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Cirque du Soleil drops $165,000,000 on a single stage show Last night, a college dropout spent $34 on an AI pipeline His 16-second clip hit 2,830,000 views before morning: > A house cat sits in front of an empty gilded mirror. > A full-size lion slowly materializes inside the...

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Auren

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472,626 просмотров • 4 дней назад •via X (Twitter)

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🚨 Warner Bros spent $68,000,000 on a live-action Tom and Jerry movie in 2021 a 20-year-old saw the trend on Douyin, China's TikTok and cleared $11,900 last month bringing it west first. turning old cartoons into real life is a Chinese trend, already blowing up on Douyin. she copied the shape and ran it to TikTok and Reels before anyone else did. > Research: check 40 channels, find the clip beating its own average: 1 day > Claude: copy the shot list frame by frame from Tom and Jerry: 20 min > CapCut: rebuild it to look real, shot by shot, AI voice, captions: 40 min > Make: post it to TikTok, Shorts, Reels, pull the views back in 48h: auto Warner Bros needs a studio, a real lion and a full crew for one scene. she needs a $50 loop and her own cat. the whole teardown is in the article above👇
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🚨 Warner Bros spent $68,000,000 on a live-action Tom and Jerry movie in 2021 a 20-year-old saw the trend on Douyin, China's TikTok and cleared $11,900 last month bringing it west first. turning old cartoons into real life is a Chinese trend, already blowing up on Douyin. she copied the shape and ran it to TikTok and Reels before anyone else did. > Research: check 40 channels, find the clip beating its own average: 1 day > Claude: copy the shot list frame by frame from Tom and Jerry: 20 min > CapCut: rebuild it to look real, shot by shot, AI voice, captions: 40 min > Make: post it to TikTok, Shorts, Reels, pull the views back in 48h: auto Warner Bros needs a studio, a real lion and a full crew for one scene. she needs a $50 loop and her own cat. the whole teardown is in the article above👇

Fokki

2,014,391 просмотров • 2 месяцев назад

This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.
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This guy built a visual scanner that reads 468 points on his face and 42 points on his hands from a regular webcam and turns them into a cloud of thousands of particles right between his palms. Inside, MediaPipe and TouchDesigner are linked: the first captures hands and face from the webcam with high accuracy, the second turns those coordinates into a live plane and feeds it into a POP system that instantly generates a swarm of particles in the shape of a head. No studio, no render farmer, no VR headset. Just a laptop, a webcam, and 1 TouchDesigner session. And traditional VJ studios keep teams of 5 people on a setup with lighting, custom hardware, and commercial plugins, while his expenses are only a TouchDesigner subscription and a regular USB camera. One laptop runs MediaPipe and TouchDesigner simultaneously, holds the camera stream at 60 FPS without drops, and in parallel processes 468 face points + 21 points on each hand. The camera captures frame after frame, MediaPipe in real time sends TouchDesigner the finger coordinates and face geometry, and the POP operator inside the engine translates those numbers into thousands of particle points with colors from bright pink to gold. This setup immediately defines the role of the tool and the limits of its autonomy. It knows where the fingertips are at every moment of the frame. It knows how to read the face geometry at any angle to the camera. It knows how to draw a swarm of particles between them with the right color and contour. → MediaPipe pulls 468 points from the face and 21 points from each hand, 60 times per second → TouchDesigner receives those coordinates, builds a virtual rectangle between the fingertips, and feeds it into the POP system → POP generates thousands of particle points in the shape of a head, coloring them in a gradient from bright pink to gold → The HUD layer adds green corners and a blue neon frame, styling the image like an AR interface → All layers assemble into 1 real-time frame that projects back onto the video in the camera window → The final image is recorded to a file or broadcast to a projector for a live installation And only when the guy spreads his hands wider does the plane between the palms stretch; brings them together, it narrows. Otherwise the system runs on its own. And when he moves from his home room to a concert hall, the same laptop with the same webcam launches the same TouchDesigner session in just 5 minutes, without reconfiguration, without a new team, and without a single line of new code. In his work setup there is no studio of his own and no team for assembly. On the desk sits a laptop with a webcam, on top run MediaPipe and TouchDesigner with POP operators, and the same setup through a USB camera moves to any concert without a new configuration. Out of everything I have seen this year, this is the cleanest Creative Coding setup on 1 laptop: 0 render farms, 0 studio lighting, and between them 3 libraries, thousands of particle points, and 1 webcam.

Blaze

38,242 просмотров • 4 месяцев назад

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

roman

106,768 просмотров • 1 месяц назад

"AI cannot do that" is beginning to sound less certain by the day. Prompt : An epic 15-second ancient war field under harsh daylight, with bronze armor flashing, sand and dust storms rolling low, spears colliding, and cavalry breaking through infantry lines. A royal archer stands on a broken stone platform in side silhouette. The camera starts in a wide horizontal track far across the battlefield, passing waves of fighters before reaching him as he pulls and releases. The arrow bursts forward. The camera tracks beside it from a horizontal side angle, close enough to see the shaft trembling as it slices through dust and sunlight. It races toward a wounded commander kneeling in the open, helmet fallen off, unable to move. The arrow closes fast, every frame increasing tension. Final epic ending: just before impact, a massive armored guard lunges into frame and slams his shield in front of the commander. The arrow drives deep into the shield face with violent force, stopping a breath away from the man behind it. The guard drops to one knee under the impact while the saved commander looks up in disbelief.
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"AI cannot do that" is beginning to sound less certain by the day. Prompt : An epic 15-second ancient war field under harsh daylight, with bronze armor flashing, sand and dust storms rolling low, spears colliding, and cavalry breaking through infantry lines. A royal archer stands on a broken stone platform in side silhouette. The camera starts in a wide horizontal track far across the battlefield, passing waves of fighters before reaching him as he pulls and releases. The arrow bursts forward. The camera tracks beside it from a horizontal side angle, close enough to see the shaft trembling as it slices through dust and sunlight. It races toward a wounded commander kneeling in the open, helmet fallen off, unable to move. The arrow closes fast, every frame increasing tension. Final epic ending: just before impact, a massive armored guard lunges into frame and slams his shield in front of the commander. The arrow drives deep into the shield face with violent force, stopping a breath away from the man behind it. The guard drops to one knee under the impact while the saved commander looks up in disbelief.

Umesh

30,604 просмотров • 5 месяцев назад

Made with Seedance 2.5 PROMT: ⬇️ 15 seconds, 16:9 horizontal, one continuous static take. SUBJECT: An exceptionally beautiful, sexy blonde fitness influencer in her mid-20s. Striking feminine photogenic face, expressive eyes, full lips, lightly tanned skin, long thick blonde hair in a high ponytail, slim feminine athletic hourglass figure. Black fitted gym tank and fitted workout leggings. She has just finished a hard workout: flushed cheeks, visible sweat, slightly damp hair and realistic skin texture. She must remain gorgeous, sexy and photogenic throughout. CAMERA: Recorded on an older camera, standard 1x lens. The camera is mounted horizontally in landscape orientation on a small tabletop tripod standing on the sink counter directly in front of a large wall mirror. The camera points straight at the mirror. The camera itself is the only camera recording the scene. There is no external or third-person camera. The viewer sees the woman primarily through her reflection in the mirror. The reflection of the horizontally mounted camera and small tripod is clearly visible near the bottom-center of the mirror, making the recording setup immediately understandable. COMPOSITION: Large mirror fills most of the frame. Sink and counter are visible along the bottom. In the mirror background, directly behind the recording camera, a bathroom entrance door is clearly visible with a simple recognizable female restroom pictogram. No written restroom text. The woman enters through this exact door and walks toward the sink, so the geography remains physically consistent. LOOK: Raw low-quality camera footage. Heavy compression and sensor noise, slight softness, harsh cool-green fluorescent gym-bathroom lighting, mild auto-exposure fluctuations and realistic bathroom reflections. The CAMERA QUALITY is rough; the WOMAN remains exceptionally beautiful and sexy. No cinematic grading or polished commercial look. AUDIO: Bathroom echo, heavy breathing, running tap, water splashes and paper towel sounds. No music. ACTION: 1. 0–3s: In the mirror background, the women’s restroom door opens. She enters visibly breathless after training, walks toward the sink and looks at her reflection. 2. 3–7s: Standing at the sink, she turns on the tap and splashes cold water over her face. She gasps softly and exhales. 3. 7–11s: She grips the edge of the sink, catches her breath and stares at herself in the mirror. Water runs down her face. She pushes her damp blonde hair back. 4. 11–15s: Still looking at her reflection, she says quietly and breathlessly: “one more set… then I’m done.” She grabs a paper towel, pats her face and starts to turn back toward the door. IMPORTANT: One uninterrupted static 15-second shot. Camera remains horizontally mounted on the tripod for the entire video. Its reflection stays visible in the mirror. The women’s restroom door and female pictogram remain clearly identifiable in the mirror background. Same woman, face, body, outfit and hairstyle throughout. No cuts, no angle changes, no handheld camera, no invisible camera, no extra people, no scene skipping, no broken mirror geometry, no disappearing camera/tripod, no readable text. #AIVideo
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Sensitive content

Made with Seedance 2.5 PROMT: ⬇️ 15 seconds, 16:9 horizontal, one continuous static take. SUBJECT: An exceptionally beautiful, sexy blonde fitness influencer in her mid-20s. Striking feminine photogenic face, expressive eyes, full lips, lightly tanned skin, long thick blonde hair in a high ponytail, slim feminine athletic hourglass figure. Black fitted gym tank and fitted workout leggings. She has just finished a hard workout: flushed cheeks, visible sweat, slightly damp hair and realistic skin texture. She must remain gorgeous, sexy and photogenic throughout. CAMERA: Recorded on an older camera, standard 1x lens. The camera is mounted horizontally in landscape orientation on a small tabletop tripod standing on the sink counter directly in front of a large wall mirror. The camera points straight at the mirror. The camera itself is the only camera recording the scene. There is no external or third-person camera. The viewer sees the woman primarily through her reflection in the mirror. The reflection of the horizontally mounted camera and small tripod is clearly visible near the bottom-center of the mirror, making the recording setup immediately understandable. COMPOSITION: Large mirror fills most of the frame. Sink and counter are visible along the bottom. In the mirror background, directly behind the recording camera, a bathroom entrance door is clearly visible with a simple recognizable female restroom pictogram. No written restroom text. The woman enters through this exact door and walks toward the sink, so the geography remains physically consistent. LOOK: Raw low-quality camera footage. Heavy compression and sensor noise, slight softness, harsh cool-green fluorescent gym-bathroom lighting, mild auto-exposure fluctuations and realistic bathroom reflections. The CAMERA QUALITY is rough; the WOMAN remains exceptionally beautiful and sexy. No cinematic grading or polished commercial look. AUDIO: Bathroom echo, heavy breathing, running tap, water splashes and paper towel sounds. No music. ACTION: 1. 0–3s: In the mirror background, the women’s restroom door opens. She enters visibly breathless after training, walks toward the sink and looks at her reflection. 2. 3–7s: Standing at the sink, she turns on the tap and splashes cold water over her face. She gasps softly and exhales. 3. 7–11s: She grips the edge of the sink, catches her breath and stares at herself in the mirror. Water runs down her face. She pushes her damp blonde hair back. 4. 11–15s: Still looking at her reflection, she says quietly and breathlessly: “one more set… then I’m done.” She grabs a paper towel, pats her face and starts to turn back toward the door. IMPORTANT: One uninterrupted static 15-second shot. Camera remains horizontally mounted on the tripod for the entire video. Its reflection stays visible in the mirror. The women’s restroom door and female pictogram remain clearly identifiable in the mirror background. Same woman, face, body, outfit and hairstyle throughout. No cuts, no angle changes, no handheld camera, no invisible camera, no extra people, no scene skipping, no broken mirror geometry, no disappearing camera/tripod, no readable text. #AIVideo

Alpha Mom

80,867 просмотров • 1 месяц назад

You don't understand... Higgsfield MCP + Claude just automated AI film making. Every single step you used to grind through to make an AI movie, you can now do 10x faster. Drop the script into Claude Opus 4.8 and say: "Here's my script. Break it into a full shotlist. Shot number, scene, shot type, camera move and the action in each frame." Now the whole film is mapped, shot by shot. - Pull your assets. Ask Claude: "From this shotlist, list every character, every location and every prop across the whole film." That's your build list. The stuff you would need to generate and give as references in next steps. - Build the character sheets. Higgsfield MCP is connected, so Claude has hands now to do stuff directly. It generates the images itself. Have the full body, back view and close up in the character sheet. One per character. Each sheet becomes the locked reference for that face. Same move for locations, generate the empty plate for each one before anyone steps into it. - Generate the frames. Feed Claude the references plus the shot and have it write and fire the Seedance 2.0 prompt. "Using the lead's character sheet and the alley plate, generate shot 4 in Seedance 2.0. Low angle, slow push-in, rain." Claude builds the prompt, calls Seedance 2.0 and the frame lands back in chat. Use a Seedance 2.0 skill to teach Claude how to prompt it properly. Now, there are 3 ways to make the shots. Pick one per scene. - Pure prompting. Fastest one. You describe the action in words and let Seedance interpret it. For consistency across a sequence, feed it a frame from the previous shot so the look carries. - Storyboarding. You hand it a panel and it matches that composition exactly. Way more control over how the shot is framed. The tradeoff is that it can introduce more cuts than you actually want. - Path Control System This is the latest technique Seedance 2.0 technique. Generate a still base plate of the scene. Draw a red line across it to mark the exact path of the movement, then describe what's happening. Seedance follows that line for the action. Also ask Claude to remove the red line when animating. This is the one for anything where motion has to land precisely. The output reads like real live action. - Lastly, generate every clip you need, then cut them together. Get it to Capcut for editing and audio design. And that's it. The pipeline that used to need a full crew and a studio can now run from one Claude chat. 2026 is gonna be wild
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You don't understand... Higgsfield MCP + Claude just automated AI film making. Every single step you used to grind through to make an AI movie, you can now do 10x faster. Drop the script into Claude Opus 4.8 and say: "Here's my script. Break it into a full shotlist. Shot number, scene, shot type, camera move and the action in each frame." Now the whole film is mapped, shot by shot. - Pull your assets. Ask Claude: "From this shotlist, list every character, every location and every prop across the whole film." That's your build list. The stuff you would need to generate and give as references in next steps. - Build the character sheets. Higgsfield MCP is connected, so Claude has hands now to do stuff directly. It generates the images itself. Have the full body, back view and close up in the character sheet. One per character. Each sheet becomes the locked reference for that face. Same move for locations, generate the empty plate for each one before anyone steps into it. - Generate the frames. Feed Claude the references plus the shot and have it write and fire the Seedance 2.0 prompt. "Using the lead's character sheet and the alley plate, generate shot 4 in Seedance 2.0. Low angle, slow push-in, rain." Claude builds the prompt, calls Seedance 2.0 and the frame lands back in chat. Use a Seedance 2.0 skill to teach Claude how to prompt it properly. Now, there are 3 ways to make the shots. Pick one per scene. - Pure prompting. Fastest one. You describe the action in words and let Seedance interpret it. For consistency across a sequence, feed it a frame from the previous shot so the look carries. - Storyboarding. You hand it a panel and it matches that composition exactly. Way more control over how the shot is framed. The tradeoff is that it can introduce more cuts than you actually want. - Path Control System This is the latest technique Seedance 2.0 technique. Generate a still base plate of the scene. Draw a red line across it to mark the exact path of the movement, then describe what's happening. Seedance follows that line for the action. Also ask Claude to remove the red line when animating. This is the one for anything where motion has to land precisely. The output reads like real live action. - Lastly, generate every clip you need, then cut them together. Get it to Capcut for editing and audio design. And that's it. The pipeline that used to need a full crew and a studio can now run from one Claude chat. 2026 is gonna be wild

Rez Karim

10,951 просмотров • 3 месяцев назад

Beauty ads just changed forever. Free Claude Opus 4.8 + GPT Image 2 + Seedance 2.0 workflow to spin up 100s of video ads. No studio, no model, no macro lens, no shoot day. Here's what nobody in beauty marketing wants to say out loud. That glossy lip shot. The droplet hitting the surface in slow motion. The whip-pan into the next scene. The crystalline product splash. All the stuff that used to need a real set, a real camera op, and a full shoot day. You can generate every frame of it from a text prompt now, and stitch it into a finished ad before your coffee goes cold. The workflow is almost stupidly simple: → Tell Claude Opus 4.8 the beauty shot you want (dewy skin macro, gloss-on-lips contact, ripple transition, the works) → Claude turns it into a shot-by-shot storyboard plus a prompt for every frame → GPT Image 2 generates the photoreal stills, frame by frame → Seedance 2.0 animates each one into a clip with that buttery slow-mo glide → You drop the clips into HeyOz and assemble the full ad in one place The real unlock is volume. This isn't one hero video. Once the workflow is dialed, you spin up hundreds of variations. Different shades, different models, different hooks, different transitions. The exact creative volume Meta rewards, minus the production cost that used to make it impossible. Old way: one shoot, one look, $10k+, weeks of waiting. New way: a hundred angles, any look, a few dollars each, same afternoon. I wrote up the entire workflow. The Claude storyboard prompt, the GPT Image 2 frame prompts, the Seedance motion settings, the full assembly flow. Completely free, no email gate. Want it? Comment "GLOSS" and I'll send it straight over. (make sure you're following so it can actually reach you)
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Beauty ads just changed forever. Free Claude Opus 4.8 + GPT Image 2 + Seedance 2.0 workflow to spin up 100s of video ads. No studio, no model, no macro lens, no shoot day. Here's what nobody in beauty marketing wants to say out loud. That glossy lip shot. The droplet hitting the surface in slow motion. The whip-pan into the next scene. The crystalline product splash. All the stuff that used to need a real set, a real camera op, and a full shoot day. You can generate every frame of it from a text prompt now, and stitch it into a finished ad before your coffee goes cold. The workflow is almost stupidly simple: → Tell Claude Opus 4.8 the beauty shot you want (dewy skin macro, gloss-on-lips contact, ripple transition, the works) → Claude turns it into a shot-by-shot storyboard plus a prompt for every frame → GPT Image 2 generates the photoreal stills, frame by frame → Seedance 2.0 animates each one into a clip with that buttery slow-mo glide → You drop the clips into HeyOz and assemble the full ad in one place The real unlock is volume. This isn't one hero video. Once the workflow is dialed, you spin up hundreds of variations. Different shades, different models, different hooks, different transitions. The exact creative volume Meta rewards, minus the production cost that used to make it impossible. Old way: one shoot, one look, $10k+, weeks of waiting. New way: a hundred angles, any look, a few dollars each, same afternoon. I wrote up the entire workflow. The Claude storyboard prompt, the GPT Image 2 frame prompts, the Seedance motion settings, the full assembly flow. Completely free, no email gate. Want it? Comment "GLOSS" and I'll send it straight over. (make sure you're following so it can actually reach you)

Ahad Shams | AI Ads Guy

11,288 просмотров • 3 месяцев назад

🔥«IT'S GOING TO BE BIBLICAL»🔥 FROM DARK TO LIGHT - HOW EVERYTHING HAPPENING NOW IS FORETOLD IN THE BIBLE A thread 🧵 5️⃣ THE LION OF JUDAH: ONE BLOODLINE, TWO ROLES THE TRIBE OF JUDAH Judah was one of the twelve sons of Jacob - later called Israel - descending from Noah in the line of Shem. Judah wasn’t the obvious hero at first. But Jacob sees something - maybe the fire under the flaws. In Genesis 49, on his deathbed, he blesses Judah with a Covenant prophesying that his descendants would be like A LION - strong, courageous, and royal: «Judah, your brothers shall praise you… Judah is a lion’s cub… The scepter shall not depart from Judah…until tribute comes to him; and to him shall be the obedience of the Peoples.» That Covenant is The Start. Judah’s tribe gets the kingship. King David was the first monarch to truly fulfill this «kingly» destiny for the tribe, establishing a royal bloodline known as the House of David. JESUS OF THE TRIBE OF JUDAH Jesus - born in Bethlehem, can be traced straight back to David and Judah. Perhaps the story about Jesus isn’t about one man who dies, then is resurrected and comes back. Perhaps it is about the unbreakable DNA of a tribe - a BLOODLINE of raw strength, royal fire, and cosmic purpose. The LION roars through generations. The bloodline’s legacy is to take humanity FROM DARK TO LIGHT. To protect truth, awaken souls and crush the Darkness. Jesus had no throne and no army. His mission was about Knowledge and Awakening. He was not claiming the judge’s seat. Jesus was teaching Ascension - how to shed hate, fear and ego. How to rise as Light. «I am the way to the Father» (John 14:6) means his teachings are the ladder. The knowledge needed to get there. Jesus was of the tribe of Judah - the lion blood in his veins. But his job was about prepping the hearts and minds. Showing us the path. He was not The Son of Man, so perhaps no crucifixion myth is needed. THE SON OF MAN When Enoch’s «Son of Man» comes - he will be of the same bloodline - the same lion heritage. Hidden from creation, chosen before time. Arriving once. No «second coming». 1 Enoch 46-48: «Kings tremble, evil burns, righteous rise». The demons and swamp creatures - all gone. No mercy. No pause. The field clears for humanity’s Ascension. None of the blockers of Light left to postpone it. When Jesus was talking about the Son of Man, he was likely pointing forward, future tense: «You will see the Son of Man coming in clouds with great power and glory» (Mark 13:26). Not «that’s me right now» or «That’s me when I come back around». Enoch wasn’t some secret cult book back then; it was circulating in Jesus’ circles. Jesus knew the scriptures inside out and when he talks «Son of Man coming on clouds» or «throne of glory» he is quoting Enoch and Daniel, and warning us: Learn now. The enforcer is coming later. Jesus and The Son of Man: Same Tribe of Judah bloodline. Two roles. No overlap. One is the Teacher. The other is the Enforcer. THE BIBLE WAS REWRITTEN Later on the Bible got «polished» to fit the purposes of the Church: The Council of Nicaea, the Roman Emperor’s power grab. «The Son of Man will come» morphed into «Jesus is the Son of Man». I think Revelation appears to adapt Enoch’s and Daniel’s imagery - throne, judgment, cosmic arrival - while merging two distinct roles into one figure: Jesus as both slain Lamb and conquering Lion. This fusion strains my logic; a lamb does not roar like a lion. The text’s late composition and heavy symbolism suggest that the intention was to centralize authority, instill fear through apocalyptic threats, and obscure the original sequence - Jesus as teacher, followed by a separate enforcer. But if we try and remove the edits? The plan holds: Jesus teaches the rise. Son of Man drains the swamp. The Q drops mirror this. Exposure: A TRUTH FLOOD, leading to THE GREAT AWAKENING. Followed by JUSTICE. Evil is conquered, humanity levels up and is finally set free.
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🔥«IT'S GOING TO BE BIBLICAL»🔥 FROM DARK TO LIGHT - HOW EVERYTHING HAPPENING NOW IS FORETOLD IN THE BIBLE A thread 🧵 5️⃣ THE LION OF JUDAH: ONE BLOODLINE, TWO ROLES THE TRIBE OF JUDAH Judah was one of the twelve sons of Jacob - later called Israel - descending from Noah in the line of Shem. Judah wasn’t the obvious hero at first. But Jacob sees something - maybe the fire under the flaws. In Genesis 49, on his deathbed, he blesses Judah with a Covenant prophesying that his descendants would be like A LION - strong, courageous, and royal: «Judah, your brothers shall praise you… Judah is a lion’s cub… The scepter shall not depart from Judah…until tribute comes to him; and to him shall be the obedience of the Peoples.» That Covenant is The Start. Judah’s tribe gets the kingship. King David was the first monarch to truly fulfill this «kingly» destiny for the tribe, establishing a royal bloodline known as the House of David. JESUS OF THE TRIBE OF JUDAH Jesus - born in Bethlehem, can be traced straight back to David and Judah. Perhaps the story about Jesus isn’t about one man who dies, then is resurrected and comes back. Perhaps it is about the unbreakable DNA of a tribe - a BLOODLINE of raw strength, royal fire, and cosmic purpose. The LION roars through generations. The bloodline’s legacy is to take humanity FROM DARK TO LIGHT. To protect truth, awaken souls and crush the Darkness. Jesus had no throne and no army. His mission was about Knowledge and Awakening. He was not claiming the judge’s seat. Jesus was teaching Ascension - how to shed hate, fear and ego. How to rise as Light. «I am the way to the Father» (John 14:6) means his teachings are the ladder. The knowledge needed to get there. Jesus was of the tribe of Judah - the lion blood in his veins. But his job was about prepping the hearts and minds. Showing us the path. He was not The Son of Man, so perhaps no crucifixion myth is needed. THE SON OF MAN When Enoch’s «Son of Man» comes - he will be of the same bloodline - the same lion heritage. Hidden from creation, chosen before time. Arriving once. No «second coming». 1 Enoch 46-48: «Kings tremble, evil burns, righteous rise». The demons and swamp creatures - all gone. No mercy. No pause. The field clears for humanity’s Ascension. None of the blockers of Light left to postpone it. When Jesus was talking about the Son of Man, he was likely pointing forward, future tense: «You will see the Son of Man coming in clouds with great power and glory» (Mark 13:26). Not «that’s me right now» or «That’s me when I come back around». Enoch wasn’t some secret cult book back then; it was circulating in Jesus’ circles. Jesus knew the scriptures inside out and when he talks «Son of Man coming on clouds» or «throne of glory» he is quoting Enoch and Daniel, and warning us: Learn now. The enforcer is coming later. Jesus and The Son of Man: Same Tribe of Judah bloodline. Two roles. No overlap. One is the Teacher. The other is the Enforcer. THE BIBLE WAS REWRITTEN Later on the Bible got «polished» to fit the purposes of the Church: The Council of Nicaea, the Roman Emperor’s power grab. «The Son of Man will come» morphed into «Jesus is the Son of Man». I think Revelation appears to adapt Enoch’s and Daniel’s imagery - throne, judgment, cosmic arrival - while merging two distinct roles into one figure: Jesus as both slain Lamb and conquering Lion. This fusion strains my logic; a lamb does not roar like a lion. The text’s late composition and heavy symbolism suggest that the intention was to centralize authority, instill fear through apocalyptic threats, and obscure the original sequence - Jesus as teacher, followed by a separate enforcer. But if we try and remove the edits? The plan holds: Jesus teaches the rise. Son of Man drains the swamp. The Q drops mirror this. Exposure: A TRUTH FLOOD, leading to THE GREAT AWAKENING. Followed by JUSTICE. Evil is conquered, humanity levels up and is finally set free.

Bendleruschka

24,589 просмотров • 6 месяцев назад

📖THE STEP MOST CREATORS SKIP IS WHY THEIR AI ANIMATION LOOKS INCONSISTENT Consistency across clips doesn't come from prompting — it comes from the reference image. The pipeline, step by step: ▪ Start with ChatGPT Image 2 — generate a full character design sheet first, not just a single frame. Multiple angles, expressions, and outfit variations in one image keeps the character consistent across every scene ▪ Build a storyboard inside ChatGPT Image 2 as well — define each shot, camera angle, action, and mood before touching Seedance at all. This is the step most people skip and it's the reason clips look disconnected ▪ Define a color palette and lighting mood early — golden afternoon light, soft warm tones, dramatic shadows. Lock those values and repeat them across every prompt ▪ Take each storyboard frame into Seedance 2.0 as the reference image — one frame becomes one clip ▪ Write the Seedance prompt around the character action, not the scene description. The scene is already in the image. The prompt handles motion, camera behavior, and timing ▪ Keep clip duration between 4-6 seconds per shot — shorter clips give more control over pacing and reduce motion drift on character faces ▪ Match camera movement type across consecutive clips — if one shot dollies in, the next should hold or pull back, not dolly again The consistency across these frames comes from the character design sheet, not from luck. Seedance reads the reference image and the prompt together — if the reference is detailed enough, the output stays on-model. This video was created by ALOKXMEHTA 📥 tomorrow: the exact ChatGPT Image 2 prompt structure used to generate a multi-angle character design sheet like this one 🔖One article covers the entire workflow — it is pinned below, do not scroll past it.
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📖THE STEP MOST CREATORS SKIP IS WHY THEIR AI ANIMATION LOOKS INCONSISTENT Consistency across clips doesn't come from prompting — it comes from the reference image. The pipeline, step by step: ▪ Start with ChatGPT Image 2 — generate a full character design sheet first, not just a single frame. Multiple angles, expressions, and outfit variations in one image keeps the character consistent across every scene ▪ Build a storyboard inside ChatGPT Image 2 as well — define each shot, camera angle, action, and mood before touching Seedance at all. This is the step most people skip and it's the reason clips look disconnected ▪ Define a color palette and lighting mood early — golden afternoon light, soft warm tones, dramatic shadows. Lock those values and repeat them across every prompt ▪ Take each storyboard frame into Seedance 2.0 as the reference image — one frame becomes one clip ▪ Write the Seedance prompt around the character action, not the scene description. The scene is already in the image. The prompt handles motion, camera behavior, and timing ▪ Keep clip duration between 4-6 seconds per shot — shorter clips give more control over pacing and reduce motion drift on character faces ▪ Match camera movement type across consecutive clips — if one shot dollies in, the next should hold or pull back, not dolly again The consistency across these frames comes from the character design sheet, not from luck. Seedance reads the reference image and the prompt together — if the reference is detailed enough, the output stays on-model. This video was created by ALOKXMEHTA 📥 tomorrow: the exact ChatGPT Image 2 prompt structure used to generate a multi-angle character design sheet like this one 🔖One article covers the entire workflow — it is pinned below, do not scroll past it.

Zentrix⌚️

14,015 просмотров • 2 месяцев назад

Elon Musk gave the entire entertainment industry its expiration date, and he is the one building the thing that kills it. Musk: “My guess is that we see the first compelling half hour, pure AI show next year.” Next year. A complete show generated entirely by AI. No writers. No actors. No cameras. No sets. No crew. No studio. Just a prompt and enough compute to render a reality that never physically existed. And shows are the easy part. Musk: “I say probably we’re maybe three years away from AI does the whole video game.” A show plays the same way every time. A game has to generate a living world that reacts to every decision in real time across every single frame. That is a fundamentally harder class of problem. And Musk put three years on it. Right now a single AAA title takes seven years and half a billion dollars across thousands of engineers and artists just to ship it. Musk is describing a world where one person types a paragraph and gets something comparable. The entire value proposition of a multi-billion dollar industry lives inside that gap. And it closes in thirty-six months. But the prediction is not the story. The person making it is. This is not an analyst speculating from the sidelines. This is the man building the largest AI compute clusters on the planet. The man who built xAI from zero in under two years. The man stacking hundreds of thousands of GPUs into facilities designed to do exactly what he is describing. When Musk says three years, he is not guessing about what someone else might eventually ship. He is reading you a delivery date off his own roadmap. Every media company on Earth is valued on a single assumption. That quality content is expensive and difficult to produce at scale. That one assumption is the structural foundation underneath every studio, every network, and every publisher in existence. Musk is dismantling it with raw compute. The studios still parading thousand-person production teams are not demonstrating strength. They are advertising the exact cost structure that one person with a prompt and a GPU allocation is about to make irrelevant. And it does not stop at entertainment. If AI can generate an interactive world that responds to human input in real time, it can generate anything. Advertising. Architecture. Training simulations. Product design. Every industry built on humans manually constructing visual experiences frame by frame is sitting on the same countdown Musk just read out loud. Now zoom out. Because this is not just an industry story. For the entire history of human civilization, the distance between imagining a world and actually creating one required thousands of people, millions of hours, and billions of dollars. That distance built Hollywood. That distance built the gaming industry. That distance made content scarce and studios powerful. Musk is collapsing that distance to zero. When the gap between imagining something and it existing disappears, every business model built on the difficulty of creation disappears with it. That is not disruption. That is a full inversion of how human beings create. Musk did not make a casual prediction on that podcast. He told you what he is building. He told you the timeline. And he told you which industries do not survive it. The entertainment industry is still debating whether this future is real. Musk is not part of that debate. He is building. And he just told you the delivery date.
0:17

Elon Musk gave the entire entertainment industry its expiration date, and he is the one building the thing that kills it. Musk: “My guess is that we see the first compelling half hour, pure AI show next year.” Next year. A complete show generated entirely by AI. No writers. No actors. No cameras. No sets. No crew. No studio. Just a prompt and enough compute to render a reality that never physically existed. And shows are the easy part. Musk: “I say probably we’re maybe three years away from AI does the whole video game.” A show plays the same way every time. A game has to generate a living world that reacts to every decision in real time across every single frame. That is a fundamentally harder class of problem. And Musk put three years on it. Right now a single AAA title takes seven years and half a billion dollars across thousands of engineers and artists just to ship it. Musk is describing a world where one person types a paragraph and gets something comparable. The entire value proposition of a multi-billion dollar industry lives inside that gap. And it closes in thirty-six months. But the prediction is not the story. The person making it is. This is not an analyst speculating from the sidelines. This is the man building the largest AI compute clusters on the planet. The man who built xAI from zero in under two years. The man stacking hundreds of thousands of GPUs into facilities designed to do exactly what he is describing. When Musk says three years, he is not guessing about what someone else might eventually ship. He is reading you a delivery date off his own roadmap. Every media company on Earth is valued on a single assumption. That quality content is expensive and difficult to produce at scale. That one assumption is the structural foundation underneath every studio, every network, and every publisher in existence. Musk is dismantling it with raw compute. The studios still parading thousand-person production teams are not demonstrating strength. They are advertising the exact cost structure that one person with a prompt and a GPU allocation is about to make irrelevant. And it does not stop at entertainment. If AI can generate an interactive world that responds to human input in real time, it can generate anything. Advertising. Architecture. Training simulations. Product design. Every industry built on humans manually constructing visual experiences frame by frame is sitting on the same countdown Musk just read out loud. Now zoom out. Because this is not just an industry story. For the entire history of human civilization, the distance between imagining a world and actually creating one required thousands of people, millions of hours, and billions of dollars. That distance built Hollywood. That distance built the gaming industry. That distance made content scarce and studios powerful. Musk is collapsing that distance to zero. When the gap between imagining something and it existing disappears, every business model built on the difficulty of creation disappears with it. That is not disruption. That is a full inversion of how human beings create. Musk did not make a casual prediction on that podcast. He told you what he is building. He told you the timeline. And he told you which industries do not survive it. The entertainment industry is still debating whether this future is real. Musk is not part of that debate. He is building. And he just told you the delivery date.

Dustin

22,458 просмотров • 2 месяцев назад

UGC on Seedance 2.5 is on another level Awesome Results Prompt 👇 Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded sunglasses, retail box, and leather carrying case as locked product references. Maintain perfect product consistency, including the frame shape, lenses, hinges, colors, materials, and proportions. Create an ultra-realistic UGC luxury creator review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the retail box and leather case. Smiling at the camera, she says, "I genuinely wasn't expecting to love these this much." She picks up the box, opens it naturally, reveals the leather case, then slowly removes the sunglasses while continuing, "The packaging already feels incredibly premium." She rotates the sunglasses slowly in front of the camera, showing the frame, hinges, and lenses as natural reflections glide across the surface. She smiles and says, "The finish feels amazing, and they're incredibly lightweight." She puts on the sunglasses, stands up, and walks toward a large full-length mirror. Looking at her reflection, she adjusts the frame naturally and says, "Honestly... they look so good, and they're really comfortable on the eyes, even in bright sunlight." She turns slightly left and right so the sunglasses catch the sunlight from different angles before removing them with a smile. Walking back to the bed, she places the sunglasses beside the leather case and retail box, then picks them up one last time and holds them beside her face. Looking directly into the camera, she smiles warmly and says, "Definitely one of my favorite accessories this year." The camera slowly pushes in on the sunglasses before fading out. Ultra-realistic UGC fashion content, authentic creator review, cinematic handheld smartphone movement, luxury bedroom, macro product cinematography, realistic reflections, detailed frame textures, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, 4K HDR, 16:9, no subtitles, no logos, no watermarks, no on-screen text.
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UGC on Seedance 2.5 is on another level Awesome Results Prompt 👇 Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded sunglasses, retail box, and leather carrying case as locked product references. Maintain perfect product consistency, including the frame shape, lenses, hinges, colors, materials, and proportions. Create an ultra-realistic UGC luxury creator review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the retail box and leather case. Smiling at the camera, she says, "I genuinely wasn't expecting to love these this much." She picks up the box, opens it naturally, reveals the leather case, then slowly removes the sunglasses while continuing, "The packaging already feels incredibly premium." She rotates the sunglasses slowly in front of the camera, showing the frame, hinges, and lenses as natural reflections glide across the surface. She smiles and says, "The finish feels amazing, and they're incredibly lightweight." She puts on the sunglasses, stands up, and walks toward a large full-length mirror. Looking at her reflection, she adjusts the frame naturally and says, "Honestly... they look so good, and they're really comfortable on the eyes, even in bright sunlight." She turns slightly left and right so the sunglasses catch the sunlight from different angles before removing them with a smile. Walking back to the bed, she places the sunglasses beside the leather case and retail box, then picks them up one last time and holds them beside her face. Looking directly into the camera, she smiles warmly and says, "Definitely one of my favorite accessories this year." The camera slowly pushes in on the sunglasses before fading out. Ultra-realistic UGC fashion content, authentic creator review, cinematic handheld smartphone movement, luxury bedroom, macro product cinematography, realistic reflections, detailed frame textures, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, 4K HDR, 16:9, no subtitles, no logos, no watermarks, no on-screen text.

Smiling Khan

15,032 просмотров • 1 месяц назад

Created on seedance 2.0 Prompt: A cinematic, atmospheric scene in a dimly lit, empty underground parking garage at night. A young East Asian woman with long dark hair, wearing an olive-green oversized jacket and cargo pants, walks slowly away from the camera down the center of a wide parking lane, holding a white plastic bag in her right hand. The environment is cool-toned with concrete pillars, fluorescent tube lights on the ceiling casting harsh shadows, and painted arrows on the glossy floor. She approaches a parked dark green/teal luxury sedan on the right side. She stops beside the car, raises her arm, and hangs the white plastic bag on the side mirror or door handle. She then turns slightly toward the camera, leans against the car for a moment, pulls out her phone with both hands, and looks down at the screen with a focused, slightly uneasy expression. Suddenly, a eerie supernatural moment: a translucent, ghostly pale female figure with long black hair and a white dress materializes in the background behind her. The woman looks up from her phone in shock as the ghost stands motionless, staring. Quick motion blur and dramatic tension as she reacts. Moody horror-thriller style, realistic lighting, subtle film grain, cool blue-cyan color grading, slow deliberate camera movement following her from behind then panning slightly to the side. 12-second duration, high detail, cinematic." This prompt captures the full sequence from the provided video frames while being optimized for AI video tools. You can adjust details like aspect ratio (16:9), style (more horror, more realistic), or camera movement as needed.
0:12

Created on seedance 2.0 Prompt: A cinematic, atmospheric scene in a dimly lit, empty underground parking garage at night. A young East Asian woman with long dark hair, wearing an olive-green oversized jacket and cargo pants, walks slowly away from the camera down the center of a wide parking lane, holding a white plastic bag in her right hand. The environment is cool-toned with concrete pillars, fluorescent tube lights on the ceiling casting harsh shadows, and painted arrows on the glossy floor. She approaches a parked dark green/teal luxury sedan on the right side. She stops beside the car, raises her arm, and hangs the white plastic bag on the side mirror or door handle. She then turns slightly toward the camera, leans against the car for a moment, pulls out her phone with both hands, and looks down at the screen with a focused, slightly uneasy expression. Suddenly, a eerie supernatural moment: a translucent, ghostly pale female figure with long black hair and a white dress materializes in the background behind her. The woman looks up from her phone in shock as the ghost stands motionless, staring. Quick motion blur and dramatic tension as she reacts. Moody horror-thriller style, realistic lighting, subtle film grain, cool blue-cyan color grading, slow deliberate camera movement following her from behind then panning slightly to the side. 12-second duration, high detail, cinematic." This prompt captures the full sequence from the provided video frames while being optimized for AI video tools. You can adjust details like aspect ratio (16:9), style (more horror, more realistic), or camera movement as needed.

liana

12,075 просмотров • 2 месяцев назад

🚨 Major studios spent tens of millions of dollars on live-action versions of classic cartoons A 22-year-old animator from China spotted this trend exploding on Douyin and made $13,942 last month by being the first to bring it to Western TikTok and Reels. Turning old hand-drawn cartoons into realistic footage started over there and is still climbing. He copied the format and launched it before anyone else. > Kimi K3: hold the series in one window, write 250 shot prompts off a single character file: 1 day > Seedream: draw every still with the build copied word for word, never paraphrased: 20 min > Seedance: animate the keepers only, so a wrong face never reaches a render bill: 40 min > ElevenLabs: one locked voice, a delivery note under every line: auto Studios need soundstages, real animals and a full crew for one scene. He just needs a $67 stack and his own cat. Every prompt is in the article above 👇
0:15

🚨 Major studios spent tens of millions of dollars on live-action versions of classic cartoons A 22-year-old animator from China spotted this trend exploding on Douyin and made $13,942 last month by being the first to bring it to Western TikTok and Reels. Turning old hand-drawn cartoons into realistic footage started over there and is still climbing. He copied the format and launched it before anyone else. > Kimi K3: hold the series in one window, write 250 shot prompts off a single character file: 1 day > Seedream: draw every still with the build copied word for word, never paraphrased: 20 min > Seedance: animate the keepers only, so a wrong face never reaches a render bill: 40 min > ElevenLabs: one locked voice, a delivery note under every line: auto Studios need soundstages, real animals and a full crew for one scene. He just needs a $67 stack and his own cat. Every prompt is in the article above 👇

Ridark

56,272 просмотров • 25 дней назад

UGC on Seedance 2.5 is just crazy Prompt : Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded sunglasses, retail box, and leather carrying case as locked product references. Maintain perfect product consistency, including the frame shape, lenses, hinges, colors, materials, and proportions. Create an ultra-realistic UGC luxury creator review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the retail box and leather case. Smiling at the camera, she says, "I genuinely wasn't expecting to love these this much." She picks up the box, opens it naturally, reveals the leather case, then slowly removes the sunglasses while continuing, "The packaging already feels incredibly premium." She rotates the sunglasses slowly in front of the camera, showing the frame, hinges, and lenses as natural reflections glide across the surface. She smiles and says, "The finish feels amazing, and they're incredibly lightweight." She puts on the sunglasses, stands up, and walks toward a large full-length mirror. Looking at her reflection, she adjusts the frame naturally and says, "Honestly... they look so good, and they're really comfortable on the eyes, even in bright sunlight." She turns slightly left and right so the sunglasses catch the sunlight from different angles before removing them with a smile. Walking back to the bed, she places the sunglasses beside the leather case and retail box, then picks them up one last time and holds them beside her face. Looking directly into the camera, she smiles warmly and says, "Definitely one of my favorite accessories this year." The camera slowly pushes in on the sunglasses before fading out. Ultra-realistic UGC fashion content, authentic creator review, cinematic handheld smartphone movement, luxury bedroom, macro product cinematography, realistic reflections, detailed frame textures, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, 4K HDR, 16:9, no subtitles, no logos, no watermarks, no on-screen text on it
0:15

UGC on Seedance 2.5 is just crazy Prompt : Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, makeup, skin tone, body proportions, white sleeveless fitted top, light blue wide-leg jeans, pearl choker, rings, and bracelets consistently throughout the video. Use the uploaded sunglasses, retail box, and leather carrying case as locked product references. Maintain perfect product consistency, including the frame shape, lenses, hinges, colors, materials, and proportions. Create an ultra-realistic UGC luxury creator review filmed inside a modern luxury bedroom with warm golden-hour sunlight, soft natural shadows, and a premium lifestyle aesthetic. The camera feels like a handheld smartphone with subtle natural movement while maintaining cinematic commercial quality. The video begins with the woman sitting on the bed beside the retail box and leather case. Smiling at the camera, she says, "I genuinely wasn't expecting to love these this much." She picks up the box, opens it naturally, reveals the leather case, then slowly removes the sunglasses while continuing, "The packaging already feels incredibly premium." She rotates the sunglasses slowly in front of the camera, showing the frame, hinges, and lenses as natural reflections glide across the surface. She smiles and says, "The finish feels amazing, and they're incredibly lightweight." She puts on the sunglasses, stands up, and walks toward a large full-length mirror. Looking at her reflection, she adjusts the frame naturally and says, "Honestly... they look so good, and they're really comfortable on the eyes, even in bright sunlight." She turns slightly left and right so the sunglasses catch the sunlight from different angles before removing them with a smile. Walking back to the bed, she places the sunglasses beside the leather case and retail box, then picks them up one last time and holds them beside her face. Looking directly into the camera, she smiles warmly and says, "Definitely one of my favorite accessories this year." The camera slowly pushes in on the sunglasses before fading out. Ultra-realistic UGC fashion content, authentic creator review, cinematic handheld smartphone movement, luxury bedroom, macro product cinematography, realistic reflections, detailed frame textures, expressive facial animation, perfect lip sync, shallow depth of field, premium color grading, 4K HDR, 16:9, no subtitles, no logos, no watermarks, no on-screen text on it

Synthia

54,462 просмотров • 1 месяц назад

Seedance 2.0 / continuous one-take / hyperreal water physics. It takes lot of time to make VFX rendering for a shot like this. Seedance just generated it in minutes First frame image prompt 🔽 A lone emergency technician in an orange survival jacket stands on the shattered roof of a flooded museum in a drowned European capital, storm clouds overhead, broken statues and floating debris below, cold blue-grey palette, cinematic disaster realism, wet surfaces, strong scale, 35mm film look Created with nano banana pro ImagineArt Video Prompt: 👇 "Disaster film realism, one-take. The camera starts high above a drowned capital city in violent storm weather, then dives toward a lone emergency technician standing on the shattered roof of a flooded museum. He sees a rescue flare in the distance and runs. The camera follows tightly behind him as he sprints across collapsing rooftops, leaps over broken skylights, slides down a tilted glass dome, and grabs a dangling cable. Below, dark floodwater surges through streets filled with drifting cars and statues. He lands on a partially submerged tram roof, keeps moving, and reaches a rescue beacon platform just as a giant wave crashes past behind him. Cold grey-blue apocalyptic palette, hyperreal water physics, wind, spray, handheld urgency, one continuous shot, no cuts."
0:15

Seedance 2.0 / continuous one-take / hyperreal water physics. It takes lot of time to make VFX rendering for a shot like this. Seedance just generated it in minutes First frame image prompt 🔽 A lone emergency technician in an orange survival jacket stands on the shattered roof of a flooded museum in a drowned European capital, storm clouds overhead, broken statues and floating debris below, cold blue-grey palette, cinematic disaster realism, wet surfaces, strong scale, 35mm film look Created with nano banana pro ImagineArt Video Prompt: 👇 "Disaster film realism, one-take. The camera starts high above a drowned capital city in violent storm weather, then dives toward a lone emergency technician standing on the shattered roof of a flooded museum. He sees a rescue flare in the distance and runs. The camera follows tightly behind him as he sprints across collapsing rooftops, leaps over broken skylights, slides down a tilted glass dome, and grabs a dangling cable. Below, dark floodwater surges through streets filled with drifting cars and statues. He lands on a partially submerged tram roof, keeps moving, and reaches a rescue beacon platform just as a giant wave crashes past behind him. Cold grey-blue apocalyptic palette, hyperreal water physics, wind, spray, handheld urgency, one continuous shot, no cuts."

Dheepan Ratnam

33,863 просмотров • 5 месяцев назад

We have released Seedance 2.0. Due to the 2500-character limit, please translate the following prompts into Chinese before use. [Technical Specs] Generate a 10-second, 16:9, 720p cinematic video. Smooth continuous camera motion with no cuts. The overall pacing is fast and tightly compressed, with rapid escalation from start to finish. Audio evolves quickly from a high-performance engine idle into intricate mechanical shifting and clicks, culminating in a soft electronic chime and the distinct sound of a "mwah" blowing kiss. [Global Constraints] Only the evolving mechanical character appears; no other humans or characters. All transformations must follow physical logic and maintain structural continuity. No object should pass through or intersect with other solid objects. Every robotic component must originate from visible parts of the Porsche 911 (doors, hood, wheels, chassis) through unfolding, splitting, or reconfiguration. [Scene Setup — 0:00–0:01] A sleek, metallic silver Porsche 911 sits on a rain-slicked futuristic city street at night, neon lights reflecting off its polished surface. The camera starts at a low-angle front-quarter view and begins a fast, smooth tracking-arc towards the side. [Rapid Transformation Initiation — 0:01–0:03] Transformation triggers instantly. The car’s suspension drops, and the frame begins to fracture into a complex grid of panels. The doors swing open and begin to segment into articulated arm structures. The front hood splits down the center, folding inward to reveal a glowing internal core. The headlights flicker and start to reorient as the "eyes." [Accelerated Feminine Reconfiguration — 0:03–0:07] The mechanical action is dense, overlapping, and fluid, emphasizing graceful but powerful motion. Lower Body: The rear wheels and wheel arches split and rotate downward, reassembling into slender, high-heeled mechanical legs. Torso: The roof and rear engine cover slide and compress, forming a sleek, curvaceous hourglass torso that retains the car’s aerodynamic lines. Arms & Hands: The side mirrors and door panels unfold into delicate but strong hands and fingers. Head: The front bumper and emblem area segment and rise, folding into a feminine-shaped head with a sleek metallic "helmet" visor. [Logical Transformation Constraints — No Spontaneous Appearance] The robot’s "skin" is composed of the car's outer silver panels. The internal frame and wiring emerge from the engine and undercarriage. No parts appear out of thin air; every joint is a reconfigured automotive component. [Transformation Completion — 0:07–0:08.5] The robot stands tall and elegant. The silver panels lock into place with a satisfying "click," revealing glowing blue LED accents in the seams. The silhouette is clearly feminine, humanoid, and sophisticated, reflecting the premium design of the original vehicle. [Final Hero Ending — 0:08.5–0:10] As the robot stabilizes, the camera performs a rapid, smooth zoom-in (Dolly-In) directly to her face. The robot tilts its head slightly, and the optic sensors (eyes) brighten. It brings its mechanical hand to its metallic lips and performs a graceful blowing kiss (fly-kiss) gesture toward the camera. The video ends with a close-up of the face, capturing the reflection of neon lights in its visor just as the kiss is released. [Cinematography Notes] Continuous Motion: No cuts or fades; the camera must transition from the car-tracking shot to the face-zoom seamlessly. Material Consistency: The robot must maintain the exact metallic silver paint, texture, and reflections of the Porsche. Energy: The transformation should feel high-energy and "force-driven," while the final gesture is soft and charismatic.
0:10

We have released Seedance 2.0. Due to the 2500-character limit, please translate the following prompts into Chinese before use. [Technical Specs] Generate a 10-second, 16:9, 720p cinematic video. Smooth continuous camera motion with no cuts. The overall pacing is fast and tightly compressed, with rapid escalation from start to finish. Audio evolves quickly from a high-performance engine idle into intricate mechanical shifting and clicks, culminating in a soft electronic chime and the distinct sound of a "mwah" blowing kiss. [Global Constraints] Only the evolving mechanical character appears; no other humans or characters. All transformations must follow physical logic and maintain structural continuity. No object should pass through or intersect with other solid objects. Every robotic component must originate from visible parts of the Porsche 911 (doors, hood, wheels, chassis) through unfolding, splitting, or reconfiguration. [Scene Setup — 0:00–0:01] A sleek, metallic silver Porsche 911 sits on a rain-slicked futuristic city street at night, neon lights reflecting off its polished surface. The camera starts at a low-angle front-quarter view and begins a fast, smooth tracking-arc towards the side. [Rapid Transformation Initiation — 0:01–0:03] Transformation triggers instantly. The car’s suspension drops, and the frame begins to fracture into a complex grid of panels. The doors swing open and begin to segment into articulated arm structures. The front hood splits down the center, folding inward to reveal a glowing internal core. The headlights flicker and start to reorient as the "eyes." [Accelerated Feminine Reconfiguration — 0:03–0:07] The mechanical action is dense, overlapping, and fluid, emphasizing graceful but powerful motion. Lower Body: The rear wheels and wheel arches split and rotate downward, reassembling into slender, high-heeled mechanical legs. Torso: The roof and rear engine cover slide and compress, forming a sleek, curvaceous hourglass torso that retains the car’s aerodynamic lines. Arms & Hands: The side mirrors and door panels unfold into delicate but strong hands and fingers. Head: The front bumper and emblem area segment and rise, folding into a feminine-shaped head with a sleek metallic "helmet" visor. [Logical Transformation Constraints — No Spontaneous Appearance] The robot’s "skin" is composed of the car's outer silver panels. The internal frame and wiring emerge from the engine and undercarriage. No parts appear out of thin air; every joint is a reconfigured automotive component. [Transformation Completion — 0:07–0:08.5] The robot stands tall and elegant. The silver panels lock into place with a satisfying "click," revealing glowing blue LED accents in the seams. The silhouette is clearly feminine, humanoid, and sophisticated, reflecting the premium design of the original vehicle. [Final Hero Ending — 0:08.5–0:10] As the robot stabilizes, the camera performs a rapid, smooth zoom-in (Dolly-In) directly to her face. The robot tilts its head slightly, and the optic sensors (eyes) brighten. It brings its mechanical hand to its metallic lips and performs a graceful blowing kiss (fly-kiss) gesture toward the camera. The video ends with a close-up of the face, capturing the reflection of neon lights in its visor just as the kiss is released. [Cinematography Notes] Continuous Motion: No cuts or fades; the camera must transition from the car-tracking shot to the face-zoom seamlessly. Material Consistency: The robot must maintain the exact metallic silver paint, texture, and reflections of the Porsche. Energy: The transformation should feel high-energy and "force-driven," while the final gesture is soft and charismatic.

underwood

19,462 просмотров • 5 месяцев назад

seedance 2.0 Our website is now live. prompt： Theme: The final play in the atmosphere of the NBA Finals, a superstar's step-back three-pointer for the game-winning shot. Duration: 15 seconds. Frame: 9:16. Vertical screen. Style: Ultra-realistic sports live broadcast + cinematic bullet time replay of key moments. Core principle: Like a live broadcast, not a game, not a commercial studio shoot. 15-second storyboard: 0.0s - 2.5s Close-up sideline shot, the protagonist dribbles the ball at a 45-degree angle on the right side. The arena is packed, with a real score bar and countdown at the top. The camera shakes slightly, like a handheld stabilizer used with a telephoto lens for broadcasting. The rubbing of shoes and the suppressed cheers of the crowd can be heard. 2.5s - 5.0s The defender closes in, the protagonist dribbles and changes direction repeatedly, probing with his shoulder, the physical contact is obvious. The camera zooms in on the dribbling area above the chest and waist, sweat, breathing, and jersey movements are clearly visible. The basket remains visible in the upper part of the frame. 5.0s - 7.0s The protagonist suddenly stops and steps back, creating half a step of space. The timer has only 2 to 3 seconds left. The commentator's volume rises, and the audience begins to stand. This is a build-up of emotion, no slow motion. 7.0s - 8.5s: Jump and release, entering bullet time. The camera circles in a semi-circle from the protagonist's side and front, moving at an extremely slow speed. Focused close-ups: fingers flicking the ball, beads of sweat hanging in the air, jersey fibers, shoe soles leaving the ground, audience flashes, the backboard and lights creating a strong sense of spatial depth. 8.5s - 10.5s: Instantly returning to normal speed, the basketball arcs high towards the basket. The camera zooms in slightly, the net, rim, and scoreboard all in focus. The sound effects tighten, briefly lowering the ambient noise to make the basket more impactful. 10.5s - 12.0s: Swish through the net, the "swish" of the net is very clear, the buzzer sounds almost simultaneously. The score changes, the commentator explodes, the audience erupts. 12.0s - 15.0s: The protagonist lands, turns around, and roars or spreads his arms in celebration; teammates rush over, the audience erupts in cheers, and cell phone flashes fill the screen. The camera then switches back to a live broadcast style, retaining a slight sense of compression and the chaotic atmosphere of the scene, like capturing the actual moment after the match.
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seedance 2.0 Our website is now live. prompt： Theme: The final play in the atmosphere of the NBA Finals, a superstar's step-back three-pointer for the game-winning shot. Duration: 15 seconds. Frame: 9:16. Vertical screen. Style: Ultra-realistic sports live broadcast + cinematic bullet time replay of key moments. Core principle: Like a live broadcast, not a game, not a commercial studio shoot. 15-second storyboard: 0.0s - 2.5s Close-up sideline shot, the protagonist dribbles the ball at a 45-degree angle on the right side. The arena is packed, with a real score bar and countdown at the top. The camera shakes slightly, like a handheld stabilizer used with a telephoto lens for broadcasting. The rubbing of shoes and the suppressed cheers of the crowd can be heard. 2.5s - 5.0s The defender closes in, the protagonist dribbles and changes direction repeatedly, probing with his shoulder, the physical contact is obvious. The camera zooms in on the dribbling area above the chest and waist, sweat, breathing, and jersey movements are clearly visible. The basket remains visible in the upper part of the frame. 5.0s - 7.0s The protagonist suddenly stops and steps back, creating half a step of space. The timer has only 2 to 3 seconds left. The commentator's volume rises, and the audience begins to stand. This is a build-up of emotion, no slow motion. 7.0s - 8.5s: Jump and release, entering bullet time. The camera circles in a semi-circle from the protagonist's side and front, moving at an extremely slow speed. Focused close-ups: fingers flicking the ball, beads of sweat hanging in the air, jersey fibers, shoe soles leaving the ground, audience flashes, the backboard and lights creating a strong sense of spatial depth. 8.5s - 10.5s: Instantly returning to normal speed, the basketball arcs high towards the basket. The camera zooms in slightly, the net, rim, and scoreboard all in focus. The sound effects tighten, briefly lowering the ambient noise to make the basket more impactful. 10.5s - 12.0s: Swish through the net, the "swish" of the net is very clear, the buzzer sounds almost simultaneously. The score changes, the commentator explodes, the audience erupts. 12.0s - 15.0s: The protagonist lands, turns around, and roars or spreads his arms in celebration; teammates rush over, the audience erupts in cheers, and cell phone flashes fill the screen. The camera then switches back to a live broadcast style, retaining a slight sense of compression and the chaotic atmosphere of the scene, like capturing the actual moment after the match.

underwood

33,358 просмотров • 5 месяцев назад

sorry, they just did WHAT someone gave a machine one disease name, the leading cause of blindness in the developed world with 1.5 million americans already in its path, and it came back pointing at a drug that has sat in pharmacies for years under a different label: 551 papers read in 30 minutes against the 294 hours a human would have needed, and the loop that did it is public on GitHub most agent setups answer one question at a time, so the ceiling on the work is the quality of the question you happened to think of this one was handed a single question and wrote the second one itself. turns out that follow-up is where the real find was: a target called ABCA1, upregulated threefold, in an experiment no human ordered i read the whole paper looking for the trick, and the trick is structural. that is the second question, and it is the gap between an assistant and a factory: - hand the loop a field rather than a task: it was given a disease, and choosing the mechanism was part of its job - make it rank before it spends: 151 papers in, ten candidate mechanisms out, scored against each other before anything touched a bench - split reading from judging, so the agent that forms the theory is a different agent from the one grading it - close every cycle on physical reality: the verdict was an experiment, and another model's opinion was never allowed to stand in for one - feed each result back as the next question rather than a log line, which is the step almost nobody builds - search what already passed inspection first: the winner was an approved compound with a safety file already on record - write down what the round learned before opening the next one, so round two starts where round one stopped my read, and i think it is the uncomfortable one: reading was the entire bottleneck in that field, and everybody spent the decade optimising the writing. people ran every physical experiment here, the analysis agent needs a domain expert writing its prompts, and the authors decline to call this the leap it resembles. the thinking got replaced, and the hands did not so the question i cannot answer for my own setup: which step of your loop still stops dead until you sit down and type something bookmark this one. the four parts that turn one model into a line that runs like this, the queue, the rooms, the write permissions and the gate, are built file by file in the piece below ↓
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sorry, they just did WHAT someone gave a machine one disease name, the leading cause of blindness in the developed world with 1.5 million americans already in its path, and it came back pointing at a drug that has sat in pharmacies for years under a different label: 551 papers read in 30 minutes against the 294 hours a human would have needed, and the loop that did it is public on GitHub most agent setups answer one question at a time, so the ceiling on the work is the quality of the question you happened to think of this one was handed a single question and wrote the second one itself. turns out that follow-up is where the real find was: a target called ABCA1, upregulated threefold, in an experiment no human ordered i read the whole paper looking for the trick, and the trick is structural. that is the second question, and it is the gap between an assistant and a factory: - hand the loop a field rather than a task: it was given a disease, and choosing the mechanism was part of its job - make it rank before it spends: 151 papers in, ten candidate mechanisms out, scored against each other before anything touched a bench - split reading from judging, so the agent that forms the theory is a different agent from the one grading it - close every cycle on physical reality: the verdict was an experiment, and another model's opinion was never allowed to stand in for one - feed each result back as the next question rather than a log line, which is the step almost nobody builds - search what already passed inspection first: the winner was an approved compound with a safety file already on record - write down what the round learned before opening the next one, so round two starts where round one stopped my read, and i think it is the uncomfortable one: reading was the entire bottleneck in that field, and everybody spent the decade optimising the writing. people ran every physical experiment here, the analysis agent needs a domain expert writing its prompts, and the authors decline to call this the leap it resembles. the thinking got replaced, and the hands did not so the question i cannot answer for my own setup: which step of your loop still stops dead until you sit down and type something bookmark this one. the four parts that turn one model into a line that runs like this, the queue, the rooms, the write permissions and the gate, are built file by file in the piece below ↓

Argona

32,475 просмотров • 1 месяц назад

The Fall of a Mortal, The Rise of a Divine Angel Warrior Made with seedance 2.0 Prompt: Cinematic epic fantasy transformation sequence, 14 seconds, ultra-detailed, dramatic lighting, golden hour sunbeams and god rays piercing through ancient marble ruins of a grand destroyed cathedral with broken pillars and golden leaves. 0-3s: A beautiful woman with long brown hair, wearing black leggings and white crop top, desperately falls from height onto cracked marble floor while tightly holding a fluffy white long-haired cat in her arms. She lands hard, dust flies, she looks scared and protective of the cat. 3-6s: Medium shot, she kneels on the steps of the ruined temple holding the cat, picks up a glowing golden crystal that shines brightly in her hand. Close-up on her worried face with red lips and a small forehead wound, cat looking curious. She stares at the crystal intensely. 6-9s: Dramatic power awakening - her eyes start glowing bright golden, she screams powerfully as golden energy explodes around her. Her clothes transform into shining white and gold angelic armor with intricate details, shoulder plates, chest emblem. The white cat stays in her arms, looking calm. 9-12s: Full heroic transformation - massive glowing white wings burst from her back, golden energy chains and particles swirl. She now holds two glowing energy swords. The white cat dramatically transforms into a majestic armored white lion with glowing eyes and golden markings. Epic low-angle shot, she stands tall with the lion beside her on the temple steps, both ready for battle, wind blowing her hair, intense lens flares and magical sparks everywhere. 12-14s: Final powerful pose - she spreads her huge glowing wings wide, lion roars with open mouth, both holding shining swords, bright divine light explodes and fills the screen with golden energy burst and motion blur at the end. Style: Hyper-realistic cinematic, like high-budget Hollywood fantasy trailer, dramatic camera angles, slow-motion moments mixed with fast action, intense color grading with gold and white tones, volumetric lighting, dust particles, epic orchestral feel. 9:16 vertical for social media, ultra HD, 4K.
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The Fall of a Mortal, The Rise of a Divine Angel Warrior Made with seedance 2.0 Prompt: Cinematic epic fantasy transformation sequence, 14 seconds, ultra-detailed, dramatic lighting, golden hour sunbeams and god rays piercing through ancient marble ruins of a grand destroyed cathedral with broken pillars and golden leaves. 0-3s: A beautiful woman with long brown hair, wearing black leggings and white crop top, desperately falls from height onto cracked marble floor while tightly holding a fluffy white long-haired cat in her arms. She lands hard, dust flies, she looks scared and protective of the cat. 3-6s: Medium shot, she kneels on the steps of the ruined temple holding the cat, picks up a glowing golden crystal that shines brightly in her hand. Close-up on her worried face with red lips and a small forehead wound, cat looking curious. She stares at the crystal intensely. 6-9s: Dramatic power awakening - her eyes start glowing bright golden, she screams powerfully as golden energy explodes around her. Her clothes transform into shining white and gold angelic armor with intricate details, shoulder plates, chest emblem. The white cat stays in her arms, looking calm. 9-12s: Full heroic transformation - massive glowing white wings burst from her back, golden energy chains and particles swirl. She now holds two glowing energy swords. The white cat dramatically transforms into a majestic armored white lion with glowing eyes and golden markings. Epic low-angle shot, she stands tall with the lion beside her on the temple steps, both ready for battle, wind blowing her hair, intense lens flares and magical sparks everywhere. 12-14s: Final powerful pose - she spreads her huge glowing wings wide, lion roars with open mouth, both holding shining swords, bright divine light explodes and fills the screen with golden energy burst and motion blur at the end. Style: Hyper-realistic cinematic, like high-budget Hollywood fantasy trailer, dramatic camera angles, slow-motion moments mixed with fast action, intense color grading with gold and white tones, volumetric lighting, dust particles, epic orchestral feel. 9:16 vertical for social media, ultra HD, 4K.

Noor

18,406 просмотров • 2 месяцев назад

From Bed to Sky Wake Up & Fly to Success! The most epic futuristic morning ever Made with seedance 2.0 Prompt: A cinematic 14-second vertical 9:16 video, hyper-realistic, dramatic lighting, smooth transitions. 0-2s: Dark modern bedroom at night. A black smartphone is ringing on a wooden bedside table (green call screen visible). A beautiful East Asian woman with silver-gray hair in blue striped pajamas is sleeping in bed. She slowly wakes up, stretches her arm, grabs the phone from the nightstand, looks at it tiredly, then puts it back and lies down again, eyes closing. 2-5s: Close-up of her peacefully sleeping face on the pillow. Suddenly the entire bed starts transforming dramatically — mechanical robotic arms, thrusters, and wings emerge from under the bed frame. The bedroom walls glitch and morph into a futuristic high-tech setup for a second. 5-8s: The robotic flying bed with the woman still lying in it lifts off the floor with bright blue-white thruster flames. It bursts through the large glass windows and flies out into a bright sunny morning city skyline full of skyscrapers. 8-11s: Epic aerial tracking shots —
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From Bed to Sky Wake Up & Fly to Success! The most epic futuristic morning ever Made with seedance 2.0 Prompt: A cinematic 14-second vertical 9:16 video, hyper-realistic, dramatic lighting, smooth transitions. 0-2s: Dark modern bedroom at night. A black smartphone is ringing on a wooden bedside table (green call screen visible). A beautiful East Asian woman with silver-gray hair in blue striped pajamas is sleeping in bed. She slowly wakes up, stretches her arm, grabs the phone from the nightstand, looks at it tiredly, then puts it back and lies down again, eyes closing. 2-5s: Close-up of her peacefully sleeping face on the pillow. Suddenly the entire bed starts transforming dramatically — mechanical robotic arms, thrusters, and wings emerge from under the bed frame. The bedroom walls glitch and morph into a futuristic high-tech setup for a second. 5-8s: The robotic flying bed with the woman still lying in it lifts off the floor with bright blue-white thruster flames. It bursts through the large glass windows and flies out into a bright sunny morning city skyline full of skyscrapers. 8-11s: Epic aerial tracking shots —

Noor

13,356 просмотров • 2 месяцев назад