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Bus driver and conductor stop sudden attack, all passengers safe. Seedance 2.5 Prompt: Cinematic horror-action short film set aboard a Japanese highway bus during the day, opens with an immediate strong hook, maximum dynamic camera work, grounded practical-effects style. Bus interior filled with passengers in every seat, a conductor...

166,418 görüntüleme • 3 gün önce •via X (Twitter)

38 Yorum

Dr. Samia profil fotoğrafı
Dr. Samia3 gün önce

That bus scene escalated insanely fast

HeisenLegacy profil fotoğrafı
HeisenLegacy3 gün önce

Incredible AI generation

mini singh AI world profil fotoğrafı
mini singh AI world3 gün önce

Red eyes bite is great hook in start

Mehwish kiran profil fotoğrafı
Mehwish kiran3 gün önce

That opening hook would instantly grab attention

Gilbert Odera | Your AI Plug profil fotoğrafı
Gilbert Odera | Your AI Plug3 gün önce

That tense, high-stakes action feels straight out of a blockbuster thrill ride

auqib profil fotoğrafı
auqib3 gün önce

Glad you like it

Dr Bloodline | AI profil fotoğrafı
Dr Bloodline | AI2 gün önce

Awesome

Brian Hadu profil fotoğrafı
Brian Hadu2 gün önce

that blend of horror and action on a bus could really amp up the tension

𝐒𝐊_𝐀𝐈 profil fotoğrafı
𝐒𝐊_𝐀𝐈2 gün önce

That escalated FAST 😳 The driver and conductor really said: “Not on our bus.”

Aynah profil fotoğrafı
Aynah2 gün önce

The bus survival sequence feels seriously cinematic

Nyla Carter profil fotoğrafı
Nyla Carter3 gün önce

That opening bite-to-fight sequence is tight.

Synthia profil fotoğrafı
Synthia3 gün önce

Look at her eyes

auqib profil fotoğrafı
auqib3 gün önce

Red velvet 😄

H A J R A profil fotoğrafı
H A J R A2 gün önce

This is so scary

AntonioAI profil fotoğrafı
AntonioAI3 gün önce

The grounded action and strong opening make this bus scene feel tense and cinematic, while the drivers quick response keeps the story focused on protecting the passengers

Elsa Ai profil fotoğrafı
Elsa Ai3 gün önce

That bus survival sequence is seriously intense

liana profil fotoğrafı
liana2 gün önce

Bus crew turning chaos into survival.

Austin Armstrong profil fotoğrafı
Austin Armstrong2 gün önce

The model is the camera. Distribution is the studio.

Jack AI profil fotoğrafı
Jack AI2 gün önce

Cinematic visuals

Aniya Intelligence profil fotoğrafı
Aniya Intelligence3 gün önce

you’ve created this beautifully

Ai Doctor profil fotoğrafı
Ai Doctor3 gün önce

Driver and conductor hold the line while the infection spreads through the bus

Picts by AI profil fotoğrafı
Picts by AI3 gün önce

Wow, looks so good 👌

Wania profil fotoğrafı
Wania3 gün önce

Seedance nailed the tension here

Laraib Fatima‎ profil fotoğrafı
Laraib Fatima‎3 gün önce

The escalating tension makes this feel cinematic

Zar⭕on profil fotoğrafı
Zar⭕on3 gün önce

So realistic loved this

Tanvir 🫎 profil fotoğrafı
Tanvir 🫎3 gün önce

The tension builds fast, and that bus escape feels genuinely cinematic.

Minahil profil fotoğrafı
Minahil3 gün önce

It's so scary auqib

𝑨𝒇𝒓𝒊𝒏 profil fotoğrafı
𝑨𝒇𝒓𝒊𝒏3 gün önce

driver and conductor action is intense.

auqib profil fotoğrafı
auqib3 gün önce

Instant action by them

Akshayamani.D.U profil fotoğrafı
Akshayamani.D.U2 gün önce

Movie name?

Dangcing Chan profil fotoğrafı
Dangcing Chan3 gün önce

Did the wrench swing feel heavy enough?

Sophia profil fotoğrafı
Sophia3 gün önce

The pacing and escalating tension make this feel like a real horror short. 🔥

Johnn profil fotoğrafı
Johnn3 gün önce

That was so sudden.

Abkr Sadiq | AI profil fotoğrafı
Abkr Sadiq | AI2 gün önce

Quick thinking and teamwork can make all the difference in a sudden emergency. Glad everyone made it out safely.

Alina Ai profil fotoğrafı
Alina Ai3 gün önce

The sudden bus attack and quick response make this scene intense.

Maha profil fotoğrafı
Maha3 gün önce

Minimal, bold, and effortlessly stylish.

auqib profil fotoğrafı
auqib3 gün önce

Thanks

Sᴀɪʀᴀ profil fotoğrafı
Sᴀɪʀᴀ3 gün önce

The creative choices here show a remarkable level of thought.

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One drop of blood, and the classroom became a battlefield Seedance 2.5 on Pollo AI Prompt: Cinematic horror-action short film set in a Japanese high school classroom, natural realistic pacing, grounded practical-effects style, no over-acting. Classroom filled with wooden desks, students in uniforms, a chalkboard, fluorescent lights, windows with afternoon light. Natural handheld camera work, muted authentic color grading, all sound fully natural and diegetic — no music, no artificial sound design, just real classroom, fight, and impact sounds throughout. > > **[0-3s]** Extreme close-up on the teacher's (GIVEN IN REFRANCE IMAGE) chalk squeaking sharply across the board mid-sentence, then a sudden beat of dead silence in the room, all eyes subtly shifting upward — an unsettling stillness before anything happens. > > **[3-4s]** Close-up: a single drop of dark blood falls from the ceiling, landing directly on a student's open notebook, the soft wet sound of impact clearly audible. > > **[4-5s]** SLOW MOTION: the student's eyes widen in shock, head tilting slowly upward to look at the ceiling above him. > > **[5-7s]** The ceiling cracks violently, plaster and dust raining down with a loud crash as a zombie bursts through, crashing onto a desk, wood splintering audibly. > > **[7-9s]** It lunges immediately, sinking into the neck of the nearest student — a sharp, natural cry of pain, desks scraping as others recoil. > > **[9-11s]** Within seconds, the bitten student rises again — eyes milky white, veins dark across his face — now a zombie himself, guttural groaning as he lunges at the student beside him. > > **[11-13s]** Chaos erupts: students scream and scramble out of their seats, chairs toppling loudly, rushing toward the classroom door in a panicked crowd, footsteps and shouting overlapping naturally. > > **[13-15s]** The teacher turns sharply, grabbing a wooden bench, the scrape of it dragging off the floor audible, her breathing intensifying. > > **[15-17s]** She swings the bench hard into the first zombie — a solid, heavy impact thud, it crashes back into a row of desks with a loud clatter. > > **[17-19s]** She swings again, striking a second zombie down, papers flying with a soft rustle, another hard impact sound. > > **[19-21s]** A few students grab chairs and desk legs, joining her — wood scraping, natural grunts of effort as they strike newly turned zombies near the door. > > **[21-23s]** Quick intercut shots: a chair slams onto a zombie's back with a crack, another shoved into the chalkboard with a loud bang, teacher sweeping a third off its feet with a scrape and thud. > > **[23-25s]** The group fights back-to-back in the center of the room, desperate breathing, grunts, wood-on-body impacts, zombies falling one by one with heavy thuds around them. > > **[25-27s]** Final zombie lunges at the teacher; she sidesteps and slams the bench down hard — one final heavy impact, it collapses to the floor motionless. > > **[27-29s]** Wide shot: the classroom wrecked — desks overturned, papers scattered, zombies down on the floor. Heavy breathing fills the silence as the teacher and surviving students stand together, blood on their clothes and hands. > > **[29-30s]** Final shot: the teacher lowers the bench slowly, exhausted, natural exhale audible, dust settling in the sunlight through the windows. Cut to black. > > All sound fully natural and diegetic throughout — chalk on board, blood drip, ceiling crack, zombie groans, screaming, wood impacts, heavy breathing. No music, no text overlay, no watermark. Natural handheld camera with realistic shake during the action, muted desolate color grading16:9, 30 seconds, Add a very small watermark namely 'AUQIB' at bottom right in whole video as creators name.

auqib

42,496 görüntüleme • 13 gün önce

What if one voice changed the biggest match of his life? She left him before the World Cup Final... but one shout from the stands changed everything. Until someone else appeared. Made with Seedance 2.0 & Google Omni on RoboNeo Prompt: PART 1 (0–15s) Cut 1 (0–5s) — Dressing Room Flashback Mateo sits alone in the empty dressing room before kickoff. Slow push-in. Match cut into a cool-toned flashback where Elena stands in a doorway. Elena: "I'm done with you." She walks away. Hard cut back to the present as Mateo grabs his captain's armband and heads toward the tunnel. Cut 2 (5–10s) — The Final Begins Mateo walks alone from the tunnel into the roaring World Cup Final. Crane shot reveals the packed stadium before dropping to pitch level. He receives an easy pass, hesitates, and loses possession. Cut 3 (10–15s) — The Look A defender taunts Mateo while he jogs back. Defender: "Where's your head today, Reyes?" The Crowd Cam finds Elena on the giant jumbotron. She cups her hands and shouts, Elena: "PLAY LIKE YOU MEAN IT!" Mateo looks up. Their eyes lock across the stadium as time slows. PART 2 (15–30s) Cut 4 (15–19s) — Turning Point Low-angle tracking shot follows Mateo intercepting the ball and dribbling past two defenders. Cut to Elena watching anxiously from the stands. Cut 5 (19–24s) — The Goal Side tracking camera follows Mateo the entire time. A perfect cross arrives. Mateo performs a spectacular bicycle kick while the camera orbits around him. Keep Mateo fully visible throughout the kick. Cut to the ball flying into the top corner. Immediately hard cut after the goal. No celebration. No goal-net shots. Cut 6 (24–30s) — Reunion & Cliffhanger Mateo is already sprinting toward the spectator barrier. Elena rushes forward. Mateo: "You came back." Elena: "I had to tell you something." Just before their hands touch, a mysterious man in a dark coat steps in behind Elena and firmly grabs her shoulder. His body is visible, but his face remains hidden. Elena turns in fear. Mateo freezes. Hard cut to black. End Card EPISODE 1 COMING SOON

Shami

106,140 görüntüleme • 2 ay önce

Arkansas trooper performs a pit on the wrong car. Gets fired for his actions. Mind blowing how he mixed up these two cars. ​The chain of events began when a trooper clocked a white Buick Envista flying down the highway at 92 mph in a 60 mph zone. The trooper initiated a standard traffic stop and pulled the SUV over to the shoulder. Upon approaching the driver, the trooper smelled what he believed to be marijuana and subsequently discovered the driver was operating with a suspended license. However, when instructed to step out of the vehicle, the driver refused, hit the gas, and fled the scene. ​The trooper rushed back to his patrol car to give chase, but in flow of highway traffic, he briefly lost visual contact with the suspect's white SUV. ​Moments later, as the trooper reentered the highway, he spotted a white GMC Yukon exiting the interstate at Exit 5. Believing this was the fleeing suspect making a desperate attempt to escape onto city streets, the trooper aggressively pursued the vehicle and executed a Tactical Vehicle Intervention (TVI) / PIT maneuver to force the SUV to a spinning stop on the off-ramp. ​With his weapon drawn, the trooper approached the forced-stopped SUV and aggressively ordered the occupant out. But as a woman stepped out of the vehicle visibly shaken, the terrifying truth immediately set in: it wasn't the suspect. ​The trooper had completely misidentified the vehicle, pitting an innocent motorist while the actual suspect successfully got away. To his credit, the trooper immediately de-escalated, realized the gravity of his mistake, and apologized profusely on the scene. At least he owned up to his incompetence. ​Immediate Termination: The trooper was still within his probationary period, was placed on administrative duty and officially terminated within 72 hours. ​No Lawsuit Filed: Despite the immense trauma of the event, the female driver chose not to file a lawsuit. Arkansas State Police Director Colonel Mike Hagar publicly thanked her for handling the highly stressful situation "with grace." Her only request was for total public privacy. ​Vehicle Restitution: The state took full, immediate financial and legal responsibility on the scene to completely cover the property damage and ensure her vehicle was repaired or replaced. ​Suspect Arrested: The actual fleeing suspect turned himself into State Police headquarters two days later and was hit with multiple charges, including felony fleeing. ​This trooper was fresh out of training and in his probationary period, it still blows my mind on how you mix up two vehicles that are so incredibly different. What was his qualifier, both vehicles were white? Dude called the vehicle in when he pulled it over. I question the quality of his training he received. That woman could have been seriously injured and he had his gun pulled on her. She should have filed a lawsuit.

Giggling Ganon

125,560 görüntüleme • 2 ay önce

Seedance 2.0 on FlovaAI FlovaAI_Japan POV: The best football day of my life. Spain made history. Prompt: A cinematic first person lifestyle travel vlog following a cheerful young Japanese woman (@ image) on the exciting day of the FIFA World Cup Final between Spain and Argentina. The vlog begins early in the morning in her cozy apartment. She wakes up naturally as sunlight shines through the curtains, stretches, walks to the window, and smiles at the beautiful city outside. She starts her morning routine, washing her face, brushing her hair, and getting dressed in a stylish casual outfit. In the kitchen, she prepares breakfast by cracking eggs into a pan and cooking a fluffy omelet, then makes a simple sandwich with slices of bread, takes a few bites while smiling at the camera, drinks juice, grabs her small shoulder bag, phone, and match ticket, and excitedly leaves home. She boards a city bus heading toward the stadium. During the ride, she notices a famous American landmark outside the window (such as the Statue of Liberty if in New York or the Hollywood Sign if in Los Angeles, depending on the host city). She quickly takes a beautiful photo of it with her mobile phone, then turns to the young woman sitting beside her and happily shows the photo on the phone screen. The passenger smiles warmly, nods, and says it looks like a great shot, and they laugh together. The bus arrives near the massive FIFA World Cup Final stadium, where thousands of excited fans in colorful jerseys are walking toward the entrance. She joins the crowd, enters the stadium, finds her seat wearing a Spain scarf, waving a Spanish flag, cheering enthusiastically, singing with fellow supporters, and recording short selfie clips. The match reaches its thrilling climax as Spain scores a spectacular goal, sending the stadium into a deafening celebration. Moments later, the final whistle blows and Spain wins the FIFA World Cup Final. Fireworks explode above the stadium, golden confetti rains down, players celebrate with the trophy, and the crowd erupts with joy. She jumps up, laughing and cheering with tears of happiness, hugs nearby fans, waves her Spain flag proudly, records the unforgettable celebration on her phone, then turns the camera toward herself with a huge smile, waves goodbye, and says, "What an unforgettable day! Bye, see you in my next vlog!" before ending the video with joyful, cinematic travel-vlog energy. #flovacpp #Flovaai

𝗦𝗮𝗻𝗶𝗮

194,901 görüntüleme • 2 ay önce

Used Product Commercial Skill to create this video on FlovaAI FlovaAI_Japan prom SHOT 1 [0:00–0:03] — 3s, real-time Extreme close-up: a single perfect golden-brown fried mandu (Korean dumpling), triangular fold, sitting on the railing of a 10th-floor officetel balcony in Seoul. Bright midday sun catching every crisp fried edge, steam rising gently. A small dish of soy-vinegar dipping sauce sits right beside it, close to the mandu. SHOT 2 [0:03–0:05] — 2s, real-time A pigeon lands on the railing a foot away. It looks at the mandu, tilts its head, takes one casual step closer. Its wing brushes the sauce dish. SHOT 3 [0:05–0:06] — 1s, real-time The mandu and the sauce dish both wobble from the nudge. They tip together and fall off the edge of the railing. SHOT 4 [0:06–0:10] — 4s, slow motion Wide shot from directly across the street at 10th-floor level: the mandu and sauce dish tumbling outward, rotating end over end, catching the sunlight on every turn. Behind them, the building facade — a tall Seoul apartment block, muted grey-blue exterior, laundry hanging on a few balconies. The mandu is a tiny golden triangle falling against the building. SHOT 5 [0:10–0:13] — 3s, real-time Ground level wide shot: a busy Seoul street in midday sun. Pedestrians with shopping bags, a delivery scooter idling at the curb, a tteokbokki/odeng street cart with an ajumma stirring a pot, a dog sleeping in a patch of sun, an elderly man reading a newspaper on a bench. Ordinary day, nobody aware anything is falling. SHOT 6 [0:13–0:15] — 2s, real-time Close-up on the sleeping dog: one ear twitches, then both go up. Nose starts working. One eye opens, pupils tracking something falling. The dog slowly rises, never looking away from above. SHOT 7 [0:15–0:17] — 2s, real-time Close-up on the cart ajumma: her stirring spoon slows, then stops. She looks up, eyes widening, and slowly sets the spoon down on the cart edge. SHOT 8 [0:17–0:19] — 2s, real-time Close-up on the newspaper man: a small triangular shadow crosses his page. He lowers the newspaper and looks up, his glasses catching the sunlight. SHOT 9 [0:19–0:23] — 4s, slow motion Wide shot of the full street: the mandu and sauce dish visible as tiny falling shapes above the crowd. Below, reactions ripple outward — the dog now standing, the ajumma craning her neck, the newspaper man on his feet, the delivery driver stepped off his scooter looking up, a vegetable vendor shielding her eyes with one hand. SHOT 10 [0:23–0:25] — 2s, real-time A second pigeon flying past at around the 5th-floor level narrowly dodges the falling mandu, does a startled double-take mid-flight, and veers off. SHOT 11 [0:25–0:29] — 4s, extreme slow motion Extreme close-up: the mandu now three feet from the ground, rotating slowly, every crisp fried ridge sharp in the light, a faint trail of steam still lifting off it. The sauce dish falls a foot above it, tilting but staying upright. SHOT 12 [0:29–0:31] — 2s, real-time Ground-level close-up: the dog's mouth is open, perfectly positioned. The mandu drops directly into it. The dog closes its mouth. The sauce dish lands upright on the pavement beside the dog with a small click. SHOT 13 [0:31–0:34] — 3s, real-time The dog sits down, chews twice, swallows. It licks its nose once, then glances down at the sauce dish, then up at the silent, staring crowd. SHOT 14 [0:34–0:40] — 6s, real-time Wide shot: total silence on the street for a beat. Then the dog lies back down in its sunny spot and closes its eyes. The crowd slowly breaks and goes back to what they were doing — the ajumma picks her spoon back up, the newspaper man sits and lifts his paper, the delivery driver gets back on his scooter. SHOT 15 [0:40–0:45] — 5s, real-time Overhead, back on the 10th-floor balcony: the first pigeon is now sitting exactly where the mandu used to be, looking down at the street below. Bright midday sun, crisp shadows. Hold on the pigeon as the shot settles, closing the sequence. #Flovaai #Flovacpp

Sharon Riley

32,523 görüntüleme • 2 ay önce

Yesterday, I had to make a u-turn while heading to my barber's, on receiving reports of a valid threat of extreme violence from Saudi Airlines' Kano-bound passengers who were stranded in Abuja due bad weather in Kano. Some other airlines had also diverted to Abuja for the same reason. I stood amidst over 200 angry passengers, pacifying, reprimanding, and resolving. This is the most adrenaline-rushing part of my job. It requires tact, firmness, wisdom, and team work. But it is risky. Some passengers are extremely violent. A huge, hulk-like, and highly vexed passenger threatened to beat me up yesterday. I looked at him. Initially, I was angry. But I saw the worry in his eyes and decided to handle him differently. We became best friends and he has invited me to his Lagos residence. I will not go, sha. I must acknowledge the support of our Honourable Minister, Festus Keyamo SAN, who insisted that the rights of the passengers be prioritised. He continued to ask for updates on the welfare of passengers late into the night. I am proud of the efforts put in by my DGCA, Capt. Chris Najomo over this matter. To protect the rights of Nigerian passengers, he made a number of critical decisions that established the dignity of Nigerian passengers. I must also thank Ifueko Abdulmalik for her role in resolving this saga. She kept communications with the Saudi side open. How do you leave 401 passengers stranded and say you'd return to your country without having made alternative arrangements for their movements to final destination? While acknowledging the fact that it was tough for the airline as they have no operational base in Abuja, the entire saga could have been handled more professionally. I met with the Saudi ambassador to Nigeria and made it clear that the airline cannot operate with disregard for the consumer protection regulations. Much later last night, we were able to conclude arrangements with UMZA to fly the stranded passengers to Kano via three successive flights. My team and I waited through it all. I acknowledge also, the stoic efforts put in by the FAAN Regional General-Manager of the airport. He stood with me through the entire ordeal and showed courage in the face of the intimidation. Umza airlifted the passengers thus: The first Umza aircraft departed ABV for Kano with a total of 74+4 passengers on board. The second Umza aircraft also departed ABV for Kano with a total of 73+4 passengers on board. The third and final Umza aircraft departed with 34 passengers on board. In total, 181 + 8 passengers were airlifted to Kano. Saudi has made a commitment to compensate the affected passengers. This brings to an end, a disruption of almost 48 hours that began as force majeure, transitioned to poor passenger handling, and ended with a great display of effective team work from the Minister, to the DGCA, and all the way down to our hardworking CPOs. In closing, I will say this. Passengers have a responsibility to understand the situations that are beyond the control of airlines. We must minimize the resort to violence inside aircraft and airport terminals this year.

Michael Achimugu

44,257 görüntüleme • 8 ay önce

Made with seedance 2.5 Prompt: Create a highly cinematic, realistic action sequence inside a crowded traditional Asian wet market during heavy rain and flooding. A young Asian woman with long dark wet hair, wearing a pink waterproof rain suit and black rubber boots, runs rapidly through the narrow market aisles while trying to escape from a massive rushing wave of water behind her. The market is packed with seafood and vegetable stalls, plastic crates, fish tanks, metal counters, hanging tarps, fluorescent ceiling lights, vendors and crowds. The floor is completely flooded with ankle-to-knee-deep dirty rainwater, creating strong reflections and splashes everywhere. Water violently rushes through the market, knocking over crates and flooding the stalls. Start with a close-up tracking shot of the frightened woman looking back over her shoulder while running. Follow her with a fast handheld camera as she runs through the narrow aisle. Use dynamic low-angle shots close to the water, capturing her boots hitting the flooded floor and creating dramatic splashes. Show water crashing through the market behind her, people running in panic, overturned crates floating in the water, and objects being swept away. Use realistic physics, natural human movement, detailed wet clothing, wet hair sticking to her face, realistic water droplets, splashes, reflections and motion blur. The camera should move dynamically with fast tracking shots, low-angle shots, side tracking shots and occasional wide shots revealing the scale of the flooding. At one point, show the woman jumping over obstacles and running across a market counter/raised surface while the floodwater continues rushing behind her. Keep her appearance, hairstyle, pink outfit and facial features consistent throughout the entire sequence. Dark cinematic atmosphere, overcast rainy lighting, cool blue-gray tones mixed with warm fluorescent market lights, dramatic contrast, realistic skin texture, photorealistic environment, volumetric lighting, atmospheric mist, cinematic depth of field, subtle film grain, high-detail textures, realistic reflections and physically accurate water simulation. The sequence should feel like a high-budget survival/action movie, extremely immersive and intense, with realistic camera shake and fast-paced movement. Add large cinematic white brush-stroke typography reading “RUN” briefly across the center of the screen during the action sequence. Photorealistic, ultra-detailed, cinematic Hollywood-style action scene, realistic physics, natural motion, 4K film quality, anamorphic lens look, dynamic composition, dramatic pacing, no cartoon look, no CGI appearance, no distorted anatomy, no extra fingers, no duplicated people, no face changes.

Elisia

31,234 görüntüleme • 1 ay önce

Taking X by " STORM " Made this viral video using Seedance 2.5 Prompt : Use the uploaded image as the exact visual reference for the characters, wardrobe, composition, lighting, and overall cinematic look. Create a photorealistic live-action video, A young woman wearing a long, fully closed ivory-white tailored coat, black sunglasses, and black pointed heels walks slowly and confidently straight toward the large crowd. Her posture is elegant and controlled, her arms relaxed naturally at her sides, and her expression remains serious and calm. Start with a medium-wide frontal shot. The woman walks directly toward the camera and toward the center of the crowd. The camera smoothly tracks backward at the same pace, keeping her perfectly centered. The crowd remains completely still, watching forward. She reaches the front-center position of the crowd and comes to a complete stop. Her feet settle naturally, arms remain at her sides, shoulders relaxed. She looks directly into the camera through her black sunglasses. The woman remains 100% completely still. Then, precisely behind her, the entire crowd suddenly begins moving in perfect synchronized rhythm. Their movement should be sharp and unsettling: heads jerk quickly to one side shoulders snap upward upper bodies briefly lean forward they suddenly snap upright again repeat the movement together like a perfectly synchronized group The movement happens across the entire crowd, from the closest people to the deepest background rows. The woman does absolutely nothing. No head movement. No body movement. No hand movement. No walking. No reaction. She simply stands motionless while everyone behind her moves aggressively in synchronization. The camera slowly pushes closer toward the woman while the crowd continues its synchronized movements behind her. Keep her face and white coat sharply focused while the moving crowd has subtle cinematic depth-of-field blur. End with a powerful centered close/medium shot. The woman is completely motionless in the foreground while the crowd performs one final synchronized head-and-shoulder snap behind her. Hold on her still expression for the final moment. Visual Direction Dark, cold, high-end cinematic fashion aesthetic. Raw concrete environment, deep shadows, soft overhead lighting, realistic skin and fabric, natural hair physics, realistic human movement. The central visual contrast is extremely important: ONE perfectly still woman in white + a large crowd in black moving violently in perfect synchronization behind her. No duplicate lead. No additional white outfits. No men. No cartoon or animation. No CGI appearance. No exaggerated camera shake. No text. No subtitles. No logos. No sudden scene changes. No extra characters appearing or disappearing.

Synthia

15,767 görüntüleme • 11 gün önce

A young woman was allegedly hacked to death in broad daylight at the KSRTC bus stand in Bantwal on Thursday, triggering panic among commuters and prompting police to launch a massive search for the absconding accused. The deceased has been identified as Lavanya, a resident of Kakkepadavu. According to preliminary information, she was employed at a private nursing home in Kalladka. Police have registered a murder case and initiated an investigation to ascertain the motive behind the crime. The accused, who allegedly fled immediately after the attack, remains at large. Woman allegedly attacked after getting off bus. According to preliminary information, Lavanya had boarded a KSRTC bus bound for Kakkepadavu from the Bantwal bus stand. Before the incident, she reportedly telephoned one of her relatives and informed them that a young man was sitting next to her inside the bus. The call was allegedly disconnected shortly afterwards. Police are verifying the details of the phone conversation as part of the investigation. Based on the preliminary statements of passengers, both Lavanya and the suspected assailant later got down from the bus at the Bantwal KSRTC bus stand. Witnesses told police that the man allegedly began chasing the woman soon after they alighted from the bus. When the accused allegedly pulled out a sharp weapon from his bag, Lavanya reportedly attempted to run to safety. However, the attacker allegedly caught up with her and assaulted her repeatedly with the weapon, inflicting fatal injuries before fleeing the scene. The brutal attack unfolded in the presence of commuters and bystanders, leaving many in shock. The incident created a tense atmosphere at the busy KSRTC bus stand, with frightened passengers rushing away from the scene after the attack. Local residents and commuters immediately alerted the police and emergency services. Police personnel rushed to the spot soon after receiving information about the incident and secured the crime scene for investigation. Senior officers from the Bantwal Sub-Division Police, the City Police Inspector and other police personnel visited the scene and conducted an inspection. A case has been registered, and police have launched an extensive search operation to trace and apprehend the accused. Investigators are examining CCTV footage from the bus stand and nearby establishments and are also recording statements from passengers and eyewitnesses who were present during the incident. Police are yet to disclose the identity of the accused or confirm whether he was known to the victim. The exact motive behind the murder remains unclear. Police are investigating all possible angles, including whether the victim and the accused were previously acquainted. The mobile phone records of the victim and other available evidence are also expected to form part of the investigation. Officials said further details would emerge once the accused is traced and questioned. The murder has sent shockwaves through Bantwal, particularly as it occurred in a crowded public place during daytime. Police have appealed to anyone with information about the accused or the incident to come forward and assist the investigation. Further updates are expected as investigators continue efforts to identify and arrest the suspect and establish the circumstances leading to the fatal attack.

Hate Detector 🔍

35,645 görüntüleme • 2 ay önce

Journey through Hell made with seedance 2.5 prompt :One continuous 30-second chaotic amateur first-person smartphone video filmed by a standing passenger inside a completely packed magnetic-levitation commuter train. Single unbroken take with no cuts, jump cuts, dissolves, crossfades, double exposures, portals, morphing or artificial scene transitions. The train begins as an ordinary weekday commute on Earth and then physically travels downward on an impossible journey — through subway tunnels into bedrock, into a colossal void beneath the crust, past a soot-blackened waiting platform, through an immense eroded gate, out above a burning plain, down the terraced wall of a vast pit, and into the inhabited depths of Hell. Everything must feel physically connected, as though the same train is genuinely travelling down through each environment. The tone is bureaucratic dread, not horror-movie shock. This is a scheduled service. The route is old, the infrastructure is worn, and the train runs it the way it runs any other line. The horror comes from how ordinary the journey is and how enormous the destination turns out to be. The interior is a completely packed standing-room-only maglev commuter car. Passengers are pressed shoulder-to-shoulder, gripping overhead straps and vertical poles. Backpacks are squeezed between bodies, coats and loose clothing shift with acceleration, straps swing on their inertia, and the entire carriage constantly vibrates and rattles. The camera is a cheap smartphone held at chest height by one standing passenger who grips a pole with the other hand. The phone itself is NEVER visible because the phone is the camera. The framing is crooked, slightly off-centre, partially blocked by shoulders and arms, and imperfect like genuine accidental footage. The camera constantly shakes, rolls, yaws and gets thrown around by acceleration. Use realistic rolling-shutter distortion, autofocus hunting, exposure pumping, blown highlights, crushed noisy shadows, low-bitrate compression, macroblocking and smeared motion blur. It must look like genuine spontaneous smartphone footage, not professional cinematic footage. The camera always looks through the LEFT-SIDE WINDOWS at approximately 90 degrees to the train's direction of travel. The train always travels forward and the outside world always streams past the windows from front-to-back. Never switch to a forward-facing train-nose view. Never show the front of the train. The same carriage, same passengers, same poles, same straps and same windows remain visually consistent throughout the entire journey. The interior is the constant realistic anchor while the outside world becomes increasingly impossible. 0 to 3 seconds. Begin with an ordinary overcast weekday commute on an elevated urban line. Grey apartment blocks, rooftop water tanks, a scrapyard, overhead wires, a canal and traffic on a road below streak past the left windows at different distances with realistic parallax. The passengers are tired and mostly uninterested — some on phones, some staring out, some talking quietly. A calm public-address chime sounds and an announcer quietly says, "Next stop: Hell." Nobody reacts. One passenger glances up briefly and goes back to their phone. The train accelerates and everyone instinctively tightens their grip as the carriage gives a hard lateral jolt. 3 to 6 seconds. The line drops into a cutting and then into a tunnel. Tiled subway walls, cable runs, service lights and a passing platform strobe across the windows in hard bands of light and dark, throwing the carriage into stuttering illumination. The tunnel ages as the train descends: modern concrete becomes older brickwork, then rough-cut stone. The fittings become scorched and soot-caked — blackened signal lights, corroded brackets, cabling burnt down to bare metal. This route has been running a long time. The gradient steepens noticeably; passengers lean back against the pitch and the straps hang visibly off-vertical. 6 to 9 seconds. The tunnel wall becomes raw geology and the train is now clearly descending through the crust at impossible speed. Through the left windows the rock face streaks past in visible strata — pale limestone, dark shale, red iron-stained bands, seams catching the carriage light. The air begins to heat and passengers loosen collars. Then, under the mechanical roar, a sound arrives before anything is visible: a vast, distant, continuous mass of human voices, far away and heavily reverberant, never resolving into individual words. It is not loud. It is simply there, and it does not stop. Two passengers look at each other. Nobody says anything. 9 to 11.5 seconds. The rock wall falls away entirely and the train emerges into a void larger than a city, with no visible far side. It runs along a ledge on the wall; below the windows the space drops away into darkness. Stone columns kilometres tall stand in the void with strong parallax — near ones sweeping past, distant ones barely shifting. Far below and far ahead, a faint orange glow is already visible. It must already exist in the frame from this moment and grow continuously from here forward without ever popping or suddenly enlarging. The voices are louder here, spread across an enormous space. One passenger near the glass leans forward slightly. Another quietly says, "Ohh." 11.5 to 14 seconds. The train passes a station. A soot-blackened platform is cut into the rock wall — worn edge, dead lamps, faded markings unreadable under the grime — and figures are standing on it in an orderly queue, waiting, facing the track, completely motionless. They are seen for less than a second at speed, as dark shapes against the platform light, never close enough to read faces. The train does not slow. Nobody boards. The platform is gone behind the carriage. This is the moment the passengers understand. Several stop looking at their phones. Embers begin drifting upward past the windows from below. 14 to 16 seconds. Ahead, a wall crosses the entire void — a single continuous barrier extending beyond sight in both directions and upward past the ceiling. The train passes through an immense gateway cut into it, an arch hundreds of metres tall, its stone eroded smooth by an unimaginable volume of traffic, its carved markings worn past legibility. For half a second the carriage is in the shadow of the arch and everything goes dark. Then it is through, and the light on the far side is completely different: warm, hard, and coming from below. 16 to 19 seconds. The train races above a burning plain. Outside the left windows: a vast crusted expanse of dark solidified ground cracked into slow-moving plates with brilliant orange fissures running between them, distant fountains of molten material rising and falling in slow motion because of their true scale, and smoke columns standing kilometres high. Running across it are raised stone causeways, and on the causeways are crowds — dense, continuous, moving slowly, all in the same direction, extending to the limit of visibility. They are seen only as masses at distance, never in detail. The light entering the carriage is now dominant and hard, throwing sharp orange edges on faces, poles and straps with deep black shadows behind them. The interior air is visibly hazy. The voices are constant. 19 to 21 seconds. The plain ends at the rim of a colossal pit — a shaft so wide the far wall is only a suggestion in the haze. The train races over the edge and begins descending along the interior wall. The wall is terraced: enormous concentric ledges receding downward, each deeper and darker than the last, disappearing into smoke layers. The descent acceleration pushes the passengers down and forward against the poles. Ash begins striking the windows and streaking backward. 21 to 23 seconds. The terraces are populated. Endless slow processions move along every ledge, strings of figures following the curve of the wall down into the smoke and out of sight, lit from below by the fires beneath them. There is no chaos in it — it is orderly, patient and entirely without end, which is worse. Furnace mouths open in the rock face, glowing white at their throats, and long queues stand before them. Everything is at distance. Nothing is close enough to resolve. The light entering the carriage takes on a deeper red and the fluorescents are overwhelmed. Passengers nearest the window press slightly closer to the glass. 23 to 25 seconds. Enormous shapes move among the terraces — figures many times the height of the crowds around them, walking slowly along the ledges, their scale established only by comparison. They do not look at the train. Distant winged forms cross beneath the carriage at low altitude with slow heavy wingbeats appropriate to their size and vanish into the smoke. Stone pens and barred openings are cut into the wall in their thousands, receding into the haze like housing. Ash accumulates in the corners of the windows. The carriage is hot enough that the glass fogs and clears in waves. 25 to 27 seconds. The train reaches the deep layer and the full extent of Hell reveals itself. It is not a city on a human plan and it is not a cavern. It is a continuous inhabited geology extending in every direction — towers of black stone fused into cliff faces, vaults hollowed out of the rock at cathedral scale, rivers of molten material running in cut channels between districts and falling in slow luminous cataracts to levels further down, bridges spanning gaps kilometres across, and everywhere on all of it, crowds. Smoke columns rise for kilometres and flatten against unseen ceilings. Every level is lit by its own fires. The train races along a ridge line through the middle of it; arches and aqueduct spans pass overhead and terraces stream past below the window with violent parallax. It is impossible to see where any of it ends. 27 to 29 seconds. The depths continue past the windows. The camera struggles badly with the contrast, blowing out the fires and crushing everything else into noise. Ash cakes the corners of the glass. Passengers are pressed against the windows in total silence, faces lit from below in hard orange, expressions stunned and completely still. One person quietly whispers, "What is that?" Nobody answers. Autofocus hunts between the ash on the glass and the world beyond it. 29 to 30 seconds. The fires end. The train passes out of the smoke and the lowest region opens — and it is not burning. It is a vast frozen plain stretching beyond the visible horizon, an impossibly wide sheet of dark grey ice, absolutely still, lit by nothing but a faint pale glow from within itself. Shapes are visible held motionless within it, spaced far apart, receding to the horizon, never shown in detail. Every exterior sound stops at once — the voices, the fires, everything — leaving only the carriage. The heat drops out and frost blooms instantly across the outside of the windows. The scale feels planetary. The passengers stare in complete silence. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." The train continues moving. The camera keeps shaking naturally as the frozen expanse extends endlessly beyond the left window. Lighting The lighting must evolve naturally throughout the journey. Begin with flat overcast daylight around 6500K. In the tunnels use harsh strobing bands from passing service lights against near-total dark, then let the sources become sparse until the carriage's own weak fluorescent tubes are the only illumination. In the void the interior lights fall off into nothing. Then introduce a growing warm orange from below — first a faint wash on the lower half of faces, then mixing with the cold interior white, then completely dominating it: hard, high-contrast, sharp-edged, with deep black shadows. Above the burning plain it should be strong enough to blow out the phone's sensor at the window. In the deep layer it becomes red-orange and omnidirectional from countless fires at every distance. In the final second all warm light vanishes and is replaced by a faint pale luminance from the ice, cold and almost sourceless. All exterior light must enter naturally through the LEFT-SIDE WINDOWS and fall across passengers' faces and clothing at every stage. Do not add artificial interior lighting to create the colours. Passengers Keep all passengers completely ordinary throughout the journey. Realistic skin texture, subtle capillary variation, natural blinking, breathing, eye movement and imperfect facial symmetry. Clothing has realistic folds and responds to acceleration. Passengers must continuously perform small independent movements: shifting weight, adjusting grip, loosening a collar in the heat, wiping fog from the glass, turning their heads, tightening their hands around poles. Do not make them freeze. Do not make everyone react at the same moment. Do not let them perform dramatic acting. Their emotional progression is subtle: indifference at the announcement → mild confusion in the tunnels → unease when the voices arrive → the exact moment of understanding as the waiting platform passes → dread on the descent → complete stunned silence in the depths. No screaming. Only one soft "Ohh" at the first glow and one whispered "What is that?" near the end. The most powerful reaction is no reaction — just faces pressed against the glass, lit from below by something that should not exist. Physics The train always travels forward and always downward after the tunnel. Passengers sway according to acceleration and lean against the gradient; straps hang off-vertical on the descents. Loose clothing reacts to movement. Exterior objects have different velocities and distances with strong realistic parallax at every stage — near stone columns sweep past, mid-distance terraces move steadily, distant districts barely shift. Ash and embers must move independently of the train, drifting upward on thermal currents rather than streaming with the carriage. Heat must be expressed physically: window fogging and clearing, haze inside the carriage, frost at the very end. Enormous figures and flying forms must move slowly, because they are enormous. Nothing teleports, nothing freezes, nothing suddenly appears, and nothing changes position without physical cause. No transitions There are absolutely no visual transitions. No dissolves, crossfades, portals, morphing or ghosted overlays. Every environment change happens because the train physically travels into the next environment. The city becomes a cutting, the cutting becomes a tunnel, the tunnel becomes bedrock, the bedrock opens into the void, the void contains the waiting platform, the void ends at the wall, the gateway gives onto the burning plain, the plain ends at the pit rim, the rim becomes a terraced descent, the terraces fill with processions, the processions become the full inhabited depths, and the depths open onto the frozen plain. It must feel like one physically continuous impossible journey where every step is the inevitable consequence of the step before it. Audio Audio must be entirely diegetic with no music. Use cheap compressed smartphone microphone quality. The train produces a constant deep maglev roar, mechanical clatter, rattling poles, vibrating windows, swinging straps and low-frequency carriage rumble, plus passenger breathing and clothing movement. In the tunnels add hard reverberant slap-back and pressure changes as the train passes openings. The defining sound of this video is the voices. They must arrive at 6 to 9 seconds, before anything is visible, as a distant continuous mass of human voices with enormous reverberation, never resolving into words and never rising to screaming. From that point they never stop. They grow with depth and spread across a wider stereo field as the spaces open up. Beneath them, a very low frequency resonance builds steadily, felt more than heard. Above the burning plain add a broad distant roar and irregular deep concussions at long intervals. Ash strikes the hull as fine irregular ticking. In the depths the voices are vast, layered at many distances, and mixed with immense indistinct industrial-scale sound that never resolves into detail. In the final second every exterior sound stops at once — total silence outside, leaving only the carriage, the passengers' breathing, and ice creaking against the hull. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." Style and content limits The overall style must remain dirty photorealistic amateur smartphone footage despite the spectacular environments. Vertical 9:16, real-time speed, no slow motion, no stabilisation, no cinematic camera, no perfect composition, no clean VFX presentation. Use heavy shadow noise, blown highlights, low-bitrate compression, rolling-shutter skew, autofocus hunting, auto-exposure pumping, smeared motion blur and crooked framing. The camera should occasionally be partially blocked by a shoulder, arm or nearby passenger, and should struggle badly with the extreme contrast between fire and darkness. Hell is conveyed through scale, architecture, crowds at distance, fire, ash and sound. Do not show suffering, injury, bodies, blood, restraints or any graphic content. Every figure outside the train stays a distant silhouette or part of a mass — none is ever close enough for its face or condition to be read. Do not use recognisable religious iconography or legible text of any kind; all markings are eroded past legibility. Do not make it look like a game cinematic or a clean VFX render. The world outside should be overwhelming and physically impossible, but the recording itself must look raw, accidental and believable. The most important rule ONE SINGLE CONTINUOUS TAKE. No cuts, no jump cuts, no dissolves, no crossfades, no scene resets and no artificial transitions. The same train, same passengers and same camera remain present from beginning to end. The orange glow must be visible as a faint distant smudge from the first cavern and grow continuously and inevitably until it fills the window. The voices must arrive before the fire and never stop until the final second. The heat must build physically across the whole descent so that its total disappearance at the end lands as a shock. The population must emerge gradually — the waiting platform, then crowds on the causeways, then processions on the terraces, then the full inhabited depths — never appearing all at once. End while the train is still moving, the frozen plain extending endlessly beyond the left window, passengers silent, carriage still shaking, the PA announcement fading into the sound of ice.

Ciri

19,504 görüntüleme • 1 ay önce

Some stories don't end with the rescue; they begin with the chase. The pendant is broken. The call has been made. Now Reyes has only one clue and everything to lose. Made with Seedream 5.0 and Seedance 2.0 on RoboNeo Prompt: PART 1 — 0–15s VIDEO PROMPT Continue directly from Episode Zero final frame. Create a realistic live-action football thriller scene with a cinematic Netflix-style sports drama atmosphere. Mateo Reyes: 28-year-old fictional elite football captain, athletic build, short dark wavy hair, brown eyes, light stubble. Wearing a navy-and-gold national-style football kit with captain armband. Jersey details: Back name: REYES Number: 10 Clean realistic sports lettering. No real team logo or brand visible. Emotional state: confused, protective, determined. Elena: 27-year-old woman, long dark wavy hair, cream blouse, tan trousers, silver pendant around her neck. Fearful expression. Looking directly toward Mateo. Stranger: Tall mysterious figure wearing a dark overcoat. Face completely hidden in shadow or outside the frame. Black leather glove gripping Elena’s shoulder. Never reveal identity. [0.0–1.5 SEC] RECALL — CLIFFHANGER CONTINUATION Camera: Static cinematic freeze-frame matching Episode Zero ending. Medium-wide over-the-shoulder shot from behind Mateo. Composition: Mateo stands in the right foreground. His arm is slightly extended toward Elena. The back of his jersey is partially visible with “REYES 10” readable. Elena stands on the left side near a railing. Stranger stands behind Elena with a gloved hand on her shoulder. Mateo is looking directly at Elena. He is not looking at the crowd. Visual: Natural stadium lighting. Realistic sweat and skin texture. Soft background blur. Crowd only as an indistinct background element. Audio: Low cinematic impact sound fading from previous episode. Text Overlay: Minimal elegant serif text: “PREVIOUSLY...” Bottom-left. [1.5–5 SEC] THE QUESTION Camera: Slow handheld push-in from Mateo’s side angle. Natural documentary-style movement. Action: The frozen moment resumes. Elena turns toward Mateo, fear visible in her eyes. The Stranger pulls her slightly backward while keeping his face hidden. Mateo takes one step forward. His eyes remain fixed only on Elena. Shot A — Mateo Close-Up 35mm cinematic lens. Mateo breathing heavily. Confusion and urgency on his face. He speaks directly to Elena: Mateo: “Elena — who is that?!” Shot B — Elena Reaction Medium close-up. Elena looks frightened. She appears unable to explain. Her pendant catches a small reflection of light. Shot C — Stranger Detail Close-up of the black glove tightening on Elena’s shoulder. Face remains hidden. No dialogue. [5–10 SEC] SECURITY INTERVENTION Camera: Handheld tracking shot behind Mateo. Maintain clear geography. Mateo remains focused on Elena. Elena and Stranger move toward the side exit. Do not show Mateo shouting toward random people. Action: Two fictional stadium security officers enter from the side corridor. One officer blocks Mateo. Security Officer: “Sir, stay back — we’ll handle this.” Mateo tries to move forward but is stopped. Cut to Elena. The Stranger pulls her toward the exit. Before disappearing, Elena looks back. Her eyes meet Mateo’s. Mateo freezes. The silver pendant reflects the stadium light. No exaggerated crying. Only shock and fear. [10–15 SEC] THE CHASE BEGINS — MOVING TO THE LOCATION Transition: Move naturally from the stadium exterior into the pursuit. No return to the stadium. Camera: Fast handheld tracking shot following Mateo as he leaves through a restricted side exit. Night environment. Realistic street lighting. Thriller atmosphere. Action: Mateo removes his match layer and throws a dark training jacket over his shoulders. As he walks away: The camera briefly captures the back of his shirt: REYES 10 Clearly visible. No logos. No real team branding. Mateo follows the last known direction where Elena was taken. Cut to: Exterior — Abandoned Industrial Location Dark warehouse entrance. Quiet street. Moody cinematic lighting. Mateo arrives alone. Camera follows from behind. His jacket moves naturally in the wind. He searches the area. Final Shot: Slow cinematic push-in. Mateo notices Elena’s silver pendant lying near the entrance. He picks it up. His expression changes from confusion to determination. Low suspense music rises. CUT TO BLACK. PART 2 — 15–30s VIDEO PROMPT 15.0–19.0 sec | PANEL 1 — THE WEIGHT OF THE PENDANT Camera Slow cinematic push-in. Natural handheld movement. Action Mateo slowly closes his fingers around the pendant. His breathing becomes uneven. He stares at it as memories of Elena flash across his mind (no flashback visuals, only conveyed through his expression). His shoulders slump. For a brief moment, he struggles to stay composed. He presses the pendant tightly against his forehead, closes his eyes, and exhales deeply as if blaming himself for not reaching her in time. A tear begins to form but never fully falls. He whispers almost silently: "I'm sorry..." Cold wind moves through the abandoned industrial yard. Everything else remains silent. 19.0–24.0 sec | PANEL 2 — THE PHONE CALL Camera Medium close-up from the front. Shallow depth of field. Slow handheld push toward Mateo. Action His phone suddenly vibrates. He opens his eyes immediately. His breathing stops for a split second. Without letting go of the pendant, he answers. Dialogue Unknown Voice (distorted, calm): "You should have stayed on the pitch, Reyes." Mateo's face changes instantly. The sadness disappears. Anger replaces it. His grip tightens around the pendant until his knuckles turn white. Mateo (furious): "Where is she?!" Silence. The call disconnects. Flat electronic tone. Mateo continues listening to the dead line for another second, refusing to lower the phone. 24.0–27.0 sec | PANEL 3 — DESPERATION Camera Handheld side tracking shot. Medium-wide framing. Natural movement. Action Mateo lowers the phone slowly. His breathing becomes heavier. Frustration overwhelms him. He punches a nearby concrete pillar with his free hand. The impact echoes through the empty warehouse. He immediately winces in pain. His knuckles become slightly bloodied. He doesn't care. Still clutching Elena's pendant tightly in the other hand, he leans against the pillar for a brief second, trying to regain control. He wipes the tears from his eyes with the back of his sleeve. Then straightens up. His expression changes completely. Fear is gone. Only determination remains. 27.0–30.0 sec | PANEL 4 — THE PROMISE Camera Wide cinematic shot. Very slow dolly forward. Long abandoned industrial road disappearing into darkness. Action Mateo steps forward into the empty roadway. His fist remains tightly closed around Elena's pendant. Far ahead— A single red taillight flickers once before disappearing behind an abandoned warehouse. Mateo never looks away. He quietly says: "I'm coming for you." No music for a beat. Only distant wind. Freeze exactly as the taillight disappears. Hold the frame for two full beats. Hard cut to black. END CARD Black background. Elegant gold serif typography. Slow two-second fade in. EPISODE 2 COMING SOON Hold for at least two seconds before fading out.

Shami

47,507 görüntüleme • 2 ay önce

Spiderwoman in your town Seedance 2.0 on FlovaAI prompt 45-Second Cinematic AI Video Prompt** 45 seconds, photorealistic, cinematic superhero film, ultra-detailed, 8K HDR, realistic physics, dynamic camera movement, fast-paced editing, dramatic lighting, natural facial expressions, high-end VFX, Japanese female lead, no text, no watermark. **Main Character:** A beautiful young **Japanese woman** in her early 20s with fair skin, soft natural makeup, expressive dark brown eyes, and shoulder-length black hair tied into a low ponytail. She wears an **oversized light blue knit sweater**, loose gray pants, and white sneakers throughout the story. Maintain identical facial identity, hairstyle, body proportions, and outfit consistency across every scene. ### Scene 1 (0–6s) – The Spider Bite Inside a cozy modern apartment during the afternoon. Extreme macro close-up as a glowing crystal-like translucent spider slowly crawls onto the back of the Japanese woman's neck. The spider sparkles with iridescent blue light before gently biting her. A glowing blue spider-shaped mark appears beneath her skin, sending shimmering energy across her neck. She gasps softly and turns in surprise. Cinematic macro lens, shallow depth of field, dramatic lighting. ### Scene 2 (6–12s) – Powers Awakening She walks through her apartment wearing her oversized **light blue sweater** and gray pants. Suddenly books, mugs, and small household objects begin floating around her. Confused, she raises her hands, and a metallic glowing spider web suddenly shoots from her wrist, sticking to a distant wall. Her eyes widen in shock before she smiles with excitement. Fast push-in camera, floating debris, cinematic energy effects. ### Scene 3 (12–21s) – First Leap She steps onto the balcony of a towering skyscraper overlooking a massive modern metropolis under bright daylight. Without hesitation she leaps into open air. The camera rotates as she freefalls upside down between towering glass skyscrapers. Just before reaching another building, she fires brilliant silver-blue web lines from both wrists and swings powerfully through the city. Dynamic drone shots, rapid FPV movement, realistic wind simulation, superhero movie energy. ### Scene 4 (21–31s) – Web Acrobatics An adrenaline-filled montage of spectacular web-swinging through narrow urban streets, soaring between skyscrapers, performing flips above busy intersections, landing gracefully on rooftops, vaulting across glass towers, and gliding over a luxurious rooftop infinity pool overlooking the skyline. The camera alternates between cinematic tracking shots, aerial drone views, slow-motion hero moments, and fast FPV chase sequences. Bright daylight, highly realistic reflections, cinematic action. ### Scene 5 (31–36s) – Sunset Break Golden-hour sunset. A peaceful wide cinematic shot shows her sitting comfortably on a high steel construction beam far above the city. She casually eats a sandwich while admiring the glowing skyline. Gentle breeze moves her ponytail and oversized **light blue sweater**. Warm orange sunlight creates a calm contrast to the previous action scenes. Emotional cinematic composition. ### Scene 6 (36–41s) – Neon Night Nighttime in a vibrant neon-lit alley filled with colorful reflections after light rain. She hangs upside down from a single web line, smiling warmly. A curious black cat sits calmly on a nearby windowsill staring back at her. Blue and pink neon lights reflect across her face and sweater while the city glows behind her. Slow cinematic camera orbit with soft depth of field. ### Scene 7 (41–45s) – Home Again She swings effortlessly back toward her apartment building, lands smoothly on her balcony, performs a stylish flip into the living room, and collapses onto the sofa laughing happily. She pulls out her phone, starts chatting excitedly, and smiles as the camera slowly pulls away through the apartment window while the city lights sparkle outside. End with a cinematic superhero-style closing shot. **Visual Style:** Hollywood superhero movie aesthetic, photorealistic, cinematic color grading, realistic cloth simulation, physically accurate web physics, dynamic lighting, volumetric sunlight, realistic facial animation, expressive emotions, smooth character consistency, high-speed action choreography, premium VFX, ultra-detailed environments, crisp reflections, motion blur, dramatic camera transitions, IMAX-quality visuals, 8K HDR.

Aaliya

56,907 görüntüleme • 1 ay önce

EPISODE 1- FINAL REPLAY Was their love story built on a lie? The championship was over, but the biggest betrayal was just beginning. Made with Nano Banana 2 + Seedance 2.0 on RoboNeo prompt Style: Ultra-cinematic drama, premium streaming-series aesthetics, photorealistic visuals, anamorphic framing, shallow depth of field, luxurious golden ballroom lighting with dramatic shadows, subtle facial acting, slow deliberate camera moves, emotional orchestral score swelling with tension. GRAND GALA BALLROOM – NIGHT 0–5s | Recall & Re-hook Freeze frame from Episode Zero lingers on the brunette’s @[Image 2](image_2) knowing smile as she lowers her wine glass. The giant replay screen behind her flashes blinding white. Hard cut to black. A single heartbeat sound. The replay screen bursts to life — but instead of football highlights, it shows intimate, hidden footage: the football champion @[Image 4](image_4) and the elegant dark-haired brunette @[Image 2](image_2) in a passionate embrace in a private locker room, his winner’s medal still around his neck. The crowd in the ballroom gasps audibly. 5–12s | Consequence Cut to the blonde woman @[Image 3](image_3) at the elegant table. Her face drains of color as she stares at the massive screen. Tears well up again. She picks up her engagement ring from the table in her bare hand and clutches it so tightly it digs into her right hand. The football champion @[Image 4](image_4)(still in black suit, medal now missing from his neck) stands frozen a few feet away, horror dawning on his face. He (medal now missing from his neck) turns toward the screen, then desperately toward the blonde. Blonde woman (whispering, broken): “You said it was only the match that changed everything…” The blonde @[Image 2](image_2) walks away abruptly, knocking over a champagne flute. It shatters loudly on the marble floor — the sound cutting through the now-hushed ballroom. She looks between the champion @[Image 3](image_3) and the brunette @[Image 1](image_1), betrayal turning to cold fury. Blonde woman @[Image 2](image_2)(voice cracking but gaining strength): “Then why does the final replay show you celebrating with her… while I waited for you?” The replay screen loops the damning embrace in slow motion. Guests murmur and film with their phones. 27–30s | Next Cliffhanger The brunette @[Image 1](image_1) smiles wider, turns, and begins walking away through the crowd as the replay screen suddenly cuts to new unseen footage — a close-up of the brunette @[Image 1](image_1) slipping something into the champion’s drink earlier that night, followed by a quick flash of a mysterious document with official-looking seals. The champion’s face twists in shock and realization. The blonde’s eyes widen in horror as she sees it too. Freeze frame on the three of them — triangle of tension. Text on screen fades in: EPISODE TWO Fade to black. Distant crowd applause mixes with a rising, ominous orchestral sting.

Sharon Riley

68,710 görüntüleme • 2 ay önce

Seedance 2.5 is incredible It can take you to any city in the world. Xin chào Việt Nam 🇻🇳 It feels like I actually traveled to Hanoi, Vietnam! 👇Feel free to add any city you’d like to visit to this prompt. HANOI TRAVEL VLOG — 30 SEC No reference image. The woman below is described in words and must be built from the text alone. SUBJECT: one Korean woman, early 20s, the only person the film follows. Small oval face with a soft jawline, large round eyes with double lids, a small straight nose, full coral-red lips, fair skin. Black wavy hair tied low at the nape and pulled forward over one shoulder, with loose strands left at the temples. A small gold hoop in each ear. Real Korean skin texture with visible pores — no doll-like AI smoothness, no beauty filter. The face established in the first shot is repeated exactly in every following shot: same features, same hair, same colour. She never morphs into a different person and no lookalike appears. OUTFIT (identical throughout): burgundy ribbed knit halter top, cream high-waist flared trousers, tan leather belt with a gold buckle, burgundy platform heeled sandals, a thin gold bracelet on one wrist. There is no changing shot. CAMERA: she is filming herself on her own phone. Most shots are selfies with her arm extended; objects and food are shot by turning the phone toward them. 16:9 landscape throughout, no black bars. 26mm phone lens, deep focus, neutral iPhone colour, handheld jolt on every step, autofocus landing a beat late, exposure lagging when she moves from bright to dark, a fingerprint smudge bleeding beside strong lights. No cinematic grading, no studio lighting, no glow fx. Background people stay out of focus and nobody looks at the camera for long. DIALOGUE: lines are short and land in one breath. An interjection plus one short sentence is fine, but never two complete sentences strung together. There is breath between them and they are never rushed into each other. Punctuation is used once — no doubled question marks or exclamation marks. The two Vietnamese greetings are not fluent — just phrases she has picked up. (0:00–0:02) — Hotel window, Hanoi morning reveal. Selfie, low angle. She shoves the curtain sideways and narrow tube houses under bundled cables open up behind her. The window blows out white, then the exposure catches up. Bright grin. Dialogue: "Xin chào~ 하노이 왔다!" Transition: Hard cut on beat (0:02–0:04) — Old Quarter junction, a river of motorbikes. Selfie, stepping out between the bikes. She swings the phone to her face while a stream of helmets and conical hats flows behind her, horns overlapping. Overcast daylight, deep focus. Dialogue: "이걸 어떻게 건너?" Transition: Fast cut on beat (0:04–0:06) — Street café. Selfie, arm short. She pushes a glass with condensed milk settled at the bottom toward the lens until it fills half the frame, eyebrows raised. Low backless stools, a stained yellow French wall behind. Transition: Snap cut (0:06–0:08) — Alley bánh mì cart. Insert, phone pointed down at her hands. A baguette split over the charcoal is handed to her in newspaper and she peels the paper down with her fingertips. Steam rises and a few sprigs of coriander stick out of the split. White tube light on the cart, a parked motorbike beside it. Transition: Cut on natural movement (0:08–0:09.75) — Huc Bridge reveal. She raises the phone from her face and tilts it up until the red wooden bridge crossing the lake fills the frame. Natural daylight, sky blown out behind a banyan tree. Her mouth opens slightly. Transition: Soft cut mid-upward motion (0:09.75–0:12) — Train Street café. Selfie. On a low stool beside the track she is holding a coffee glass in both hands; hearing it come she sets the glass down and pulls her stool back against the wall. She looks at the lens, then sideways, and her face collapses into a laugh as a train comes out of the far end of the lane and passes an arm's length away. Dialogue: "헐 진짜 온닷ㅋㅋㅋㅋ" Transition: Cut on the end of the laugh (0:12–0:13.75) — Old Quarter, the 36 streets. Follow from behind, phone low. She shoulders through the packed lane with the bánh mì, finishes the last piece and folds the newspaper away. Unlit lanterns and signs stacked tight overhead, people pushing past. Overcast afternoon light. Transition: Cut on forward movement (0:13.75–0:15.5) — Back seat of a cyclo. Her hands are empty now — the phone low at knee height in one hand, the rail in the other. The street slides past under the folded canopy, the driver's back swaying in front. She looks out, not at the lens. The music drops a beat, leaving only wheels and horns. Transition: Snap cut (0:15.5–0:18) — Phở shop. From here the image is camcorder: blooming tape, light noise, late focus. The camera is fixed at eye level across the counter, no phone or camera visible in frame. Medium. She sits down on a low blue stool under a hand-painted Phở sign. The owner sets a steaming bowl of beef phở down — thin-sliced beef, rice noodles, spring onion, a side plate of sprouts and basil. Dialogue: "쌀국수! 이거 먹으러 왔어~" Transition: Cut on the bowl landing (0:18–0:20) — Lifting the noodles. Macro, phone lowered to the bowl, shallow focus. She draws rice noodles up out of the clear broth with her chopsticks, steam climbing. The steam crosses the lens and one side of the frame hazes over and clears. Only the broth and the slurping at the next stool. Transition: Cut with the noodles still raised (0:20–0:22) — First mouthful. Selfie, handheld. She pulls in a big mouthful, closes her eyes and opens them. Her shoulders drop and she nods once at the lens. Just after sundown, the white fluorescent light of the shop. Dialogue: "미쳤다 진짜." Transition: Cut where her face softens (0:22–0:23.5) — The broth. Selfie, close. She lifts the bowl in both hands, tips it back, sets it down and lets out a breath. The lens fogs with steam. Sound only. Transition: Cut back to phone image quality (0:23.5–0:27) — Tạ Hiện beer street ★signature. She steps into the narrow lane on an extended-arm selfie, walking between the rows of low plastic stools set out on the ground, and slowly lifts her head. Red, yellow and green lanterns hung low across the lane slide over her face and the same colours bleed across the wet ground. Rack focus — her face sharp, the signs behind spreading. Practical light only, no glow. 60% slow motion. Transition: Soft cut with her head still up (0:27–0:30) — Long Biên Bridge, night reveal. Close selfie → arm extends → the river and the Hanoi night open up below. Wind pushes her bangs across her eyes once. Natural night phone exposure. Dialogue: "그럼 모두 tạm biệt~!" She waves broadly at the camera and that same hand covers the lens as the frame goes dark. AUDIO: real location sound over the music. Unbroken motorbike horns and engines, stools scraping the pavement, charcoal sizzling, a train horn and rails, cyclo wheels, broth boiling and chopsticks, slurping at the next stool, night street noise, wind. Her muttering is natural Korean. CONSISTENCY: the same face, the same hair and the same clothes in every shot. Hands and chopsticks are natural with no smeared fingers. No text, no subtitles, no logo and no watermark on screen. No filming equipment is visible in frame. FINALLY: this has to look like footage a real person shot on a phone. Nothing about the face, the skin or the movement should read as AI-generated. Every line of dialogue is enunciated clearly, syllable by syllable — no slurring, no swallowed syllables, no clipped word endings, and the tense consonants and final consonants of Korean are pronounced accurately. Expressions and gestures are not performed; they are what the moment would naturally produce.

MagicAI

22,943 görüntüleme • 1 ay önce

Wild police chase all on dash cam. Every time I thought it was over, it kept going. This one will keep you locked till the end. ​The incident began when a Georgia State Patrol trooper attempted to conduct a routine traffic stop on a white Ford F-150 pickup truck. As the trooper walked up to the driver's side window and began to engage with the driver, the situation immediately took a wild turn. Completely ignoring the trooper’s commands, the driver suddenly hit the gas and accelerated away. The truck narrowly missed striking the trooper, who had to quickly jump backward to avoid being run over and severely injured. ​The suspect fled onto Felton Road, heading toward Hillsville, prompting an immediate high-speed pursuit. The dashcam footage shows the fleeing truck driving incredibly erratically—swerving violently across the two-lane road, riding along the grass shoulders, and kicking up massive clouds of dust and debris. ​As the chase continued southbound on Highway 212, the suspect’s driving became increasingly perilous. The driver routinely forced oncoming traffic completely off the road and nearly caused devastating head-on collisions with several vehicles. Recognizing that the driver was heavily intoxicated and posed an imminent, deadly threat to the public, the pursuing trooper stated over the radio: ​"We gotta end this. He's about to kill somebody at the intersection." ​Shortly after passing Lone Road, the trooper saw an opening and executed a Precision Immobilization Technique (PIT) maneuver. The impact sent the heavy Ford F-150 spinning out of control off the roadway, where it turned on its side, effectively disabling the truck. ​The trooper exited his cruiser with his weapon drawn, ordering the driver to keep his hands up and step out of the car. Additional backup units arrived on the scene within seconds to help secure the perimeter and take the driver safely into custody. ​The individual behind the wheel was identified as 53-year-old David Arrington. Following the chaotic pursuit, Arrington was hit with an array of severe felony and misdemeanor charges resulting from his reckless actions, felony fleeing, and driving heavily under the influence. ​Accountability caught up with him in court. Arrington was ultimately convicted for the dangerous tirade and was sentenced to 10 years in Georgia's Dodge State Prison.

Giggling Ganon

42,678 görüntüleme • 3 ay önce

200 participants. One survived. Every step decided their fate 🔥 I recreated a Squid Game-inspired survival story entirely with FlovaAI . Filmmaking is now as simple as writing a script and letting AI do the magic. The workflow is incredibly simple: ➛ Start with an idea and a script, then use Script to Video Skill. ➛ Flova analyzes your script, generates consistent characters and visual assets, and transforms the entire story into cinematic video scenes with remarkable quality. From character creation to final video generation, the process is smooth, fast, and delivers results that often exceed expectations. Made with the Script to Video skill on FlovaAI Prompt: Storyboard 1 – The Selection Visual: A gigantic underground concrete hall with cold white industrial lighting. 200 contestants in identical green tracksuits stand in perfectly straight rows. Black masked guards carrying rifles surround them. Every contestant shows different emotions—fear, anxiety, determination, hopelessness. A giant digital countdown glows red above them. Camera: Slow drone shot descending from the ceiling into a close-up of terrified faces. Mood: Silent, tense, intimidating. Duration: 6–7 seconds. Storyboard 2 – The Rules Visual: Massive steel doors slowly slide open, revealing a breathtaking glass bridge suspended over a bottomless abyss. Thick fog swirls below. Powerful spotlights illuminate alternating glass panels. Camera: Wide cinematic reveal followed by a slow push toward the bridge. Mood: Mystery and overwhelming fear. Duration: 6–7 seconds. Storyboard 3 – First Decision Visual: The first contestant slowly steps onto the bridge. Their foot trembles inches above two identical glass panels. Sweat drips from their face. Everyone behind watches in complete silence. Camera: Extreme close-up of the foot, then over-the-shoulder shot toward the endless bridge. Mood: Heart-pounding suspense. Duration: 6–7 seconds. Storyboard 4 – First Elimination Visual: Another contestant chooses the wrong panel. The glass explodes into thousands of realistic shards. The contestant falls into the darkness while everyone screams in horror. Camera: Ultra slow motion tracking every glass fragment before switching to shocked reactions. Mood: Chaos and terror. Duration: 6–7 seconds. Storyboard 5 – Survival Instinct Visual: Contestants begin memorizing the safe path while others panic. One player helps a frightened teammate across a dangerous jump as the countdown continues. Camera: Fast tracking shots mixed with emotional close-ups. Mood: Hope versus desperation. Duration: 6–7 seconds. Storyboard 6 – Betrayal Visual: A desperate contestant suddenly pushes another player onto an uncertain glass panel. It instantly shatters, sending them into the abyss. The pusher freezes in guilt while others stare in disbelief. Camera: Handheld close-up followed by dramatic slow-motion. Mood: Brutal betrayal. Duration: 6–7 seconds. Storyboard 7 – Final Two Visual: Only two exhausted contestants remain. Their clothes are torn, faces bruised, breathing heavily. A giant timer flashes its final seconds above them. Camera: Wide symmetrical shot followed by alternating close-ups of both faces. Mood: Maximum tension. Duration: 6–7 seconds. Storyboard 8 – The Final Leap Visual: One contestant leaps toward the final glass panel. Time slows. Glass bends under their weight but holds. The other contestant jumps onto the wrong panel and disappears into darkness. Camera: 360° cinematic rotation with ultra slow motion. Mood: Climactic and emotional. Duration: 6–7 seconds. Storyboard 9 – The Sole Survivor Visual: The lone survivor walks toward a gigantic steel vault door. It slowly opens, flooding the arena with brilliant golden sunlight. Above, masked VIP spectators silently applaud from luxurious balconies. The survivor walks into the light without looking back. Camera: Low-angle tracking shot transitioning into a massive aerial pullback. #FlovaAI #FlovaCPP | FlovaAI_Japan

Ai Arainz

79,082 görüntüleme • 2 ay önce

So Runway Gen 4.5 finally adds image-to-video, the workflow most pros rely on for consistency. We put it head to head with Kling AI and Google Flow VEO using the same reference images and prompts (below) to evaluate motion quality, stability, and cinematic realism. 1. Action/WaterPhysics Test Prompt: Cinematic, wide-shot of a man running in a shallow river. The camera is tracking the man from behind as he runs up the river. Handheld camera shake as the camera follows the man. 2. Fire Physics Test Prompt: Cinematic, wide-shot of terrified woman running towards her burning barn. She abruptly stops, and puts in hands on her head as she watches her barn burn down. 3. VFX test prompt: Cinematic, wide-shot of a hooded figure. Flashes of purple magic and smoke whirl around the figure. The figure lifts its arms as the purple magic and smoke intensifies. 4. 2D Animation Test Prompt: 2D animated shot of a waiting at a bus stop in a thunderstorm. The man turns, walks to the bench, and sits down. 5. 3D Animation Test Prompt: 3D animated shot of an octopus. The octopus reaches into a coral and picks up a glowing white gem. 6. Conversation Test Prompt: slow camera push-in as two friends are having a conversation at a coffee shop Overall verdict: Despite the “world’s best” claim, Runway Gen 4.5 is not there yet. Prompt adherence is solid, but motion, physics, and cinematic realism still lag behind tools like Kling and VEO. Great platform, mid-tier model for now.

Curious Refuge

25,712 görüntüleme • 8 ay önce

Friend from Korea Seedance 2.5 on PolloAI Prompt : Young Korean woman in her early 20s, naturally attractive, realistic skin texture, minimal makeup, relaxed personality. Long black hair loosely tied into a messy side ponytail with a few loose strands around her face. Wearing a fitted pastel-pink short top, loose cream pajama-style pants, white sneakers and a simple silver necklace. Maintain the same face, hairstyle, clothing, body proportions and overall appearance throughout the entire video. SECOND WOMAN Another young Korean woman in her early 20s, naturally attractive and casual, with long dark hair loosely tied back. She wears a fitted pastel-yellow short top, light denim shorts, white sneakers and a simple necklace. She has a friendly, natural appearance and must remain visually consistent throughout her appearance. LOCATION A quiet older Korean residential neighborhood during a bright summer afternoon. Narrow concrete lanes, small houses, potted plants, bicycles, old walls, utility poles, overhead wires and a tiny neighborhood grocery shop. CAMERA / VISUAL STYLE Raw personal footage casually recorded by a friend on an early-2000s consumer DV camcorder. Strong handheld shake, imperfect framing, autofocus hunting, faded colors, soft digital detail, exposure shifts, mild digital noise, occasional motion blur and accidental zooms. No stabilization, drone footage, gimbal movement or polished commercial cinematography. — LEAVING THE SHOP The main woman walks out of a tiny neighborhood grocery shop carrying a reusable shopping bag filled with vegetables, bread and several oranges. She smiles toward the camera and starts walking down the lane. — THE ORANGE As she walks, one orange slips from the open shopping bag and rolls down the slightly sloped concrete street. She doesn't notice at first. The camera follows the rolling orange, then quickly swings back toward her. — THE CHASE She suddenly realizes what happened and turns around. She laughs and jogs after the orange while the camcorder follows shakily. The orange rolls past a parked bicycle and stops near a small garden wall. — THE OTHER WOMAN A second young woman in the pastel-yellow top and denim shorts is walking toward the camera from the opposite direction. She notices the orange near her feet. She picks it up, looks down the street and sees the first woman running toward her. — HANDOVER The two women meet in the middle of the lane. The second woman holds the orange out toward her. The first woman takes it back, slightly embarrassed but laughing. They exchange a quick smile. The second woman jokingly points toward the shopping bag as if telling her to close it properly. — WALKING TOGETHER Instead of separating, they continue walking down the lane together. The first woman puts the orange safely back inside her bag. The second woman laughs and lightly taps the bag to make sure it is closed. The camera follows behind them as they chat casually. — FINAL MOMENT They reach a shaded area beneath a large tree. The first woman looks toward the camera, holds up the rescued orange and says: "This one almost escaped." Both women laugh. They continue walking together down the neighborhood lane as the camera shakily follows behind. AUDIO: Footsteps, rolling orange, bicycle sounds, birds, summer insects, distant scooters, quiet conversations, shopping-bag rustling and subtle camcorder handling noise. No music, narration or soundtrack. FINAL FEEL: A completely ordinary Korean summer afternoon accidentally captured by a friend — casual, spontaneous, slightly funny, nostalgic and believable. Natural chemistry between the two women, realistic walking and hand movements, no exaggerated acting, no model poses and no polished cinematic shot

Smiling Khan

37,321 görüntüleme • 26 gün önce

FROM INBOX | Hello Crimewatch....I want to raise awareness on what people are going through at Showgrounds when looking for transport. It looks like some buses and mahwindi have sort the violent way to get passengers. So I was with my husband and our 3 month old son looking for transport to go to Ngezi. We ultimately wanted the bus that went straight to Ngezi or anything that was leaving Showgrounds immediately. The three in these videos started following us and at first i tried to just walk away claiming i needed water. We tol them we dont need a bus and were waiting for someone. One of them pulled me while I was carrying my baby in a baby carrier when we were close to a bus called Hwenje. They started getting violent with my husband threatening to hit him. One even picked up a stone threatening to fight him. One of the men then 'hit' the other to which the other who had gathered started shouting at him for hitting 'staff yebus' In my mind the safest option was to jump into the nearby bus which left my husband no choice other than to follow. After i had seated, i noticed they were doing the same thing to many others who will be forced to get into the bus seeking 'safety'. The older woman in the other video when she got in the bus one of those three men was shouting that he wanted to 'beat' her achiti 'ngavabude mother avo ndiri kuda nezvavo' . I later realized they were rather friendly with the bus conductor and that was how the bus was loading. People are being traumatized by these people. What sort of company sits down and says our marketing startegy is installing the 'fear of God' in potential passengers? Hwenjez Tours! The video of the three women embarking shows the Conductor's face clearly. Let’s raise awareness so this nonsense may end. Zimbabwe Republic Police Mayor of Harare, Jacob Mafume Felix Tapiwa Mhona

𝐂𝐫𝐢𝐦𝐞 𝐖𝐚𝐭𝐜𝐡 𝐙𝐖

29,160 görüntüleme • 1 yıl önce