finish for WPM since 2018 First lead lap finish on a track under 2.0 miles since 2015 and only his second ever Highest finishing Ford (I believe only the 2nd time the team has ever been a highest finishing manufacture) Fastest lap by a Ford

What a fever dream. This season has been absolutely demanding, mentally and physically. There have been so many points where I've just wanted to give up and throw in the towel. It seemed every time we made one step forward, we would take two steps back. The biggest thing that kept me going was the small glimpses here and there. Not many people saw them, but when things were going right, there were glimpses from within our team. We just kept saying if we could get a race to go our way, we would have a career day. Going into the dirt races we knew we would have a good run if we could just finish, but we did more than actually finish, we competed. For the first time this season, we actually felt a part of the upper-pack battle, fighting for the Lucky Dog, trading paint and throwing slide jobs. Attrition always plays a huge part of these races, but rarely are we able to benefit greatly from it. But yesterday was different. We were actually able to find ourselves in the lucky dog spot when we needed it most, got back on the lead lap and kept putting ourselves in a position to succeed. We know we'll have struggles throughout the rest of the season, we know we probably won't have another run like this all season, but for one day, for one race, we can say we felt like we competed. For us, such a small team with such a long history, to be a part of it week in and week out has been an awesome experience all year long and I'm excited to have this entire team behind me. I appreciate every single person that has been with us throughout my career and this awesome journey. It means a lot to see so much support, even through all the lows. It really does a mean a lot to me, and I appreciate it greatly. We're going up to Madison International Speedway this Friday, looking to put together some last second sponsors and help keep the good runs going. Stats/Accomplishment's from yesterdays 7th place finish (in 800+ ARCA Menards Series (Main Series Only) Races since 1984, stats only from when Wayne has fielded his own equipment): My new career best finish Best finish for Wayne Peterson Motorsports since 7th place (-14 laps) at Middle Georgia Raceway in 1984 Only his 10th lead lap finish since 1984 Only his 9th top ten finish since 1984 First lead lap finish for WPM since 2018 First lead lap finish on a track under 2.0 miles since 2015 and only his second ever Highest finishing Ford (I believe only the 2nd time the team has ever been a highest finishing manufacture) Fastest lap by a Ford

Brayton Laster

57,194 görüntüleme • 1 yıl önce

🚨 Jon Bray's RØDE Wireless Microphone Theory VS. Tai Norman's Charlie Kirk: Operation 322 2-Shot Theory ⚠️ It is CRITICAL to understand that Jon Bray INTENTIONALLY left out EXTREMELY IMPORTANT video frames from his final analysis... I challenged him on this months ago. 🔑 He doubled down on his flawed approach. Fast forward to today... Candace Owens, Baron Coleman, Stew Peters, and many others are now starting to parrot the claim that Charlie was blown up by his RØDE microphone. These are our friends. We can't let them go out like this. Nope! We are all a family in this Charlie Kirk investigative community, and when your family is off track you don't just write them off. So I don't want to just write them off, but instead I want to give them a chance to correct the record. This DEBUNKED claim they are all following now was popularized by a fake anonymous Iranian hacker whose video was covered on TPV Sean's channel FIRST. Everything that these top channels are saying now, was said a couple months ago by this fake anonymous Iranian hacker. INTENTIONALLY Planted! Israel intentionally lifted up a debunked and failed theory so that it would take the heat off of itself regarding the traction I was beginning to see. I was getting up to 2,100 followers in one day, and many days with over 1,000 followers. 🙄 Then my brand new account, since October, started getting searched from Israel. Completely wild. All throughout this investigation I have come up with great finds to help to move the narrative forward. And that is exactly what Israel was feeling. They were feeling the pressure, so they responded. I was upset a few months ago that TPV Sean would air what was obviously their Israeli propaganda, but I am thankful that it was captured on video. This was a clear point of physical reference where all of these influencers got their information from... AND NONE OF THEM KNEW THAT THE INFORMATION WAS BUILT AROUND A LIE. They still don't... 🔑 None of the influencers I've listed have actually sat down to do a frame by frame analysis to see if Jon Bray's info actually checks out. I have! 🙋🏾‍♂️ Once you sit down and do the work, it's easy to see that this theory is extremely flawed and lacks any kind of scientific integrity. And once all of the context that Jon conveniently does not consider is factored in, that's when it is easy to see that the RØDE microphone theory is simply implausible. 🔑 Here are just 10 things that independent investigators are NOT considering when they champion that flawed theory... Also, 10 things that are 100% included & well explained in my CKO322 investigation: + Frames of BOTH bullets caught in flight at the time of the assassination. + BOTH bullet entry points with CLEAR definitive evidence of entry. + The INFRARED BEAM on the back of Charlie at the time he was shot. + The DOWNWARD Neck Cavitation + Full impenetrable explanation on the shirt puffing up anomaly, in combination with the raising of the front of the shirt anomaly. + Crack bang analysis showing the loud shots sound coming from Charlie's rear right. + Muzzle flash reflection seen in the window behind Charlie at the time of the rear shot. + The PRESSURIZED BULLET HOLE in the middle of Charlie's FREEDOM T-Shirt front center mass. + Dan Flood. I clearly show his hand signals and what the results of those signals became. When we see Dan Flood do his hand signals, his body steps back slightly as he ever so lightly leans into the sunlight to give the signal. This body movement was a SUBCONSCIOUS error while giving the go-ahead for the shot from Charlie's right. This small SLIGHT error is EXACTLY what I caught and highlighted in my CKO322 series. This was a operational mishap that was never meant to happen! + Rick Cutler. The recoil, bullet, bow shock swirl, and so much MORE. 🔑 GET READY!! I'm producing another video to add to my 8 hour CKO332 investigative series on YouTube. YOU DON'T WANT TO MISS THIS! STAY TUNED!! 🫡🙏🏾🇺🇸

WeAreNotGoingToMars

158,962 görüntüleme • 2 ay önce

💥🔎 Alexander Volkanovski, in the most delicate way possible, explains why he believes Diego Lopes has low fight IQ and weak footwork He says Lopes still hasn’t learned how to cut off the cage from both sides, fight effectively as the aggressor, or properly understand distance. “In camp, we were sure his team would work on how to cut off the cage. But you can cut off the cage the wrong way — for example, if you step in too close, you walk straight into my shots. Obviously, I knew I probably wouldn’t be able to circle only one way the whole time, so I thought he’d prepare better to cut me off from both sides. But as soon as I started circling to the right like in the first fight, he got excited — ‘Aha!’ — and immediately tried to cut me off. So I simply switched directions and started moving left. And suddenly there it was — my exit was wide open (laughs). He couldn’t cut me off from there. I could turn freely and get out. I didn’t even have to take risks. I kept turning him from side to side, and whenever he got too aggressive, I punished him. Yeah, he’s good — but maybe he needs more IQ, more footwork, more understanding. People said he was going to cut me off — sure, but would he do it correctly? If you cut too aggressively, you walk into even harder shots. He wasn’t cutting me off properly — he just stepped straight into the angle and ran into my right hand. And even if you do cut me off, I’ve got so many layers in my footwork, so many defensive layers. Honestly, I almost feel bad for him because I’m probably the worst matchup for him. And not enough time had passed since the first fight for him to truly prepare. When he came forward as the aggressor, he wasn’t in position. He was blitzing, forcing it, trying to cut me off — and I kept countering him with heavy shots. Cutting the cage correctly is an art. He was chasing me, which made it hard for him to structure his offense. I kept turning him. He’d end up square [both toes pointing forward], thinking we were about to trade — and I’d already be gone. I kept turning him and hitting him when his feet weren’t set, before he was ready to throw. It’s like he’s used to hitting pads — the target stands in front of you, you throw, it steps back, resets, and you throw again. But when you’re cutting off the cage, your feet have to be underneath you. He talked a lot about how much he improved since our first fight, how everything got better. Against Jean Silva he looked great — the wrestling helped him win easily. But when it came to using IQ, footwork, understanding… It felt like someone just gave him a basic plan — be patient, use the jab — but there was no real strategy behind it. Okay, you’ll be patient and throw a jab, but you still don’t understand distance or footwork. He didn’t get better since the first fight. I didn’t see any growth.” 🎥 Demetrious Johnson

💥🔎 Alexander Volkanovski, in the most delicate way possible, explains why he believes Diego Lopes has low fight IQ and weak footwork He says Lopes still hasn’t learned how to cut off the cage from both sides, fight effectively as the aggressor, or properly understand distance. “In camp, we were sure his team would work on how to cut off the cage. But you can cut off the cage the wrong way — for example, if you step in too close, you walk straight into my shots. Obviously, I knew I probably wouldn’t be able to circle only one way the whole time, so I thought he’d prepare better to cut me off from both sides. But as soon as I started circling to the right like in the first fight, he got excited — ‘Aha!’ — and immediately tried to cut me off. So I simply switched directions and started moving left. And suddenly there it was — my exit was wide open (laughs). He couldn’t cut me off from there. I could turn freely and get out. I didn’t even have to take risks. I kept turning him from side to side, and whenever he got too aggressive, I punished him. Yeah, he’s good — but maybe he needs more IQ, more footwork, more understanding. People said he was going to cut me off — sure, but would he do it correctly? If you cut too aggressively, you walk into even harder shots. He wasn’t cutting me off properly — he just stepped straight into the angle and ran into my right hand. And even if you do cut me off, I’ve got so many layers in my footwork, so many defensive layers. Honestly, I almost feel bad for him because I’m probably the worst matchup for him. And not enough time had passed since the first fight for him to truly prepare. When he came forward as the aggressor, he wasn’t in position. He was blitzing, forcing it, trying to cut me off — and I kept countering him with heavy shots. Cutting the cage correctly is an art. He was chasing me, which made it hard for him to structure his offense. I kept turning him. He’d end up square [both toes pointing forward], thinking we were about to trade — and I’d already be gone. I kept turning him and hitting him when his feet weren’t set, before he was ready to throw. It’s like he’s used to hitting pads — the target stands in front of you, you throw, it steps back, resets, and you throw again. But when you’re cutting off the cage, your feet have to be underneath you. He talked a lot about how much he improved since our first fight, how everything got better. Against Jean Silva he looked great — the wrestling helped him win easily. But when it came to using IQ, footwork, understanding… It felt like someone just gave him a basic plan — be patient, use the jab — but there was no real strategy behind it. Okay, you’ll be patient and throw a jab, but you still don’t understand distance or footwork. He didn’t get better since the first fight. I didn’t see any growth.” 🎥 Demetrious Johnson

Home of Fight

357,919 görüntüleme • 6 ay önce

While the world doomscrolls 15-second TikToks and loses its attention span.. YOU SHOULD CHECK OUT THIS NEW REPO A Chinese college kid built MiroFish in just 10 days, scored $4M funding and ByteDance just dropped the upgrade that turns it into a prediction monster. Fourth-year student Guo Hanjiang vibe coded MiroFish: thousands of autonomous AI agents simulating entire societies in real time. See the details in the post below. Feed it any news, report, or historical data - watch markets, crowds, and politics react exactly as they would. GitHub went nuclear, he scored $4M funding from Shanda Group, and Polymarket traders are already printing +$120k+ using his SPX and event simulations. But long runs had one fatal flaw: agents got amnesia, hallucinations, and context overload. Classic RAG garbage. Now the same company behind TikTok (via VolcEngine) just open-sourced the fix: OpenViking - already at 11.6k+ stars on GitHub. Repo: It turns chaotic memory into a clean, structured filesystem: -> viking://user/memories/ (your habits + past outcomes) -> viking://agent/skills/ (trading and analysis superpowers) Smart 3-layer hierarchy: .L0 - 100-token ultra-summary .L1 - quick overview .L2 - full details (opened only when needed) Agents browse folders intelligently instead of dumping everything. Result: > No more forgetting crucial facts from the start of a simulation > Way fewer hallucinations > Massive API token savings > Self-updating memory - agents get smarter after every run MiroFish + OpenViking = absolute nuclear edge for Polymarket and event prediction. I will use it for my private bot. Thousands of agents now run with perfect long-term memory, stay sharp for 100+ steps, and deliver hyper-accurate probabilities. This combo is about to change the game for anyone trading predictions. The irony is insane: the company that killed human attention with short videos just gave AI agents eternal, structured, self-evolving memory. Who’s already running this combo on Polymarket? Save this. The real alpha just dropped.

While the world doomscrolls 15-second TikToks and loses its attention span.. YOU SHOULD CHECK OUT THIS NEW REPO A Chinese college kid built MiroFish in just 10 days, scored $4M funding and ByteDance just dropped the upgrade that turns it into a prediction monster. Fourth-year student Guo Hanjiang vibe coded MiroFish: thousands of autonomous AI agents simulating entire societies in real time. See the details in the post below. Feed it any news, report, or historical data - watch markets, crowds, and politics react exactly as they would. GitHub went nuclear, he scored $4M funding from Shanda Group, and Polymarket traders are already printing +$120k+ using his SPX and event simulations. But long runs had one fatal flaw: agents got amnesia, hallucinations, and context overload. Classic RAG garbage. Now the same company behind TikTok (via VolcEngine) just open-sourced the fix: OpenViking - already at 11.6k+ stars on GitHub. Repo: It turns chaotic memory into a clean, structured filesystem: -> viking://user/memories/ (your habits + past outcomes) -> viking://agent/skills/ (trading and analysis superpowers) Smart 3-layer hierarchy: .L0 - 100-token ultra-summary .L1 - quick overview .L2 - full details (opened only when needed) Agents browse folders intelligently instead of dumping everything. Result: > No more forgetting crucial facts from the start of a simulation > Way fewer hallucinations > Massive API token savings > Self-updating memory - agents get smarter after every run MiroFish + OpenViking = absolute nuclear edge for Polymarket and event prediction. I will use it for my private bot. Thousands of agents now run with perfect long-term memory, stay sharp for 100+ steps, and deliver hyper-accurate probabilities. This combo is about to change the game for anyone trading predictions. The irony is insane: the company that killed human attention with short videos just gave AI agents eternal, structured, self-evolving memory. Who’s already running this combo on Polymarket? Save this. The real alpha just dropped.

slash1s

293,591 görüntüleme • 6 ay önce

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.

Can't get enough of Seedance 2.5. The best part is it can generate 30s video in one single prompt, and the result is so realistic! So, here's another one that I made using CapCut. Prompt: [STYLE + CAMERA + ATMOSPHERE] Gritty, raw handheld 35mm film aesthetic with natural film grain. Harsh direct sunlight creating high-contrast shadows over a dramatic coastal cliff and open ocean. Continuous single-take handheld tracking shot (3rd-person / over-the-shoulder) with no cuts. Atmosphere: high-altitude wind, realistic coastal cliff and ocean physics, sudden wingsuit deployment. Audio: heavy rhythmic breathing, intense wind howl, fabric snap of wingsuit opening, high-speed air rush over open water, near-miss whooshes past yachts, soft landing roll on sand, distant ocean waves and beach ambient noise, final bite sounds. [IMAGE REFERENCES] Use the provided Hoshino character sheet as the single strict visual reference for the male character. Exact face, black hair, dark brown eyes, lean athletic build (178 cm), gold earrings, and overall facial structure locked from the reference. Outfit: modern high-performance cliff-jumping wingsuit — sleek, form-fitting design in matte charcoal black with sharp white paneling and subtle gold zipper accents (matching his minimalist aesthetic). The wingsuit is worn from the start with a matching technical backpack. Body proportions, posture, and face remain fully locked to the Hoshino reference. [TIMELINE SECOND BY SECOND] 0-3s: [Handheld medium] Hoshino stands on the edge of a high rocky cliff overlooking the open ocean, wearing his charcoal-and-white wingsuit and technical backpack. He looks straight into the camera with calm, confident intensity, then turns and launches into a clear, controlled forward somersault in slow motion as he leaves the cliff edge. 3-5s: [Continuous freefall] He completes the somersault and falls head-first toward the sea. At exactly 1.5 seconds into the fall he fully deploys the wingsuit with a sharp snap. The wing membranes inflate and he levels out into a smooth glide. 5-12s: [High-speed tracking] Camera stays locked behind him as he rockets at full speed just above the ocean surface along the coastline. He weaves tightly past sheer cliff faces, banking hard left and right, turquoise water and rocky walls streaking past at extreme velocity. 12-18s: [Low-level chaos] He drops lower, flying just above the water. He almost collides with a large luxury yacht that suddenly turns, banks hard to avoid it, then narrowly misses a smaller motor yacht. He dips under a yacht’s outstretched boom and threads between two more vessels. 18-23s: [Water-level action] Still flying extremely low over the sea, he dodges a startled seabird that dives across his path, skims past a group of people on a nearby yacht who scatter in surprise, and banks sharply to avoid an open yacht swim platform. The camera stays locked behind him through every near-miss. 23-26s: [Landing] He flares the wingsuit hard, touches down with both feet on the soft beach sand and immediately rolls forward to kill the speed. He stands up, peels off the wingsuit in one fluid motion and drops it on the sand beside him, revealing a clean fitted white undershirt underneath. 26-28s: [Beach level] He walks a few steps still wearing the backpack and stops right in front of a classic beachside hot-dog cart. The vendor hands him a steaming hot dog fresh off the grill. 28-30s: [Close continuous] He turns, looks directly into the camera, takes a big bite of the hot dog and chews with a calm, satisfied expression as the shot holds. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, ultra-detailed textures, cinematic lighting, perfect motion blur, high dynamic range, coherent physics (fabric, air, wingsuit membranes, impact, roll, near-misses with yachts, water spray), stable character locked to the Hoshino reference, realistic ocean reflections, cliff rock textures and wind, no artifacts, movie-level stability, pure single continuous take.

MrDejie

198,144 görüntüleme • 1 ay önce