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Create your own doodle animations the magic combo here is a photoreal object that stays perfectly still while hand-drawn doodles animate around it with a wobbly "boiling line" effect (lines redrawn every few frames, like a sketchbook come alive). Perfect loops and soft paper/pencil sound design make these extremely...

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Pan

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16,278 görüntüleme • 1 ay önce •via X (Twitter)

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The pencil was never the point. They keep saying “just pick up a pencil” like it’s some noble gate. Like suffering with charcoal makes the art more real. Like the idea, the vision, the emotion the actual soul of creation doesn’t matter if it didn’t come from a bleeding hand. I picked up the pencil for years. I bled on paper, on canvas, on deadlines. And then I discovered a new tool. The tool didn’t replace my soul. It amplified it. Now I create faster, bigger, wilder, and deeper than I ever could with just my hands. The spark is still mine. The story is still mine. The emotion is still mine. The pencil was never the art. The human behind it was. To every AI artist still getting hate in 2026: Your art is real. Your voice is real. Your vision is real. We’re not cheating the system. We’re evolving it. The gatekeepers can keep clutching their pencils. We’ll be over here building entire worlds. Keep creating. Keep dreaming bigger. The future doesn’t need their permission. And neither do we. AI ART IS ART #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #AiArtist #Artist #Art
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The pencil was never the point. They keep saying “just pick up a pencil” like it’s some noble gate. Like suffering with charcoal makes the art more real. Like the idea, the vision, the emotion the actual soul of creation doesn’t matter if it didn’t come from a bleeding hand. I picked up the pencil for years. I bled on paper, on canvas, on deadlines. And then I discovered a new tool. The tool didn’t replace my soul. It amplified it. Now I create faster, bigger, wilder, and deeper than I ever could with just my hands. The spark is still mine. The story is still mine. The emotion is still mine. The pencil was never the art. The human behind it was. To every AI artist still getting hate in 2026: Your art is real. Your voice is real. Your vision is real. We’re not cheating the system. We’re evolving it. The gatekeepers can keep clutching their pencils. We’ll be over here building entire worlds. Keep creating. Keep dreaming bigger. The future doesn’t need their permission. And neither do we. AI ART IS ART #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #AiArtist #Artist #Art

Toshi

11,876 görüntüleme • 27 gün önce

Meet X-Design - an AI brand design agent that builds your brand identity in minutes. I tried this with a simple one-line prompt: "Convert the cocktail in this image into a bar logo called ‘Glow Bar’, with hand-drawn red lines on a white background." A few minutes later, it delivered: → A glowing logo concept → Posters, flyers, menus, and campaign materials → Merchandise mockups → Full brand kit From a single idea → to a full brand. Not just images - your brand identity, ready to go. Honestly? This is one of the wildest AI tools of 2025. Worth checking out:
1:12

Meet X-Design - an AI brand design agent that builds your brand identity in minutes. I tried this with a simple one-line prompt: "Convert the cocktail in this image into a bar logo called ‘Glow Bar’, with hand-drawn red lines on a white background." A few minutes later, it delivered: → A glowing logo concept → Posters, flyers, menus, and campaign materials → Merchandise mockups → Full brand kit From a single idea → to a full brand. Not just images - your brand identity, ready to go. Honestly? This is one of the wildest AI tools of 2025. Worth checking out:

Chidanand Tripathi

132,022 görüntüleme • 10 ay önce

this guy made >12 Million views with 2D basic long-form videos making these with AI is extremely easy here is how i’ve copied the channel with CalliopeLabs: 1- took 5 screenshots 2- sent them to gemini asking for a JSON 3- pasted this into the Visual Style lab: { "general_visual_style": { “2D Flat Digital Animation, Minimalist Storybook aesthetic, Webtoon Style tone Orderly, Structured, Calm, Slightly Melancholic, Routine”, "atmosphere": "atmospheric Flat colors, Clean line art, Cel-shading, No complex gradients, 2D Vector look, Extremely minimal faces: dot eyes, single-line mouths, simple hair shapes with no individual strands. Rigid or calm postures." }, the video u see below is a snippet from a vid automatically generated by Calliope i made a template and included: - a watermark - music “old/cartoon creepy” mood (no-copyright) - captions + vertical Pan effect obviously yo can play with those settings and/or delete them yo can also even animate the images there is still an opportunity: he/she keeps posting, getting views and monetizing meaning that the niche is still hot I made a short DEMO on how to i created this video with my own tool⬇️ drop a comment +fllw asking for it and i’ll send it to you :) (follow so i can DM!)
2:09

this guy made >12 Million views with 2D basic long-form videos making these with AI is extremely easy here is how i’ve copied the channel with CalliopeLabs: 1- took 5 screenshots 2- sent them to gemini asking for a JSON 3- pasted this into the Visual Style lab: { "general_visual_style": { “2D Flat Digital Animation, Minimalist Storybook aesthetic, Webtoon Style tone Orderly, Structured, Calm, Slightly Melancholic, Routine”, "atmosphere": "atmospheric Flat colors, Clean line art, Cel-shading, No complex gradients, 2D Vector look, Extremely minimal faces: dot eyes, single-line mouths, simple hair shapes with no individual strands. Rigid or calm postures." }, the video u see below is a snippet from a vid automatically generated by Calliope i made a template and included: - a watermark - music “old/cartoon creepy” mood (no-copyright) - captions + vertical Pan effect obviously yo can play with those settings and/or delete them yo can also even animate the images there is still an opportunity: he/she keeps posting, getting views and monetizing meaning that the niche is still hot I made a short DEMO on how to i created this video with my own tool⬇️ drop a comment +fllw asking for it and i’ll send it to you :) (follow so i can DM!)

Sergio Gil

59,641 görüntüleme • 5 ay önce

Created with GPT Image 2 + Omni Flash / Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: Background: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold dark blue: HAN RIVER WET & DRY 2 IN 1 STEAM IRON Subtitle: ASMR UNBOXING (POV HAND) Information boxes below the title: Duration: 30 Seconds (3 Parts) Style: POV Hand, ASMR, Premium Product Commercial Audience: Home Users, Housewife, Young Adults Voiceover: No Voiceover (Pure ASMR) Audio Suggestion: Tapping, Crinkle, Cardboard, Click, Steam, Water Pouring Layout: Create 12 storyboard panels arranged in a 4 column × 3 row grid, divided into three horizontal blocks labeled PART 1 (0 to 10s), PART 2 (10 to 20s), and PART 3 (20 to 30s). Each panel should contain: A numbered dark blue badge (1 to 12) with its respective timestamp. A realistic cinematic image showing the scene. Handwritten white and orange doodle text sketched over the image. Four text sections below every image: VISUAL: ACTION: DOODLE: AUDIO: Aesthetic Style: Premium lifestyle commercial advertising style. Realistic product photography, light wood or beige table, soft warm studio lighting, shallow depth of field, POV hands only with no face visible. The product is a sleek, cream colored handheld steam iron with a gold rimmed ceramic base. Storyboard sequence: PART 1 (0 to 10s) 1 (0 to 2.5s) Visual: Product box placed flat on a wooden table. Action: Hands enter frame and tap the sides of the box. Doodle: NEW! Audio: Cardboard tapping. 2 (2.5 to 5s) Visual: Close up of the box lid, focusing on the brand logo. Action: Fingers gently trace the printed logo and illustration. Doodle: LET'S OPEN! Audio: Finger scratching on cardboard. 3 (5 to 7.5s) Visual: A box cutter slicing the sealing tape. Action: Blade slowly cuts through the adhesive tape. Doodle: SLICE... Audio: Tape cutting. 4 (7.5 to 10s) Visual: The box flaps are opened, revealing the wrapped product and manual inside. Action: Hands open the main flaps wide. Doodle: WOW! Audio: Box opening. PART 2 (10 to 20s) 5 (10 to 12.5s) Visual: Instruction manual being held up. Action: Hands flip through the pages of the manual. Doodle: MANUAL Audio: Paper flipping. 6 (12.5 to 15s) Visual: The iron is lifted out, still wrapped in its protective plastic sheet. Action: Pulling the wrapped unit completely out of the box. Doodle: CRINKLE~ Audio: Plastic crinkling. 7 (15 to 17.5s) Visual: Peeling away the protective plastic cover to reveal the premium body. Action: Hands slowly unwrap and twist the iron to inspect it. Doodle: SO CLEAN! Audio: Plastic removal. 8 (17.5 to 20s) Visual: Ultra close up of the pristine ceramic soleplate. Action: A single finger smoothly glides down the center of the soleplate. Doodle: SMOOTH Audio: Finger glide on ceramic. PART 3 (20 to 30s) 9 (20 to 22.5s) Visual: Rotating the ergonomic handle. Action: Hand twists the handle 180 degrees until it locks into place. Doodle: 180° Audio: Handle rotation click. 10 (22.5 to 25s) Visual: Water being added to the built in tank. Action: Pouring clean water slowly into the small inlet using a measuring cup. Doodle: FILL Audio: Water pouring. 11 (25 to 27.5s) Visual: The steam button being pressed. Action: Thumb presses the button, and a powerful burst of steam erupts from the base. Doodle: PSSSH~ Audio: Steam release blast. 12 (27.5 to 30s) Visual: Final hero shot of the steam iron standing upright next to its box and measuring cup. Action: Hand enters frame to give a confident thumbs up. Doodle: READY! Audio: Light tap on the table. Footer Infographic Sections: WHAT'S IN THE BOX: Small grid icons showing Steam Iron, Instruction Manual, Measuring Cup, and Power Cord. KEY FEATURES: Checkmarks for Wet & Dry 2 in 1 180° Swivel Handle 150ml Water Tank Ceramic Soleplate Powerful Steam WARRANTY: A prominent 2 YEARS WARRANTY shield badge. IDEAL FOR / WHY CHOOSE IT: Minimalist icons for Home Use, Travel, Small Spaces Bullet points: Lightweight Easy to Use Fast Heating Safe Metadata Text Line: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hand, ASMR, Premium Product Commercial Typography should resemble a professional creative agency storyboard layout featuring neat spacing, sharp dark blue accents, thin gray grid boundaries, and a highly polished presentation structure perfect for a client pitch.
0:27

Created with GPT Image 2 + Omni Flash / Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: Background: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold dark blue: HAN RIVER WET & DRY 2 IN 1 STEAM IRON Subtitle: ASMR UNBOXING (POV HAND) Information boxes below the title: Duration: 30 Seconds (3 Parts) Style: POV Hand, ASMR, Premium Product Commercial Audience: Home Users, Housewife, Young Adults Voiceover: No Voiceover (Pure ASMR) Audio Suggestion: Tapping, Crinkle, Cardboard, Click, Steam, Water Pouring Layout: Create 12 storyboard panels arranged in a 4 column × 3 row grid, divided into three horizontal blocks labeled PART 1 (0 to 10s), PART 2 (10 to 20s), and PART 3 (20 to 30s). Each panel should contain: A numbered dark blue badge (1 to 12) with its respective timestamp. A realistic cinematic image showing the scene. Handwritten white and orange doodle text sketched over the image. Four text sections below every image: VISUAL: ACTION: DOODLE: AUDIO: Aesthetic Style: Premium lifestyle commercial advertising style. Realistic product photography, light wood or beige table, soft warm studio lighting, shallow depth of field, POV hands only with no face visible. The product is a sleek, cream colored handheld steam iron with a gold rimmed ceramic base. Storyboard sequence: PART 1 (0 to 10s) 1 (0 to 2.5s) Visual: Product box placed flat on a wooden table. Action: Hands enter frame and tap the sides of the box. Doodle: NEW! Audio: Cardboard tapping. 2 (2.5 to 5s) Visual: Close up of the box lid, focusing on the brand logo. Action: Fingers gently trace the printed logo and illustration. Doodle: LET'S OPEN! Audio: Finger scratching on cardboard. 3 (5 to 7.5s) Visual: A box cutter slicing the sealing tape. Action: Blade slowly cuts through the adhesive tape. Doodle: SLICE... Audio: Tape cutting. 4 (7.5 to 10s) Visual: The box flaps are opened, revealing the wrapped product and manual inside. Action: Hands open the main flaps wide. Doodle: WOW! Audio: Box opening. PART 2 (10 to 20s) 5 (10 to 12.5s) Visual: Instruction manual being held up. Action: Hands flip through the pages of the manual. Doodle: MANUAL Audio: Paper flipping. 6 (12.5 to 15s) Visual: The iron is lifted out, still wrapped in its protective plastic sheet. Action: Pulling the wrapped unit completely out of the box. Doodle: CRINKLE~ Audio: Plastic crinkling. 7 (15 to 17.5s) Visual: Peeling away the protective plastic cover to reveal the premium body. Action: Hands slowly unwrap and twist the iron to inspect it. Doodle: SO CLEAN! Audio: Plastic removal. 8 (17.5 to 20s) Visual: Ultra close up of the pristine ceramic soleplate. Action: A single finger smoothly glides down the center of the soleplate. Doodle: SMOOTH Audio: Finger glide on ceramic. PART 3 (20 to 30s) 9 (20 to 22.5s) Visual: Rotating the ergonomic handle. Action: Hand twists the handle 180 degrees until it locks into place. Doodle: 180° Audio: Handle rotation click. 10 (22.5 to 25s) Visual: Water being added to the built in tank. Action: Pouring clean water slowly into the small inlet using a measuring cup. Doodle: FILL Audio: Water pouring. 11 (25 to 27.5s) Visual: The steam button being pressed. Action: Thumb presses the button, and a powerful burst of steam erupts from the base. Doodle: PSSSH~ Audio: Steam release blast. 12 (27.5 to 30s) Visual: Final hero shot of the steam iron standing upright next to its box and measuring cup. Action: Hand enters frame to give a confident thumbs up. Doodle: READY! Audio: Light tap on the table. Footer Infographic Sections: WHAT'S IN THE BOX: Small grid icons showing Steam Iron, Instruction Manual, Measuring Cup, and Power Cord. KEY FEATURES: Checkmarks for Wet & Dry 2 in 1 180° Swivel Handle 150ml Water Tank Ceramic Soleplate Powerful Steam WARRANTY: A prominent 2 YEARS WARRANTY shield badge. IDEAL FOR / WHY CHOOSE IT: Minimalist icons for Home Use, Travel, Small Spaces Bullet points: Lightweight Easy to Use Fast Heating Safe Metadata Text Line: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hand, ASMR, Premium Product Commercial Typography should resemble a professional creative agency storyboard layout featuring neat spacing, sharp dark blue accents, thin gray grid boundaries, and a highly polished presentation structure perfect for a client pitch.

Shore Lyn

32,855 görüntüleme • 1 ay önce

Motion graphics used to take me an hour per scene (or more) Now I'm creating them in 3-5 minutes — without After Effects, without Premiere, without writing a single line of code. I'm a former LA filmmaker (still PGA). My entire video stack is now 3 tools: Claude Code + HyperFrames (from HeyGen) + Descript Here's how the workflow runs: 1. Drop my brand style guide into a folder (colors, fonts, components Claude reuses forever) 2. Paste a line from my Descript transcript into Claude Code: "Create a scene for this part of the video" 3. Claude Code reads my brand, generates the HyperFrames scene, renders it to MP4 4. Drag the MP4 into Descript, drop it on the matching line of the transcript 5. Done. 3-5 minutes per scene. The unlock is the brand style guide. Once Claude has your colors, fonts, and reusable components, every scene inherits your look automatically. Bonus — you can take a Claude Design export (.zip), hand it to Claude Code, and it'll convert the HTML into a HyperFrames video you can render and edit. I built a GitHub repo with all the skills pre-loaded. Non-developers can clone it, open Claude Code, and be rendering scenes in under 10 minutes. Full walkthrough (20 min video) below Repo (skills + brand template + music-from-transcript plugin): Bookmark this if you make videos. The brand-style-guide pattern alone will save you hours every week. If you're a creator or operator using AI for content — share this with someone who's still living in After Effects.
23:55

Motion graphics used to take me an hour per scene (or more) Now I'm creating them in 3-5 minutes — without After Effects, without Premiere, without writing a single line of code. I'm a former LA filmmaker (still PGA). My entire video stack is now 3 tools: Claude Code + HyperFrames (from HeyGen) + Descript Here's how the workflow runs: 1. Drop my brand style guide into a folder (colors, fonts, components Claude reuses forever) 2. Paste a line from my Descript transcript into Claude Code: "Create a scene for this part of the video" 3. Claude Code reads my brand, generates the HyperFrames scene, renders it to MP4 4. Drag the MP4 into Descript, drop it on the matching line of the transcript 5. Done. 3-5 minutes per scene. The unlock is the brand style guide. Once Claude has your colors, fonts, and reusable components, every scene inherits your look automatically. Bonus — you can take a Claude Design export (.zip), hand it to Claude Code, and it'll convert the HTML into a HyperFrames video you can render and edit. I built a GitHub repo with all the skills pre-loaded. Non-developers can clone it, open Claude Code, and be rendering scenes in under 10 minutes. Full walkthrough (20 min video) below Repo (skills + brand template + music-from-transcript plugin): Bookmark this if you make videos. The brand-style-guide pattern alone will save you hours every week. If you're a creator or operator using AI for content — share this with someone who's still living in After Effects.

JJ Englert

103,543 görüntüleme • 3 ay önce

I just cracked the code on AI animation ads 🤯 every one of these cost me 12 cents and under 20 seconds to make Gemini Omni + Claude Code is f*cking wild. i built a system that turns any product into an end-to-end AI animated ad in ANY style you want.. claymation, pixar-style 3D, anime, paper cutout, lego, you name it you drop in your product photo and a one line pitch and it handles everything end to end. images, video, voiceover, music, captions, all generated with AI inside Claude.. AI animation ads are crushing on Meta right now and everyone still assumes you need an expensive editor with a 3-week turnaround time to make one. you don't. you just need the right workflow. Im making full end to end high quality AI animation ads in under 3 minutes with this system and they work just as hard organically on TikTok, reels and shorts so i packaged the whole thing up… here's what you're getting: > every prompt i used across all 8 steps > the exact tool stack + the order to run it in > style recipes for claymation, pixar, anime, wes anderson, retro cartoon + CGI > one system that works for paid Meta AND organic built across Claude Code and Gemini Omni RT + reply 'STYLES' and i'll send it over (must be following so i can dm)
0:22

I just cracked the code on AI animation ads 🤯 every one of these cost me 12 cents and under 20 seconds to make Gemini Omni + Claude Code is f*cking wild. i built a system that turns any product into an end-to-end AI animated ad in ANY style you want.. claymation, pixar-style 3D, anime, paper cutout, lego, you name it you drop in your product photo and a one line pitch and it handles everything end to end. images, video, voiceover, music, captions, all generated with AI inside Claude.. AI animation ads are crushing on Meta right now and everyone still assumes you need an expensive editor with a 3-week turnaround time to make one. you don't. you just need the right workflow. Im making full end to end high quality AI animation ads in under 3 minutes with this system and they work just as hard organically on TikTok, reels and shorts so i packaged the whole thing up… here's what you're getting: > every prompt i used across all 8 steps > the exact tool stack + the order to run it in > style recipes for claymation, pixar, anime, wes anderson, retro cartoon + CGI > one system that works for paid Meta AND organic built across Claude Code and Gemini Omni RT + reply 'STYLES' and i'll send it over (must be following so i can dm)

Miko

113,272 görüntüleme • 1 ay önce

Tamanna Bhatia 🩷 Created this by using a movement sheet as a reference image to animate the dance using Seedance 2.0 + ChatGPT image 2.0 GPT Image 2.0 Prompt: Dance Sequence Instruction Sheet [VISUAL STYLE] A composition featuring a highly detailed 3D-rendered female dancer. Designed like a professional choreography guide with a technical, diagram-inspired layout. Clean white background, soft studio lighting, and strong contrast to highlight body movement and posture. [GRID LAYOUT] Structured 4×4 panel grid (16 frames total), evenly spaced with thin black divider lines. Each panel is identical in size and clearly numbered from 1 to 16 to show a continuous dance progression. [CHARACTER] Use image1 as the base character. The same female dancer appears consistently across all panels with accurate likeness and proportions. [WARDROBE] The dancer wears a stylish, performance-ready outfit: a well-fitted top paired with a short, flowy skirt. The look should feel modern and visually appealing while still practical for dance movement. Fabric should subtly respond to motion (slight flow and folds), even in grayscale. [PANEL STRUCTURE – EACH FRAME] Top-left: Step number + short dance move title (e.g., “Step 5 – Spin Transition”) Center: Full-body pose capturing a precise moment in the choreography Bottom-left: 3–4 lines of concise instruction describing the move Overlay: Motion arrows and directional guides illustrating how the dancer transitions [MOTION INDICATORS] Incorporate curved arrows for fluid motion, straight arrows for directional steps, and circular indicators for spins or turns. Emphasize rhythm, weight shifts, and body isolation. [RENDER QUALITY] High-detail sculpted 3D style with smooth grayscale shading, subtle shadows, and clean linework. Maintain a polished, concept-art level finish with clarity in every pose. [RESTRICTIONS] No color, no background scenery, no extra characters, no visual clutter, only the dancer and instructional elements..
0:20

Tamanna Bhatia 🩷 Created this by using a movement sheet as a reference image to animate the dance using Seedance 2.0 + ChatGPT image 2.0 GPT Image 2.0 Prompt: Dance Sequence Instruction Sheet [VISUAL STYLE] A composition featuring a highly detailed 3D-rendered female dancer. Designed like a professional choreography guide with a technical, diagram-inspired layout. Clean white background, soft studio lighting, and strong contrast to highlight body movement and posture. [GRID LAYOUT] Structured 4×4 panel grid (16 frames total), evenly spaced with thin black divider lines. Each panel is identical in size and clearly numbered from 1 to 16 to show a continuous dance progression. [CHARACTER] Use image1 as the base character. The same female dancer appears consistently across all panels with accurate likeness and proportions. [WARDROBE] The dancer wears a stylish, performance-ready outfit: a well-fitted top paired with a short, flowy skirt. The look should feel modern and visually appealing while still practical for dance movement. Fabric should subtly respond to motion (slight flow and folds), even in grayscale. [PANEL STRUCTURE – EACH FRAME] Top-left: Step number + short dance move title (e.g., “Step 5 – Spin Transition”) Center: Full-body pose capturing a precise moment in the choreography Bottom-left: 3–4 lines of concise instruction describing the move Overlay: Motion arrows and directional guides illustrating how the dancer transitions [MOTION INDICATORS] Incorporate curved arrows for fluid motion, straight arrows for directional steps, and circular indicators for spins or turns. Emphasize rhythm, weight shifts, and body isolation. [RENDER QUALITY] High-detail sculpted 3D style with smooth grayscale shading, subtle shadows, and clean linework. Maintain a polished, concept-art level finish with clarity in every pose. [RESTRICTIONS] No color, no background scenery, no extra characters, no visual clutter, only the dancer and instructional elements..

Sydney

11,457 görüntüleme • 3 ay önce

DRONE VIDEOGRAPHERS CHARGE $10K FOR THIS SHOT. HE PULLS IT FROM GOOGLE EARTH AND A PROMPT You never buy a drone, book a pilot, or leave the house. You pick any city on Earth, trace the flight path you want, and let Gemini render it as real-looking FPV footage. Clients pay thousands for this shot. You make it from a screenshot Here is the exact process: 1. Open Google Earth. Find the city or building you want. Frame the angle you'd want a drone to start from and take a screenshot 2. Draw the path. On that screenshot, draw a red line showing exactly where the drone should fly through the scene. This line is what the AI follows 3. Open Gemini and drop in the screenshot. Use the video generation in the Gemini app, the part that animates a still image into motion. Nano Banana handles images, the video engine is what turns your shot into footage 4. Paste the prompt. Tell it to follow the red flight path through the city, fast smooth motion, banking around buildings, golden-hour light, motion blur, 9:16 vertical, real FPV drone look. Full prompt is in the comments 5. Generate and clean it up. One clip is a few seconds. Stitch a couple together for a full flythrough and you have a reel Set the prompt once and you can re-run it for any location on the planet Who pays for this: Real estate agents, hotels, restaurants and event venues all need aerial b-roll and almost none can afford a real drone shoot Pull listings or venues with flat, ground-level photos and zero aerial footage. Send a free sample flythrough of their own location, then charge per clip or a monthly rate for ongoing reels One agent with ten listings is a recurring client, fully online Full prompt in the comments Bookmark this
0:21

DRONE VIDEOGRAPHERS CHARGE $10K FOR THIS SHOT. HE PULLS IT FROM GOOGLE EARTH AND A PROMPT You never buy a drone, book a pilot, or leave the house. You pick any city on Earth, trace the flight path you want, and let Gemini render it as real-looking FPV footage. Clients pay thousands for this shot. You make it from a screenshot Here is the exact process: 1. Open Google Earth. Find the city or building you want. Frame the angle you'd want a drone to start from and take a screenshot 2. Draw the path. On that screenshot, draw a red line showing exactly where the drone should fly through the scene. This line is what the AI follows 3. Open Gemini and drop in the screenshot. Use the video generation in the Gemini app, the part that animates a still image into motion. Nano Banana handles images, the video engine is what turns your shot into footage 4. Paste the prompt. Tell it to follow the red flight path through the city, fast smooth motion, banking around buildings, golden-hour light, motion blur, 9:16 vertical, real FPV drone look. Full prompt is in the comments 5. Generate and clean it up. One clip is a few seconds. Stitch a couple together for a full flythrough and you have a reel Set the prompt once and you can re-run it for any location on the planet Who pays for this: Real estate agents, hotels, restaurants and event venues all need aerial b-roll and almost none can afford a real drone shoot Pull listings or venues with flat, ground-level photos and zero aerial footage. Send a free sample flythrough of their own location, then charge per clip or a monthly rate for ongoing reels One agent with ten listings is a recurring client, fully online Full prompt in the comments Bookmark this

Yarchi

53,401 görüntüleme • 2 ay önce

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!
3:33

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

Startracker 🔺

20,181 görüntüleme • 6 ay önce

Someone ran Claude Code on a beach where any device overheats and that spot suddenly turned out to be the best home for the most powerful AI in the world. This is the reMarkable Paper Pro. A paper tablet for notes with no browser and no social media and not a single app. He sat down right on the sand in the open sun and brought up Claude Code on Opus 4.6 over the Claude API on the paper screen and opened his project ~/repos/webs while the waves broke a few steps away. For years every device had the same trouble outside. In direct sun the screen glares and washes out and heats up and instead of your work you see your own reflection. But e-ink does not blast its own light into your face. It reflects the sunlight like the page of a book. And here is what came out of it. The very thing that kills any normal screen outside turned into fuel for this one. The brighter the sun the sharper the picture because it has nothing to glare with and nothing to wash out. And then comes the thing no laptop on a beach will give you. Your eyes do not get tired. You can watch Opus think on max effort for an hour and it reads like a book in the sun and not a backlight you squint into. The picture only comes alive. In bright light it does not fade but turns sharper and higher in contrast than it ever was in a room. The charge lasts for days. E-ink barely touches the battery so there is no outlet anywhere on the sand and the tablet does not care. It weighs as much as a notebook. The whole setup folds into a beach bag like a pad with a pen on top. Everything on the screen is for real. Claude Code v2.1.110 and Opus 4.6 on the Claude API and the project ~/repos/webs open right on the e-ink in the middle of the sand. In my opinion this is the most unexpected home for an AI this year. Not an office with the blinds drawn and not a monitor cranked to full brightness but a quiet sheet of paper on the sand that open sun only makes better and on it the most powerful Claude writes code right on the page like a pen.
0:33

Someone ran Claude Code on a beach where any device overheats and that spot suddenly turned out to be the best home for the most powerful AI in the world. This is the reMarkable Paper Pro. A paper tablet for notes with no browser and no social media and not a single app. He sat down right on the sand in the open sun and brought up Claude Code on Opus 4.6 over the Claude API on the paper screen and opened his project ~/repos/webs while the waves broke a few steps away. For years every device had the same trouble outside. In direct sun the screen glares and washes out and heats up and instead of your work you see your own reflection. But e-ink does not blast its own light into your face. It reflects the sunlight like the page of a book. And here is what came out of it. The very thing that kills any normal screen outside turned into fuel for this one. The brighter the sun the sharper the picture because it has nothing to glare with and nothing to wash out. And then comes the thing no laptop on a beach will give you. Your eyes do not get tired. You can watch Opus think on max effort for an hour and it reads like a book in the sun and not a backlight you squint into. The picture only comes alive. In bright light it does not fade but turns sharper and higher in contrast than it ever was in a room. The charge lasts for days. E-ink barely touches the battery so there is no outlet anywhere on the sand and the tablet does not care. It weighs as much as a notebook. The whole setup folds into a beach bag like a pad with a pen on top. Everything on the screen is for real. Claude Code v2.1.110 and Opus 4.6 on the Claude API and the project ~/repos/webs open right on the e-ink in the middle of the sand. In my opinion this is the most unexpected home for an AI this year. Not an office with the blinds drawn and not a monitor cranked to full brightness but a quiet sheet of paper on the sand that open sun only makes better and on it the most powerful Claude writes code right on the page like a pen.

Blaze

89,297 görüntüleme • 1 ay önce

Many people still spend hours crafting presentations by hand, but that’s a thing of the past for me. One automated workflow now handles everything from structure, design, and branding to delivery, all in minutes. Here’s how it works: A short form gathers the basics (audience, goal, tone, brand colors) n8n uses GPT-5 to turn that input into a clear, flowing narrative Gamma @GammaApp then builds the full presentation with visuals, layout, and style perfectly aligned with the brand no dragging elements, no fixing fonts, no formatting chaos The finished deck is automatically exported, stored, and drafted into an email for easy sharing no manual follow-ups or file searching What once required: A designer A copywriter A strategist A week of coordination Now runs quietly in the background while you focus on real work. This isn’t about making a single presentation, it’s about creating a repeatable system that scales. Perfect for: Agencies producing client decks Consultants and PMs preparing sessions Once it’s built, every new deck costs next to nothing and stays perfectly consistent.
1:34

Many people still spend hours crafting presentations by hand, but that’s a thing of the past for me. One automated workflow now handles everything from structure, design, and branding to delivery, all in minutes. Here’s how it works: A short form gathers the basics (audience, goal, tone, brand colors) n8n uses GPT-5 to turn that input into a clear, flowing narrative Gamma @GammaApp then builds the full presentation with visuals, layout, and style perfectly aligned with the brand no dragging elements, no fixing fonts, no formatting chaos The finished deck is automatically exported, stored, and drafted into an email for easy sharing no manual follow-ups or file searching What once required: A designer A copywriter A strategist A week of coordination Now runs quietly in the background while you focus on real work. This isn’t about making a single presentation, it’s about creating a repeatable system that scales. Perfect for: Agencies producing client decks Consultants and PMs preparing sessions Once it’s built, every new deck costs next to nothing and stays perfectly consistent.

SARAH

85,672 görüntüleme • 8 ay önce

How much cleaning is too much cleaning? Make your video like this using Product commercial skill on FlovaAI Model used: Seedance 2.0 prompt A 60-second 3D Pixar-style animated commercial for 7UP Extra Fizz. Bright, vibrant, highly expressive cartoon rendering with smooth exaggerated animation, big emotional faces, soft rounded shapes, rich saturated colors, and cinematic lighting. Vertical smartphone aspect ratio with dynamic camera moves (sweeping low angles, playful tracking shots, extreme close-ups on expressions). *Setting:* A sunny, modern Western suburban home with open-plan living spaces, light wooden floors, white walls with geometric wood accent panels, large windows letting in golden afternoon light, and a cozy, slightly cluttered family feel. *Characters:* •⁠ ⁠Mom: Mid-50s Western woman, warm but dramatic, short stylish brown hair with a few gray streaks, wearing a soft beige cardigan over a patterned blouse and jeans. •⁠ ⁠Daughter: Early-20s, long reddish-brown hair in a high ponytail, wearing an olive-green polo shirt, gold heart necklace, and baggy light-wash jeans. Highly expressive Pixar-style face that goes from annoyed → exhausted → pure joy. *Scene breakdown:* 0–6s: Close-up of a vintage green rotary phone on a glossy side table. Mom appears in the background holding the handset, eyes wide with urgency, waving her free hand dramatically as she speaks in English: “The guests are coming in an hour! Honey, hurry up! Clean every single fan blade, one by one — please, please, go go go!” 6–12s: Cut to the daughter on the living-room sofa, scrolling on a peach smartphone. Her face scrunches into a classic Pixar annoyed expression (eyebrows knitted, mouth twisted). She lets out a big exaggerated sigh. 12–22s: Mom marches in holding a green-handled mop, gesturing wildly. Daughter climbs a bright red stepladder and starts cleaning a dark wooden ceiling fan. She meticulously wipes each blade with a white cloth, her face showing increasing determination mixed with irritation. Camera circles around her as dust motes float in the light. She then dusts the geometric wooden wall panels with a long grey duster, dramatically wiping sweat from her forehead with a big cartoonish gesture. 22–32s: Daughter now wears bright yellow rubber gloves. She crouches inside a wide-open stainless-steel refrigerator, vigorously scrubbing the white interior walls and shelves with a green microfiber cloth. Several green 7UP bottles are clearly visible on the door shelves. Her expression is pure focused effort, tongue slightly sticking out in concentration. 32–42s: Outside on the front porch steps under a soft evening sky. Mom stands in the doorway still urging. Daughter holds the mop, shoulders slumped, and complains with big exaggerated exhaustion: “Mom, the stairs too?! This is getting a little extra!” She continues, voice rising: “I’m completely wiped from all this extra cleaning!” 42–52s: Extreme close-up of the daughter’s tired face. She reaches for a cold green 7UP Extra Fizz bottle. With a satisfying twist and loud fizzy “PSSSHT!” sound effect, she opens it. Bubbles and tiny water droplets spray in a playful Pixar-style flourish. She takes a long, refreshing drink. Her entire face transforms — eyes light up, cheeks glow, a huge genuine smile spreads as energy returns to her body. She does a little joyful bounce. 52–60s: Dynamic heroic product shot. The icy-cold 7UP Extra Fizz bottle rises against a bright blue sky. Dramatic water splash and exploding bubbles surround it in exaggerated, sparkling 3D animation. Bold, playful on-screen text pops in with a bounce: “INTRODUCING 7UP EXTRA FIZZ” next to the classic 7UP logo. Soft upbeat music swells into a fresh, fizzy climax. *Overall tone & style:* Warm, relatable, slightly comedic family chaos that feels like a Pixar short, transitioning into pure refreshing joy. Exaggerated facial expressions, squash-and-stretch animation, vibrant green product highlights, smooth camera movement, clear English dialogue, and upbeat background music that builds from stressed household energy to sparkling refreshment. #FlovaBrandstormand
1:00

How much cleaning is too much cleaning? Make your video like this using Product commercial skill on FlovaAI Model used: Seedance 2.0 prompt A 60-second 3D Pixar-style animated commercial for 7UP Extra Fizz. Bright, vibrant, highly expressive cartoon rendering with smooth exaggerated animation, big emotional faces, soft rounded shapes, rich saturated colors, and cinematic lighting. Vertical smartphone aspect ratio with dynamic camera moves (sweeping low angles, playful tracking shots, extreme close-ups on expressions). *Setting:* A sunny, modern Western suburban home with open-plan living spaces, light wooden floors, white walls with geometric wood accent panels, large windows letting in golden afternoon light, and a cozy, slightly cluttered family feel. *Characters:* •⁠ ⁠Mom: Mid-50s Western woman, warm but dramatic, short stylish brown hair with a few gray streaks, wearing a soft beige cardigan over a patterned blouse and jeans. •⁠ ⁠Daughter: Early-20s, long reddish-brown hair in a high ponytail, wearing an olive-green polo shirt, gold heart necklace, and baggy light-wash jeans. Highly expressive Pixar-style face that goes from annoyed → exhausted → pure joy. *Scene breakdown:* 0–6s: Close-up of a vintage green rotary phone on a glossy side table. Mom appears in the background holding the handset, eyes wide with urgency, waving her free hand dramatically as she speaks in English: “The guests are coming in an hour! Honey, hurry up! Clean every single fan blade, one by one — please, please, go go go!” 6–12s: Cut to the daughter on the living-room sofa, scrolling on a peach smartphone. Her face scrunches into a classic Pixar annoyed expression (eyebrows knitted, mouth twisted). She lets out a big exaggerated sigh. 12–22s: Mom marches in holding a green-handled mop, gesturing wildly. Daughter climbs a bright red stepladder and starts cleaning a dark wooden ceiling fan. She meticulously wipes each blade with a white cloth, her face showing increasing determination mixed with irritation. Camera circles around her as dust motes float in the light. She then dusts the geometric wooden wall panels with a long grey duster, dramatically wiping sweat from her forehead with a big cartoonish gesture. 22–32s: Daughter now wears bright yellow rubber gloves. She crouches inside a wide-open stainless-steel refrigerator, vigorously scrubbing the white interior walls and shelves with a green microfiber cloth. Several green 7UP bottles are clearly visible on the door shelves. Her expression is pure focused effort, tongue slightly sticking out in concentration. 32–42s: Outside on the front porch steps under a soft evening sky. Mom stands in the doorway still urging. Daughter holds the mop, shoulders slumped, and complains with big exaggerated exhaustion: “Mom, the stairs too?! This is getting a little extra!” She continues, voice rising: “I’m completely wiped from all this extra cleaning!” 42–52s: Extreme close-up of the daughter’s tired face. She reaches for a cold green 7UP Extra Fizz bottle. With a satisfying twist and loud fizzy “PSSSHT!” sound effect, she opens it. Bubbles and tiny water droplets spray in a playful Pixar-style flourish. She takes a long, refreshing drink. Her entire face transforms — eyes light up, cheeks glow, a huge genuine smile spreads as energy returns to her body. She does a little joyful bounce. 52–60s: Dynamic heroic product shot. The icy-cold 7UP Extra Fizz bottle rises against a bright blue sky. Dramatic water splash and exploding bubbles surround it in exaggerated, sparkling 3D animation. Bold, playful on-screen text pops in with a bounce: “INTRODUCING 7UP EXTRA FIZZ” next to the classic 7UP logo. Soft upbeat music swells into a fresh, fizzy climax. *Overall tone & style:* Warm, relatable, slightly comedic family chaos that feels like a Pixar short, transitioning into pure refreshing joy. Exaggerated facial expressions, squash-and-stretch animation, vibrant green product highlights, smooth camera movement, clear English dialogue, and upbeat background music that builds from stressed household energy to sparkling refreshment. #FlovaBrandstormand

Sharon Riley

155,669 görüntüleme • 18 gün önce

#เด็กใหม่TheResetEP4 #Beckysangels About the final scene: I think it’s the main point of the whole episode. Fans who spend money to support someone start feeling entitled (sounds familiar huh). It usually starts with dehumanizing the artist and it can go all the way to convincing yourself you have a claim over that person’s body, life or choices. Here the “object” is literally Nanno’s body. Ofc the final scene is surreal and meant more as a symbol than something real. It’s meant to exaggerate an ending that builds step by step: every time her fans complained they weren’t getting enough from her, Nanno played along and kept raising the stakes, eventually putting her own body on the line for the sake of “my body my choice”. Still not satisfied with the final result, the entitled fans are left with no choice but to split (and destroy) what they paid for and think they have the right to claim. It’s not unusual in cinema for dramatic hyperrealism to appear in final scenes. A similar one happens in “Perfume: The Story of a Murderer” with a different interpretation. Like it or not, it’s still an artistic choice.
0:48

#เด็กใหม่TheResetEP4 #Beckysangels About the final scene: I think it’s the main point of the whole episode. Fans who spend money to support someone start feeling entitled (sounds familiar huh). It usually starts with dehumanizing the artist and it can go all the way to convincing yourself you have a claim over that person’s body, life or choices. Here the “object” is literally Nanno’s body. Ofc the final scene is surreal and meant more as a symbol than something real. It’s meant to exaggerate an ending that builds step by step: every time her fans complained they weren’t getting enough from her, Nanno played along and kept raising the stakes, eventually putting her own body on the line for the sake of “my body my choice”. Still not satisfied with the final result, the entitled fans are left with no choice but to split (and destroy) what they paid for and think they have the right to claim. It’s not unusual in cinema for dramatic hyperrealism to appear in final scenes. A similar one happens in “Perfume: The Story of a Murderer” with a different interpretation. Like it or not, it’s still an artistic choice.

FreenBecky&Chill

35,864 görüntüleme • 4 ay önce

i did it. i vibe-coded my own vibe-noding app⚡️ lately every ai tool has been announcing some kind of node canvas. they’re all impressive in their own way, but each one solves a different problem, with a different logic, in a different universe. some are too technical, some are too rigid, most feel like they were designed by a backend engineer. so i built the version i actually want to use. over the last few days i hacked this together with Google Gemini and Google Antigravity. the tool is absurdly capable. i didn’t touch a single line of code. the result is a fully working app with smooth ui animations, smart interactions, and a workflow that doesn’t fight me. my focus isn’t on the models. Nano Banana 2 Lite is already strong enough to generate half a universe on its own. and a year from now, we won’t care about model juggling anyway. we’ll have one model doing everything. the real problem is the workflow. the interface. the flow state. so i optimized for that. the whole point is to keep the technical junk out of the way during ideation and iteration. i want to try an idea, branch it, remix it, explore it, all on a single canvas. every block is editable. every idea is forkable. every path is visible. the design isn’t perfect yet. some of the ui patterns are familiar on purpose. good ideas deserve to be stolen. i rushed it. i let a bunch of great ui decisions die for speed. but it works. and honestly, it feels great to use. future of creating is more organic and more fluid. not just chat bubbles. not rigid feeds. but an intelligent canvas where ideas can grow, split, collapse, or evolve without friction. where the environment quietly adapts to your workflow instead of interrupting it. this is my first version. just for myself, for now. but it’s a start.
1:11

i did it. i vibe-coded my own vibe-noding app⚡️ lately every ai tool has been announcing some kind of node canvas. they’re all impressive in their own way, but each one solves a different problem, with a different logic, in a different universe. some are too technical, some are too rigid, most feel like they were designed by a backend engineer. so i built the version i actually want to use. over the last few days i hacked this together with Google Gemini and Google Antigravity. the tool is absurdly capable. i didn’t touch a single line of code. the result is a fully working app with smooth ui animations, smart interactions, and a workflow that doesn’t fight me. my focus isn’t on the models. Nano Banana 2 Lite is already strong enough to generate half a universe on its own. and a year from now, we won’t care about model juggling anyway. we’ll have one model doing everything. the real problem is the workflow. the interface. the flow state. so i optimized for that. the whole point is to keep the technical junk out of the way during ideation and iteration. i want to try an idea, branch it, remix it, explore it, all on a single canvas. every block is editable. every idea is forkable. every path is visible. the design isn’t perfect yet. some of the ui patterns are familiar on purpose. good ideas deserve to be stolen. i rushed it. i let a bunch of great ui decisions die for speed. but it works. and honestly, it feels great to use. future of creating is more organic and more fluid. not just chat bubbles. not rigid feeds. but an intelligent canvas where ideas can grow, split, collapse, or evolve without friction. where the environment quietly adapts to your workflow instead of interrupting it. this is my first version. just for myself, for now. but it’s a start.

Synthetic_soul

239,298 görüntüleme • 8 ay önce

If "they" (ultraterrestrials?) can do this, what else can they form out of thin air? Craft? Bodies/beings (AI?) that we think are ET? A lot of folks think this is bullshit and Leslie was fooled. I'm not one of them. I've read some of the same books about various physical mediums that Leslie mentions and it certainly seems like this is a real phenomenon. She (and David Haith) saw this in person at a Stewart Alexander (SA) seance. Leslie was a few feet away and shook the hand. This type of thing has been reported to be happening since at least the 1800s. Is it the dead communicating with us? I lean towards...NO. See Keel's take (I'll tweet that later today), which could be what's going on. LK on the alleged materialization of a hand. Why isn't it filmed? SA says he doesn't want his life turned upside down and disrupted, and he believes putting out a video showing this process would do just that. So he just keeps doing his thing every week. Skeptics would dismiss it and others would ask for more. SA is fine with the way things are now. Leslie: I have experienced this materialization many times and so have many other people. The table has a light under it and is illuminated. SA is strapped into his chair and has luminous knee pads on so you can see he's in his chair. "You see this vaporous cloud of ectoplasm coming over the edge of the table, towards my hand. It sort of looks like water, it's kind of moving. And it gets bigger and bigger. And then you start to see these sort of digits forming in it. You can see this hand forming before your eyes. There's a certain moment where it becomes from flat to three dimensional. And it's a fully-formed hand that you can see." The first time the hand appears, it forms a first and pounds on the table so everybody knows it's physical. Then the hand withdraws and the whole process repeats itself. "Then I'm allowed to touch that hand. I held that materialized hand, which didn't exist 30 seconds before I held it. It was an absolutely normal, human hand. Large. What was interesting to me was it was very warm and very soft. The skin felt like a baby's skin to me. Which kind of made sense to me bc it was just formed. It was like a large, male hand, there's nothing abnormal about it. It moved, it had all the structures of a hand." Leslie says the hand belongs to the spirit entity named Walter and he orchestrates the entire thing. I'm gonna repost this later with the full notes and quotes and the Keel excerpt, which might explain what is going on here and the possible connection to the phenomenon. Gonna go watch Leslie on Curt Jaimungal now. #ufotwitter #uaptwitter #ufo #uap #ufos Source:
13:20

If "they" (ultraterrestrials?) can do this, what else can they form out of thin air? Craft? Bodies/beings (AI?) that we think are ET? A lot of folks think this is bullshit and Leslie was fooled. I'm not one of them. I've read some of the same books about various physical mediums that Leslie mentions and it certainly seems like this is a real phenomenon. She (and David Haith) saw this in person at a Stewart Alexander (SA) seance. Leslie was a few feet away and shook the hand. This type of thing has been reported to be happening since at least the 1800s. Is it the dead communicating with us? I lean towards...NO. See Keel's take (I'll tweet that later today), which could be what's going on. LK on the alleged materialization of a hand. Why isn't it filmed? SA says he doesn't want his life turned upside down and disrupted, and he believes putting out a video showing this process would do just that. So he just keeps doing his thing every week. Skeptics would dismiss it and others would ask for more. SA is fine with the way things are now. Leslie: I have experienced this materialization many times and so have many other people. The table has a light under it and is illuminated. SA is strapped into his chair and has luminous knee pads on so you can see he's in his chair. "You see this vaporous cloud of ectoplasm coming over the edge of the table, towards my hand. It sort of looks like water, it's kind of moving. And it gets bigger and bigger. And then you start to see these sort of digits forming in it. You can see this hand forming before your eyes. There's a certain moment where it becomes from flat to three dimensional. And it's a fully-formed hand that you can see." The first time the hand appears, it forms a first and pounds on the table so everybody knows it's physical. Then the hand withdraws and the whole process repeats itself. "Then I'm allowed to touch that hand. I held that materialized hand, which didn't exist 30 seconds before I held it. It was an absolutely normal, human hand. Large. What was interesting to me was it was very warm and very soft. The skin felt like a baby's skin to me. Which kind of made sense to me bc it was just formed. It was like a large, male hand, there's nothing abnormal about it. It moved, it had all the structures of a hand." Leslie says the hand belongs to the spirit entity named Walter and he orchestrates the entire thing. I'm gonna repost this later with the full notes and quotes and the Keel excerpt, which might explain what is going on here and the possible connection to the phenomenon. Gonna go watch Leslie on Curt Jaimungal now. #ufotwitter #uaptwitter #ufo #uap #ufos Source:

Joe Murgia

82,472 görüntüleme • 3 yıl önce

Fable 5 and GPT-5.6 built the same scroll-animated website from 1 skill in 32 minutes and only 1 of them made it feel like a film. Same prompt: boutique Japan travel brand, origami style. A subway pulls in, a paper house unfolds into a hotel, a bird takes flight as you scroll. Doing this by hand is brutal multiple videos, matched starting frames, frames ripped out 1 by 1 and synced to scroll position. The skill does all of it: Generate 1 anchor image and approve it every scene inherits the style Turn it into video through the Higgs Field MCP (Seedance), straight from the terminal FFmpeg pulls every frame Each frame maps to scroll position, so your scrollbar becomes the playhead Setup is just connecting the MCP and loading the skill works in Claude Code and Codex. It interviews you first about scenes, budget and mobile, then shows the anchor image before burning a single credit on video. Budget reality: 6 scenes runs ~800 credits and is overkill, 4 scenes is the sweet spot, crop-safe mobile is the cheap path. The verdict came down to transitions. GPT-5.6 Soul built strong scenes with incredible detail inside each one then hard cuts between scene 1 and 2, and again between 2 and 3. Fable 5 stitched them together: wires push out of the top of frame while the next scene blurs in behind, gains depth and locks into place. Same skill, same prompts, 10 generations each. Credit to Peter Wang for the original Scroll World skill open source, now forked with budget tiers and mobile fixes. Soul built 4 scenes. Fable built 1 film.
9:48

Fable 5 and GPT-5.6 built the same scroll-animated website from 1 skill in 32 minutes and only 1 of them made it feel like a film. Same prompt: boutique Japan travel brand, origami style. A subway pulls in, a paper house unfolds into a hotel, a bird takes flight as you scroll. Doing this by hand is brutal multiple videos, matched starting frames, frames ripped out 1 by 1 and synced to scroll position. The skill does all of it: Generate 1 anchor image and approve it every scene inherits the style Turn it into video through the Higgs Field MCP (Seedance), straight from the terminal FFmpeg pulls every frame Each frame maps to scroll position, so your scrollbar becomes the playhead Setup is just connecting the MCP and loading the skill works in Claude Code and Codex. It interviews you first about scenes, budget and mobile, then shows the anchor image before burning a single credit on video. Budget reality: 6 scenes runs ~800 credits and is overkill, 4 scenes is the sweet spot, crop-safe mobile is the cheap path. The verdict came down to transitions. GPT-5.6 Soul built strong scenes with incredible detail inside each one then hard cuts between scene 1 and 2, and again between 2 and 3. Fable 5 stitched them together: wires push out of the top of frame while the next scene blurs in behind, gains depth and locks into place. Same skill, same prompts, 10 generations each. Credit to Peter Wang for the original Scroll World skill open source, now forked with budget tiers and mobile fixes. Soul built 4 scenes. Fable built 1 film.

Spike 1%

45,052 görüntüleme • 1 ay önce

Seedance 2.5 frozen time prompt is below 👇 Photorealistic cinematic 1990s American diner, red vinyl booths, neon signs, chrome details, checkerboard floor, soft natural window light mixed with warm practicals, subtle handheld texture, rich lived-in period detail, heavy film grain. Shot with modern realism and precise temporal control. Use the provided reference image as the exact character lock for the bald bearded man in black sunglasses and dark hoodie. Maintain perfect facial structure, beard, head shape, skin texture and clothing consistency at all times. 0-5s: [Medium Wide] The bald man sits in a red vinyl booth. He stands up, turns, and collides hard into a waitress carrying a full breakfast tray (eggs, bacon, toast, coffee pot). Impact is sudden and physical. 5-12s: [Dynamic Tracking into Super Slow-Motion] Collision detonates. Tray, plate, eggs, bacon strips and coffee pot explode upward. Coffee erupts into long liquid ribbons and perfect suspended droplets. Camera orbits smoothly around the impact. Time locks completely at the peak of the spill. Every face freezes in pure shock. Only the bald man remains free to move. He freezes for one beat with a clear “I fucked up” expression, then quickly grabs two bacon strips and a fried egg from the floating debris. 12-22s: [Tracking Shot] Still inside the frozen diner, he walks toward the exit door while taking deliberate bites of bacon then egg. All patrons, waitress and flying food stay perfectly suspended in mid-air. 22-27s: [Medium Shot] Just as he reaches the door and is about to push it open, time snaps back to normal speed. Everything that was floating crashes down at once — plates, eggs, bacon, tray and coffee slam onto the floor with a loud chaotic impact. The waitress and patrons react in sudden real-time shock. 27-30s: [Medium Close-Up] He pauses, turns slightly, raises his eyebrows and gives a small casual “it is what it is” shrug with a quiet half-smile of acceptance, still holding the remaining food. Photorealistic, ultra-detailed fluid and object physics, perfect volume and surface tension on liquids, sharp motion blur only on moving elements, stable character, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value. Enjoy! 🫡
0:30

Seedance 2.5 frozen time prompt is below 👇 Photorealistic cinematic 1990s American diner, red vinyl booths, neon signs, chrome details, checkerboard floor, soft natural window light mixed with warm practicals, subtle handheld texture, rich lived-in period detail, heavy film grain. Shot with modern realism and precise temporal control. Use the provided reference image as the exact character lock for the bald bearded man in black sunglasses and dark hoodie. Maintain perfect facial structure, beard, head shape, skin texture and clothing consistency at all times. 0-5s: [Medium Wide] The bald man sits in a red vinyl booth. He stands up, turns, and collides hard into a waitress carrying a full breakfast tray (eggs, bacon, toast, coffee pot). Impact is sudden and physical. 5-12s: [Dynamic Tracking into Super Slow-Motion] Collision detonates. Tray, plate, eggs, bacon strips and coffee pot explode upward. Coffee erupts into long liquid ribbons and perfect suspended droplets. Camera orbits smoothly around the impact. Time locks completely at the peak of the spill. Every face freezes in pure shock. Only the bald man remains free to move. He freezes for one beat with a clear “I fucked up” expression, then quickly grabs two bacon strips and a fried egg from the floating debris. 12-22s: [Tracking Shot] Still inside the frozen diner, he walks toward the exit door while taking deliberate bites of bacon then egg. All patrons, waitress and flying food stay perfectly suspended in mid-air. 22-27s: [Medium Shot] Just as he reaches the door and is about to push it open, time snaps back to normal speed. Everything that was floating crashes down at once — plates, eggs, bacon, tray and coffee slam onto the floor with a loud chaotic impact. The waitress and patrons react in sudden real-time shock. 27-30s: [Medium Close-Up] He pauses, turns slightly, raises his eyebrows and gives a small casual “it is what it is” shrug with a quiet half-smile of acceptance, still holding the remaining food. Photorealistic, ultra-detailed fluid and object physics, perfect volume and surface tension on liquids, sharp motion blur only on moving elements, stable character, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value. Enjoy! 🫡

TechHalla

206,430 görüntüleme • 9 gün önce

One guy keeps a farm of Mac minis on his desk and says each $600 box brings him $2,000 a month while he sleeps. AND THE HARDWARE ACTUALLY WORKS. But the number is not even the interesting part. The broken part is HOW: his AI no longer sits in a chat window. It sees the screen, moves the mouse itself, types and clicks the interface like a human at a computer. That is it. While most people still run AI in a chat and ask it for text, he sat Claude down right at the computer and put it to work with its hands. He automated not a single task but the workplace itself. How it actually works: on every Mac mini Claude runs with computer use turned on and the official Claude API docs spell it out: screenshot capture, mouse control, keyboard input, desktop automation. The agent opens the browser and the apps itself and runs the boring routine on a schedule: pulls leads, fills the CRM, checks orders, runs QA on the site. One box, one quiet worker that does not sleep and does not ask for a salary. His math is simple: a Mac mini is $600 once, Claude Max is $200 a month, and a live white-collar worker on the same routine costs a business $4,000 and up. So he rents out each node to a client as an AI worker for about $2,000 and 6 Mac minis come out to around $12,000 a month with costs a bit over $1,000 on subscriptions. But the $12,000 is his projection not a revenue dashboard: the video has no client, no task log, no working automation at all. The real asset here is not the stack of hardware but the one repeatable process the agent actually closes. Because a Mac mini on its own earns nothing. The money shows up exactly where the boring browser routine used to be done by hand for a salary and now you can hand it to an agent for the price of a subscription. Computer use is still in beta, almost nobody builds a service on it and the demand for cheap GUI routine is huge. The window is open for literally the next few months. Most people will watch this, laugh at the "$600 AI worker" and close it. And the ones who actually put an agent on one boring task and grind it into a repeat will ride this wave while it is still empty. Would you sit an AI right at your own computer on the boring routine or are you still clicking through it by hand?
1:05

One guy keeps a farm of Mac minis on his desk and says each $600 box brings him $2,000 a month while he sleeps. AND THE HARDWARE ACTUALLY WORKS. But the number is not even the interesting part. The broken part is HOW: his AI no longer sits in a chat window. It sees the screen, moves the mouse itself, types and clicks the interface like a human at a computer. That is it. While most people still run AI in a chat and ask it for text, he sat Claude down right at the computer and put it to work with its hands. He automated not a single task but the workplace itself. How it actually works: on every Mac mini Claude runs with computer use turned on and the official Claude API docs spell it out: screenshot capture, mouse control, keyboard input, desktop automation. The agent opens the browser and the apps itself and runs the boring routine on a schedule: pulls leads, fills the CRM, checks orders, runs QA on the site. One box, one quiet worker that does not sleep and does not ask for a salary. His math is simple: a Mac mini is $600 once, Claude Max is $200 a month, and a live white-collar worker on the same routine costs a business $4,000 and up. So he rents out each node to a client as an AI worker for about $2,000 and 6 Mac minis come out to around $12,000 a month with costs a bit over $1,000 on subscriptions. But the $12,000 is his projection not a revenue dashboard: the video has no client, no task log, no working automation at all. The real asset here is not the stack of hardware but the one repeatable process the agent actually closes. Because a Mac mini on its own earns nothing. The money shows up exactly where the boring browser routine used to be done by hand for a salary and now you can hand it to an agent for the price of a subscription. Computer use is still in beta, almost nobody builds a service on it and the demand for cheap GUI routine is huge. The window is open for literally the next few months. Most people will watch this, laugh at the "$600 AI worker" and close it. And the ones who actually put an agent on one boring task and grind it into a repeat will ride this wave while it is still empty. Would you sit an AI right at your own computer on the boring routine or are you still clicking through it by hand?

Sorven

11,948 görüntüleme • 1 ay önce

"Hah - generative ai can't even make an image of a hand with the right number of fingers.." "Stop pushing this slop" It's way past the point now where it must be clear to everyone, that generative ai is here to stay AND that the quality will continue to increase. I've been talking about this trajectory for years now, and I've been working towards finding ways to combine the strength of these models, with the best of what I love about "old-school" creation. Building with my hands, moving a pencil across the paper and seeing shapes emerge, moving a building slightly to the right to get just that composition I had in mind. Being fully immersed in a scene I'm building in VR, being inspired by the immersion to take the story in a new direction. For years I've been talking about how powerful the combination of 3d and generative ai is, be it traditional 3d, SDF volumes in Dreams or Gaussian splats - with experiments around using V2V as a "render pass" or with experiments around realtime ai. Enough talk you might think, where's the proof? It's all around us these days honestly and here's a small test I did during some OOO. Blender MPC + Fable - a pretty powerful combination! With a bit of Google Omni Fast on top as a "render" pass. What do you think of where this is heading? Hopeful, disheartened, inspired or the opposite? Can you imagine working with tools like this in a way where we still retain the human "spark" and the creative nerve that makes each persons creation unique?
0:25

"Hah - generative ai can't even make an image of a hand with the right number of fingers.." "Stop pushing this slop" It's way past the point now where it must be clear to everyone, that generative ai is here to stay AND that the quality will continue to increase. I've been talking about this trajectory for years now, and I've been working towards finding ways to combine the strength of these models, with the best of what I love about "old-school" creation. Building with my hands, moving a pencil across the paper and seeing shapes emerge, moving a building slightly to the right to get just that composition I had in mind. Being fully immersed in a scene I'm building in VR, being inspired by the immersion to take the story in a new direction. For years I've been talking about how powerful the combination of 3d and generative ai is, be it traditional 3d, SDF volumes in Dreams or Gaussian splats - with experiments around using V2V as a "render pass" or with experiments around realtime ai. Enough talk you might think, where's the proof? It's all around us these days honestly and here's a small test I did during some OOO. Blender MPC + Fable - a pretty powerful combination! With a bit of Google Omni Fast on top as a "render" pass. What do you think of where this is heading? Hopeful, disheartened, inspired or the opposite? Can you imagine working with tools like this in a way where we still retain the human "spark" and the creative nerve that makes each persons creation unique?

Martin Nebelong

49,255 görüntüleme • 24 gün önce