Loading video...

Video Failed to Load

Go Home

Damon Heta Series 4 Quick Point Darts Australia’s No.1 delivers unmatched precision and control. Wider, sandblasted grooves enhance feel at the oche, helping Damon claim two Pro Tour titles soon after adoption. With Quick Point technology, experience The Heat 👉 #HarrowsLaunch26 #QuickPoint #damonhetasonfire

HarrowsDarts's profile picture

Harrows Darts

25,271 subscribers

20,514 views • 10 months ago •via X (Twitter)

LIVE

Anya Rossi• Live Now

Private livecam show

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

And this? This is the very first piece of artificial limestone, YES, CaCO3, YES, hard as f and YES, waterproof, what I made from… Wood ash ONLY!!! 100% caveman tech! Now look at the color of this thing. How would you describe it? May I say it has the color of the pyramids? Hell yeah! Why? BTW: this is just the binder. Add original, natural limestone and fossils and you’ll en up with “natural” limestone. (With a bit of potassium residue.) Any questions? The secret recipe maybe? Anyone interested? Here you go: 1. Burn 🔥 everything around you and collect the wood ash 2. Burn natural limestone (calcination) to produce quick lime Steps 1. and 2. can be combined into one step. 3. Make wood ash lye the traditional way, by dripping drip 💧 water on wood ash and collecting the water that went through the ash. Any vessel will do but an oak barrel is the traditional way doing it. I used a plastic bucket with holes at the bottom. The wood ash lye is mostly KOH and K2CO3. What we need is CaCO3. We need to change the letter K to letters Ca. We’ll do it by adding the letters Ca to the liquid. 4. Add quick lime (CaO) or hydrated lime, slaked lime (Ca(OH)2) to the lye until it stops bubbling in vinegar. (We badly miss a decent video at this point, Marcell!!!) 5. Add (or don’t add) fossils = natural limestone rubble to the mix, stir well 6. Get rid of of the excess liquid through a nub Now any expert can tell you that this will never make a stone because of two reasons: 1. Billions of years and 2. High pressure are needed Well, no. The first point is just total nonsense, and although the second has something in it, it is false. Virtually ANY pressure will make it, including my current technique of squeezing it in a kitchen cloth. I’m not kidding. No pressure- no stone, that is correct. But only a minimal level of pressure, using my bare hands is enough to push the freshly made CaCO3 molecules close enough for crystallization (calcit) to begin. And here we are.
0:13

And this? This is the very first piece of artificial limestone, YES, CaCO3, YES, hard as f and YES, waterproof, what I made from… Wood ash ONLY!!! 100% caveman tech! Now look at the color of this thing. How would you describe it? May I say it has the color of the pyramids? Hell yeah! Why? BTW: this is just the binder. Add original, natural limestone and fossils and you’ll en up with “natural” limestone. (With a bit of potassium residue.) Any questions? The secret recipe maybe? Anyone interested? Here you go: 1. Burn 🔥 everything around you and collect the wood ash 2. Burn natural limestone (calcination) to produce quick lime Steps 1. and 2. can be combined into one step. 3. Make wood ash lye the traditional way, by dripping drip 💧 water on wood ash and collecting the water that went through the ash. Any vessel will do but an oak barrel is the traditional way doing it. I used a plastic bucket with holes at the bottom. The wood ash lye is mostly KOH and K2CO3. What we need is CaCO3. We need to change the letter K to letters Ca. We’ll do it by adding the letters Ca to the liquid. 4. Add quick lime (CaO) or hydrated lime, slaked lime (Ca(OH)2) to the lye until it stops bubbling in vinegar. (We badly miss a decent video at this point, Marcell!!!) 5. Add (or don’t add) fossils = natural limestone rubble to the mix, stir well 6. Get rid of of the excess liquid through a nub Now any expert can tell you that this will never make a stone because of two reasons: 1. Billions of years and 2. High pressure are needed Well, no. The first point is just total nonsense, and although the second has something in it, it is false. Virtually ANY pressure will make it, including my current technique of squeezing it in a kitchen cloth. I’m not kidding. No pressure- no stone, that is correct. But only a minimal level of pressure, using my bare hands is enough to push the freshly made CaCO3 molecules close enough for crystallization (calcit) to begin. And here we are.

Marcell Fóti 🪨

59,106 views • 3 months ago

Seednace 2 on OpenArt Prompt: CAMERA: DV 16mm tape camcorder handheld footage feel. Point of view of CHASE holding the camera directly in hand. Maintain hand shake, misaligned framing, delayed focus pull, clumsy zoom in/out, occasional self-cam framing where the face gets cut off, and imperfect shots that lose the subject. Every shot is CHASE holding the camcorder herself, filming in selfie-cam or first-person style. The camcorder itself never appears on screen. LOOK: DV 16mm tape camcorder footage look. Soft, slightly blurry digital tape quality, faint tape noise, highlights that bloom slightly in natural light, auto-exposure that flickers subtly, muted color contrast, realistic skin tones. STYLE: Bright, bubbly idol energy — genuine smiles, playful expressions, eye contact with the lens, small laughs. Handheld from start to finish, quick and lively, alternating between selfie and mirrorless shots. Backstage buzz and pre-show excitement underneath the casual, candid tone. Character CHASE — a Korean idol in her 20s. Long straight black hair past her chest, elegant yet lovely Korean features, dewy glass skin, coral pink lips, big eyes. Slim yet curvy build (33C-26-34). Wearing a stage-ready outfit (fitted top, statement skirt or trousers, bold but tasteful) with subtle stage makeup and sparkly earrings. Bright, energetic, faces the lens throughout. Setting A backstage hallway at a music show broadcast studio — narrow corridor with dressing room doors, her name printed on a small tag on one door, a snack/craft table further down the hall, a speaker mounted near the ceiling for PA announcements. Staff and other crew occasionally blur past in the background. Storyboard 1. *(~2s, front-facing selfie, arm's length)* She peeks around a corner into the hallway, leans into the lens with a bright smile. CHASE: "Hey guys, we're backstage right now!" 2. *(~2s, quick whip pan, handheld POV)* Camera swings down the corridor, passing dressing room doors, catching a blur of a staff member walking by. CHASE (off-screen, playful): "Look how long this hallway is!" 3. *(~2s, medium handheld, stopping at a door)* She pauses in front of a door with her name tag on it, points at it excitedly, does a little happy bounce. CHASE: "That's me! That's my name!" 4. *(~1.5s, macro insert, shallow DOF)* Close-up on the name tag, tape blur softening the edges, her fingers tapping it lightly. No dialogue — soft ambient hallway noise only. 5. *(~2s, medium handheld, quick outfit check)* She steps back, does a quick spin to show off her outfit, tugging at the hem, checking her look in a nearby mirror or reflective surface. CHASE: "Okay, outfit check — how do I look?" 6. *(~2s, snappy cut, at the snack table)* She wanders to the snack table, picks up a small snack, holds it up to the camera with a grin. CHASE: "Ooh, snack table! Don't mind if I do." 7. *(~1.5s, quick punch-in, tight selfie)* Mid-bite, she suddenly reacts — eyes widening — as the PA speaker crackles to life overhead. CHASE (mouth half full, laughing): "Wait, wait—" 8. *(~2s, arm's-length selfie finish)* The countdown announcement echoes over the PA. Her face shifts to excited urgency, quick wave, hand-heart, then she dashes off down the hallway — camera swings and blurs as she moves, ending on a shaky glimpse of the corridor. CHASE (calling back, excited): "That's my cue — see you guys after the stage!"
0:15

Seednace 2 on OpenArt Prompt: CAMERA: DV 16mm tape camcorder handheld footage feel. Point of view of CHASE holding the camera directly in hand. Maintain hand shake, misaligned framing, delayed focus pull, clumsy zoom in/out, occasional self-cam framing where the face gets cut off, and imperfect shots that lose the subject. Every shot is CHASE holding the camcorder herself, filming in selfie-cam or first-person style. The camcorder itself never appears on screen. LOOK: DV 16mm tape camcorder footage look. Soft, slightly blurry digital tape quality, faint tape noise, highlights that bloom slightly in natural light, auto-exposure that flickers subtly, muted color contrast, realistic skin tones. STYLE: Bright, bubbly idol energy — genuine smiles, playful expressions, eye contact with the lens, small laughs. Handheld from start to finish, quick and lively, alternating between selfie and mirrorless shots. Backstage buzz and pre-show excitement underneath the casual, candid tone. Character CHASE — a Korean idol in her 20s. Long straight black hair past her chest, elegant yet lovely Korean features, dewy glass skin, coral pink lips, big eyes. Slim yet curvy build (33C-26-34). Wearing a stage-ready outfit (fitted top, statement skirt or trousers, bold but tasteful) with subtle stage makeup and sparkly earrings. Bright, energetic, faces the lens throughout. Setting A backstage hallway at a music show broadcast studio — narrow corridor with dressing room doors, her name printed on a small tag on one door, a snack/craft table further down the hall, a speaker mounted near the ceiling for PA announcements. Staff and other crew occasionally blur past in the background. Storyboard 1. *(~2s, front-facing selfie, arm's length)* She peeks around a corner into the hallway, leans into the lens with a bright smile. CHASE: "Hey guys, we're backstage right now!" 2. *(~2s, quick whip pan, handheld POV)* Camera swings down the corridor, passing dressing room doors, catching a blur of a staff member walking by. CHASE (off-screen, playful): "Look how long this hallway is!" 3. *(~2s, medium handheld, stopping at a door)* She pauses in front of a door with her name tag on it, points at it excitedly, does a little happy bounce. CHASE: "That's me! That's my name!" 4. *(~1.5s, macro insert, shallow DOF)* Close-up on the name tag, tape blur softening the edges, her fingers tapping it lightly. No dialogue — soft ambient hallway noise only. 5. *(~2s, medium handheld, quick outfit check)* She steps back, does a quick spin to show off her outfit, tugging at the hem, checking her look in a nearby mirror or reflective surface. CHASE: "Okay, outfit check — how do I look?" 6. *(~2s, snappy cut, at the snack table)* She wanders to the snack table, picks up a small snack, holds it up to the camera with a grin. CHASE: "Ooh, snack table! Don't mind if I do." 7. *(~1.5s, quick punch-in, tight selfie)* Mid-bite, she suddenly reacts — eyes widening — as the PA speaker crackles to life overhead. CHASE (mouth half full, laughing): "Wait, wait—" 8. *(~2s, arm's-length selfie finish)* The countdown announcement echoes over the PA. Her face shifts to excited urgency, quick wave, hand-heart, then she dashes off down the hallway — camera swings and blurs as she moves, ending on a shaky glimpse of the corridor. CHASE (calling back, excited): "That's my cue — see you guys after the stage!"

WasifAI

33,901 views • 1 month ago

MiniMax H3で清涼飲料水のCM動画を生成。 映像スタイルはモーショングラフィックス。 もちろん、プロンプトはClaude Codeに全部書いてもらっています。 プロンプトを書いてもらう方法は引用元で紹介しています😃 今回使用したプロンプト↓ ----------------- integrated_multimodal_description: Create a complete 15-second Japanese flat-illustration motion-graphics commercial for a bottled mineral water in a clean 16:9 composition. The bottle is the hero of every shot: it appears within the first second, stays large and centred, and its pale blue label reading the exact Latin characters "AOI WATER" is sharp and readable in every frame it occupies. Use friendly 2D vector illustration, thick navy outlines, flat solid colour fills, and springy cutout animation with snappy overshoot easing. Compact palette of warm white, deep navy, bright aqua, deep blue and saturated yellow, where yellow carries the summer heat and aqua carries the cold refreshment. A fictional young Japanese actress supports the product, drawn as a flat vector icon with a round friendly face, simple dot eyes, a curved smile, a glossy black chin-length bob, a white short-sleeved shirt over a navy tank top; she keeps the same design in every shot. No photorealism, no 3D rendering, no gradients, no drop shadows, no browser interface, no screen-recording artifacts, no player controls. [Shot 1] Begin on a saturated yellow field. A large white sun pulses twice at the top of the frame and wavy heat-haze lines rise from the bottom edge. At 00:00.800 a tall white bottle of AOI WATER shoots up from the bottom edge into the centre of the frame, overshooting and settling at eighty percent of the frame height, and a single white flash frame fires on the impact. Three aqua ripple rings expand from the bottle and the small navy headline assembles word by word at the top: "この夏、あつい。" [Shot 2] At 00:02.400, a wave of bright aqua water sweeps across the frame from the left and washes the yellow away. The bottle stays centred and rotates a quarter turn to show its side. Its pale blue label assembles letter by letter into "AOI WATER" with a thin white underline drawing beneath, six round condensation drops pop onto the glass one after another, and two flat ice cubes tumble down past it. [Shot 3] At 00:05.000, a deep blue field wipes in from the right. The bottle tilts on the left and a clear aqua stream pours in a smooth arc into a tall glass on the right; three flat ice cubes drop into the glass one at a time and bounce, throwing a radial burst of white droplets on the third. Two white snowflake marks pop in beside the glass and the kinetic word "キンッ。" stamps in with a small shake. [Shot 4] At 00:07.600, the deep blue flips to aqua in a hard shape wipe. The actress stands centre frame holding the bottle high, tips it and drinks; a column of aqua fills her outlined body from top to bottom in three quick pulses, one per gulp, and white radial speed-lines snap outward on the third. The kinetic word "ごくっ" pops in beside her cheek and the bottle stays fully visible in her hand. [Shot 5] At 00:10.200, a saturated yellow field wipes in from the bottom. The actress jumps once with the bottle raised above her head, her bob and shirt lifting, while flat aqua and white circles, triangles and arcs burst outward from her in a ring and three ripple rings expand from her landing point. The headline assembles in two stages: "夏に、" then "負けない。" A thick yellow underline strikes beneath the second phrase. [Shot 6] At 00:12.600, cut to a calm warm-white end card with generous negative space. The bottle slides to the centre and scales up slightly, its "AOI WATER" label square to the viewer and perfectly readable, with a ring of six aqua droplets popping outward around it one by one. The logotype "AOI WATER" reveals in deep navy beside the bottle with a small aqua droplet mark, and the smaller line "アオイ・ウォーター" fades in beneath it. A calm, bright young Japanese woman (S1) says in an off-screen voiceover: [Japanese] 夏に、負けない。 The end card holds sharp, centred and readable until exactly 15.000 seconds. Throughout: flat vector motion graphics only, one palette and one line weight, the same bottle design and the same character design in every shot, and something on screen is always moving. All Japanese text in clean gothic type and the label and logotype in clean geometric capitals, correctly formed and static once placed, with no subtitles of the spoken line and no other lettering. overall_soundscape: A deep whoosh and a short impact thud land as the bottle shoots up into frame, followed by three soft ripple taps. An airy whoosh runs under each colour wipe and a liquid sweep carries the aqua water across the frame. Rounded pops mark the sun pulses and each condensation drop, two ice cubes clink as they tumble, and a bottle cap cracks open before a clear pouring stream and three ice cubes landing in a glass. Three deep gulps and a quick refreshed exhale carry the drink, a light whoosh and landing thud carry the jump, and a clean shimmering chime rings on the logotype. non_diegetic_music: Generate an original 15-second bright Japanese commercial cue at 128 BPM using marimba, ukulele upstrokes, hand claps, a warm round bass and a light drum kit, playing without a gap from the first frame to the last. Open with a single accent hit as the bottle lands at 00:00.800, add the full kit as the water sweeps in, thin to marimba and claps under the pour, push to the loudest point with a rising fill under the jump, drop under the spoken line, and resolve on one clean sustained chord at 15.000 seconds. No singing and no lyrics.
0:15

MiniMax H3で清涼飲料水のCM動画を生成。 映像スタイルはモーショングラフィックス。 もちろん、プロンプトはClaude Codeに全部書いてもらっています。 プロンプトを書いてもらう方法は引用元で紹介しています😃 今回使用したプロンプト↓ ----------------- integrated_multimodal_description: Create a complete 15-second Japanese flat-illustration motion-graphics commercial for a bottled mineral water in a clean 16:9 composition. The bottle is the hero of every shot: it appears within the first second, stays large and centred, and its pale blue label reading the exact Latin characters "AOI WATER" is sharp and readable in every frame it occupies. Use friendly 2D vector illustration, thick navy outlines, flat solid colour fills, and springy cutout animation with snappy overshoot easing. Compact palette of warm white, deep navy, bright aqua, deep blue and saturated yellow, where yellow carries the summer heat and aqua carries the cold refreshment. A fictional young Japanese actress supports the product, drawn as a flat vector icon with a round friendly face, simple dot eyes, a curved smile, a glossy black chin-length bob, a white short-sleeved shirt over a navy tank top; she keeps the same design in every shot. No photorealism, no 3D rendering, no gradients, no drop shadows, no browser interface, no screen-recording artifacts, no player controls. [Shot 1] Begin on a saturated yellow field. A large white sun pulses twice at the top of the frame and wavy heat-haze lines rise from the bottom edge. At 00:00.800 a tall white bottle of AOI WATER shoots up from the bottom edge into the centre of the frame, overshooting and settling at eighty percent of the frame height, and a single white flash frame fires on the impact. Three aqua ripple rings expand from the bottle and the small navy headline assembles word by word at the top: "この夏、あつい。" [Shot 2] At 00:02.400, a wave of bright aqua water sweeps across the frame from the left and washes the yellow away. The bottle stays centred and rotates a quarter turn to show its side. Its pale blue label assembles letter by letter into "AOI WATER" with a thin white underline drawing beneath, six round condensation drops pop onto the glass one after another, and two flat ice cubes tumble down past it. [Shot 3] At 00:05.000, a deep blue field wipes in from the right. The bottle tilts on the left and a clear aqua stream pours in a smooth arc into a tall glass on the right; three flat ice cubes drop into the glass one at a time and bounce, throwing a radial burst of white droplets on the third. Two white snowflake marks pop in beside the glass and the kinetic word "キンッ。" stamps in with a small shake. [Shot 4] At 00:07.600, the deep blue flips to aqua in a hard shape wipe. The actress stands centre frame holding the bottle high, tips it and drinks; a column of aqua fills her outlined body from top to bottom in three quick pulses, one per gulp, and white radial speed-lines snap outward on the third. The kinetic word "ごくっ" pops in beside her cheek and the bottle stays fully visible in her hand. [Shot 5] At 00:10.200, a saturated yellow field wipes in from the bottom. The actress jumps once with the bottle raised above her head, her bob and shirt lifting, while flat aqua and white circles, triangles and arcs burst outward from her in a ring and three ripple rings expand from her landing point. The headline assembles in two stages: "夏に、" then "負けない。" A thick yellow underline strikes beneath the second phrase. [Shot 6] At 00:12.600, cut to a calm warm-white end card with generous negative space. The bottle slides to the centre and scales up slightly, its "AOI WATER" label square to the viewer and perfectly readable, with a ring of six aqua droplets popping outward around it one by one. The logotype "AOI WATER" reveals in deep navy beside the bottle with a small aqua droplet mark, and the smaller line "アオイ・ウォーター" fades in beneath it. A calm, bright young Japanese woman (S1) says in an off-screen voiceover: [Japanese] 夏に、負けない。 The end card holds sharp, centred and readable until exactly 15.000 seconds. Throughout: flat vector motion graphics only, one palette and one line weight, the same bottle design and the same character design in every shot, and something on screen is always moving. All Japanese text in clean gothic type and the label and logotype in clean geometric capitals, correctly formed and static once placed, with no subtitles of the spoken line and no other lettering. overall_soundscape: A deep whoosh and a short impact thud land as the bottle shoots up into frame, followed by three soft ripple taps. An airy whoosh runs under each colour wipe and a liquid sweep carries the aqua water across the frame. Rounded pops mark the sun pulses and each condensation drop, two ice cubes clink as they tumble, and a bottle cap cracks open before a clear pouring stream and three ice cubes landing in a glass. Three deep gulps and a quick refreshed exhale carry the drink, a light whoosh and landing thud carry the jump, and a clean shimmering chime rings on the logotype. non_diegetic_music: Generate an original 15-second bright Japanese commercial cue at 128 BPM using marimba, ukulele upstrokes, hand claps, a warm round bass and a light drum kit, playing without a gap from the first frame to the last. Open with a single accent hit as the bottle lands at 00:00.800, add the full kit as the water sweeps in, thin to marimba and claps under the pour, push to the loudest point with a rising fill under the jump, drop under the spoken line, and resolve on one clean sustained chord at 15.000 seconds. No singing and no lyrics.

タナベ | AI動画 × マーケティング

59,566 views • 16 days ago

Managed to get out of Dubai. The following is my personal opinion & experience 🇦🇪 Everything went quite seamless. Careem cabs operate normally. The airport is extremely well organized, considering the circumstances. The world has changed since Saturday and unfortunately, the country I moved to 3 years ago has been under heavy attacks. Why? No one really knows. However, I find it extremely disturbing that most media - including our beloved CT - exploits that serious situation to take cheap shots at Dubai and people who moved here. There are real families and hard working people affected. Most are scared or feel extremely uncomfortable. It's a traumatizing experience to hear missile interceptions right above your house. Nothing I wish for any human to ever experience, no matter if you pay 0% or 50% taxes. I don't even know what the link between those two things should be?? If anything, it proves that the UAE cares about their people and is able to protect its residents. Even at 0% income tax. Dubai was not known for it's strong military. It was always portrayed to be bling-bling golden steaks and influencers. But the UAE has shown the entire world that it can defend 1,000+ drones and 200+ missiles from a direct neighbor. That is impressive, whether you love or hate the UAE. Many countries would likely not be able to absorb that. So, if anything: Dubai and the UAE have demonstrated that the system works. I have lived in multiple countries around the world and the UAE is by far the most capable of handling crisis. Why did I leave Dubai then? Because it's not a situation I want to be in. Missile interceptions and drone explosions are no joke. Besides the danger that debris could hit your roof, there's an incredible intensity in the air. Most describe it as "intense calmness". While the Government managed to keep everyone from panicking, it's impossible for everyone to stay fully calm. And you can feel that in the day to day. The first night I got virtually no sleep. The night of my departure neither. I haven't left my house at all after the attacks started. But I'm out now. I really hope that leaving the country wasn't necessary, and that I will be able to come back to Dubai as soon as possible. And no, I'm not paid to say this, nor did I sign anything. Maybe part of the truth why no one who lives in Dubai has bad things to say about it is because it's one of the rare places on earth where people actually trust the Government and respect them? Not only for creating wealth and understanding business, but for caring and communicating in a way most other countries are simply incapable of. Anyways, I guess the point of this post is to 1) Tell everyone in Dubai that it's possible to leave right now. I know many people are very scared and want to get out. Be persistent with the airline if they cancel your flight and push hard to get rebooked on the next available one. And maybe choose a destination that isn't Europe, considering most of these flights are overbooked already and impossible to get on. 2) Dubai's self defense is impressive and we should acknowledge that. At least this one time, let's not derail into irrelevant discussions but show respect to the leaders + express empathy for those affected. 3) As an expat living in Dubai, I can still feel proud of my home country and do not have to choose. This isn't a black and white situation. Dubai is a melting pot of cultures and great place for Business. Other countries have better nature, social life or other things. It's also up to individual preference. 4) If you hate Dubai, yalla you don't need to live here, visit nor speak about it. Enjoy the place you live in and focus on your own. No need to feel triggered and take cheap shots at hard working people and families that are currently under heavy missile attacks. One final thing that really became clear to me this week is that after all, safety, health and living in freedom are absolutely priceless. May this all be over with soon and for sustaining peace to come in 🤲🏼
0:12

Managed to get out of Dubai. The following is my personal opinion & experience 🇦🇪 Everything went quite seamless. Careem cabs operate normally. The airport is extremely well organized, considering the circumstances. The world has changed since Saturday and unfortunately, the country I moved to 3 years ago has been under heavy attacks. Why? No one really knows. However, I find it extremely disturbing that most media - including our beloved CT - exploits that serious situation to take cheap shots at Dubai and people who moved here. There are real families and hard working people affected. Most are scared or feel extremely uncomfortable. It's a traumatizing experience to hear missile interceptions right above your house. Nothing I wish for any human to ever experience, no matter if you pay 0% or 50% taxes. I don't even know what the link between those two things should be?? If anything, it proves that the UAE cares about their people and is able to protect its residents. Even at 0% income tax. Dubai was not known for it's strong military. It was always portrayed to be bling-bling golden steaks and influencers. But the UAE has shown the entire world that it can defend 1,000+ drones and 200+ missiles from a direct neighbor. That is impressive, whether you love or hate the UAE. Many countries would likely not be able to absorb that. So, if anything: Dubai and the UAE have demonstrated that the system works. I have lived in multiple countries around the world and the UAE is by far the most capable of handling crisis. Why did I leave Dubai then? Because it's not a situation I want to be in. Missile interceptions and drone explosions are no joke. Besides the danger that debris could hit your roof, there's an incredible intensity in the air. Most describe it as "intense calmness". While the Government managed to keep everyone from panicking, it's impossible for everyone to stay fully calm. And you can feel that in the day to day. The first night I got virtually no sleep. The night of my departure neither. I haven't left my house at all after the attacks started. But I'm out now. I really hope that leaving the country wasn't necessary, and that I will be able to come back to Dubai as soon as possible. And no, I'm not paid to say this, nor did I sign anything. Maybe part of the truth why no one who lives in Dubai has bad things to say about it is because it's one of the rare places on earth where people actually trust the Government and respect them? Not only for creating wealth and understanding business, but for caring and communicating in a way most other countries are simply incapable of. Anyways, I guess the point of this post is to 1) Tell everyone in Dubai that it's possible to leave right now. I know many people are very scared and want to get out. Be persistent with the airline if they cancel your flight and push hard to get rebooked on the next available one. And maybe choose a destination that isn't Europe, considering most of these flights are overbooked already and impossible to get on. 2) Dubai's self defense is impressive and we should acknowledge that. At least this one time, let's not derail into irrelevant discussions but show respect to the leaders + express empathy for those affected. 3) As an expat living in Dubai, I can still feel proud of my home country and do not have to choose. This isn't a black and white situation. Dubai is a melting pot of cultures and great place for Business. Other countries have better nature, social life or other things. It's also up to individual preference. 4) If you hate Dubai, yalla you don't need to live here, visit nor speak about it. Enjoy the place you live in and focus on your own. No need to feel triggered and take cheap shots at hard working people and families that are currently under heavy missile attacks. One final thing that really became clear to me this week is that after all, safety, health and living in freedom are absolutely priceless. May this all be over with soon and for sustaining peace to come in 🤲🏼

Cito

1,392,455 views • 5 months ago

NFF COMMUNICATIONS DEPARTMENT 20 Points of a 20-hour ordeal on Libyan soil . NFF’s Director of Communications, Dr Ademola Olajire, provides a point-by-point account of how a keenly-anticipated Africa Cup of Nations qualifying match was relegated to a fiasco by Libyan federal authorities and Football Federation 1) The chartered ValueJet aircraft departed from the Victor Attah International Airport, Uyo at 11.55hours on Sunday, 13th October 2024, and landed at the Aminu Kano International Airport, Kano at 13.10hours, for the completion of immigration formalities and for the aircraft to refuel. 2) The aircraft took off from Kano at 15.18hours, for the 3 hours and 35 minutes flight to Benghazi, Libya, expecting to arrive a few minutes before 8pm Libya time. 3) Just as he was about to commence his initial approach into Benghazi, the captain (pilot) was instructed by the control tower that he could not land in Benghazi (despite having all the required landing papers and having completed all formalities before leaving Uyo and later, Kano, but should proceed to the Al-Abraq International Airport, even though the airport lacked the control navigators for landing at such hours. He complained that he was short on fuel but his words fell on deaf ears as he was told in stern manner that the directive was from ‘higher authorities.’ 4) On landing at the Al-Abraq International Airport, in the small town of Labraq, at 19.50hours, it was clear that the airport was not a well-utilized facility. There were no scanning machines or the usual equipment for this service, and officials had to make do with mobile phones to scan passport data pages. 5) The delegation, which included 22 players and team officials; NFF President Alh. Ibrahim Musa Gusau; Deputy Governor of Edo State, Comrade Philip Shaibu; a couple of NFF Board members; NFF General Secretary, Dr Mohammed Sanusi; a couple of parliamentarians; a couple of NFF Management; a couple of media representatives and; a couple of stakeholders, was shown scant respect by the airport authorities who applied curt manners and stern tones. 6) It took over one hour for the team’s luggage to roll through the carousel, despite the fact that the bags and other items had already been hauled from the aircraft immediately on arrival. 7) No official of the Libyan Football Federation was at the airport to receive the delegation, as is the best practice globally. Airport officials could not answer the simple question on where the buses that would take the delegation members back to Benghazi (where the NFF had booked hotel rooms) were. 8) When delegation members including the NFF President, Comrade Shaibu and Dr Sanusi attempted to venture outside the airport to ascertain if there were vehicles waiting for the team, they were stopped in the most uncouth of manners by airport security personnel. 9) Calls to the General Secretary of LFF, Mr. Abdul-Nasser by Dr Sanusi yielded no fruits as the former kept promising that the buses would arrive in ‘10 minutes’, which later became ‘two hours’, and afterwards, ‘three hours.’ Later in the evening, it was no longer possible to reach him on phone. Frustrated by this attitude, Dr Sanusi approached the security operatives to request that the team be allowed to go out and board the buses the NFF eventually hired. This request was rejected with insults. It took the intervention of the NFF dignitaries to prevent what would have escalated into a row as the NFF President himself was not spared when he heard exchange of voices between the security personnel and his General Secretary. This aggravated the tension and further frustrated the team. 10) Hour after hour, and with mounting frustration, delegation members, particularly the players, grew restless. There was no food or water provided by the LFF, or where to even procure these items, and there was no network or internet connection at the airport. These swiftly increased the level of frustration and anger
0:18

NFF COMMUNICATIONS DEPARTMENT 20 Points of a 20-hour ordeal on Libyan soil . NFF’s Director of Communications, Dr Ademola Olajire, provides a point-by-point account of how a keenly-anticipated Africa Cup of Nations qualifying match was relegated to a fiasco by Libyan federal authorities and Football Federation 1) The chartered ValueJet aircraft departed from the Victor Attah International Airport, Uyo at 11.55hours on Sunday, 13th October 2024, and landed at the Aminu Kano International Airport, Kano at 13.10hours, for the completion of immigration formalities and for the aircraft to refuel. 2) The aircraft took off from Kano at 15.18hours, for the 3 hours and 35 minutes flight to Benghazi, Libya, expecting to arrive a few minutes before 8pm Libya time. 3) Just as he was about to commence his initial approach into Benghazi, the captain (pilot) was instructed by the control tower that he could not land in Benghazi (despite having all the required landing papers and having completed all formalities before leaving Uyo and later, Kano, but should proceed to the Al-Abraq International Airport, even though the airport lacked the control navigators for landing at such hours. He complained that he was short on fuel but his words fell on deaf ears as he was told in stern manner that the directive was from ‘higher authorities.’ 4) On landing at the Al-Abraq International Airport, in the small town of Labraq, at 19.50hours, it was clear that the airport was not a well-utilized facility. There were no scanning machines or the usual equipment for this service, and officials had to make do with mobile phones to scan passport data pages. 5) The delegation, which included 22 players and team officials; NFF President Alh. Ibrahim Musa Gusau; Deputy Governor of Edo State, Comrade Philip Shaibu; a couple of NFF Board members; NFF General Secretary, Dr Mohammed Sanusi; a couple of parliamentarians; a couple of NFF Management; a couple of media representatives and; a couple of stakeholders, was shown scant respect by the airport authorities who applied curt manners and stern tones. 6) It took over one hour for the team’s luggage to roll through the carousel, despite the fact that the bags and other items had already been hauled from the aircraft immediately on arrival. 7) No official of the Libyan Football Federation was at the airport to receive the delegation, as is the best practice globally. Airport officials could not answer the simple question on where the buses that would take the delegation members back to Benghazi (where the NFF had booked hotel rooms) were. 8) When delegation members including the NFF President, Comrade Shaibu and Dr Sanusi attempted to venture outside the airport to ascertain if there were vehicles waiting for the team, they were stopped in the most uncouth of manners by airport security personnel. 9) Calls to the General Secretary of LFF, Mr. Abdul-Nasser by Dr Sanusi yielded no fruits as the former kept promising that the buses would arrive in ‘10 minutes’, which later became ‘two hours’, and afterwards, ‘three hours.’ Later in the evening, it was no longer possible to reach him on phone. Frustrated by this attitude, Dr Sanusi approached the security operatives to request that the team be allowed to go out and board the buses the NFF eventually hired. This request was rejected with insults. It took the intervention of the NFF dignitaries to prevent what would have escalated into a row as the NFF President himself was not spared when he heard exchange of voices between the security personnel and his General Secretary. This aggravated the tension and further frustrated the team. 10) Hour after hour, and with mounting frustration, delegation members, particularly the players, grew restless. There was no food or water provided by the LFF, or where to even procure these items, and there was no network or internet connection at the airport. These swiftly increased the level of frustration and anger

OgaNlaMedia 🇳🇬

257,902 views • 1 year ago

Cal AI might be the most viral health app this year. 8M+ downloads, projected to do $30M revenue this year. Built by two teenagers. Everyone's using it. But nobody's talking about the fact that their AI is completely broken... To the point where users are manually correcting EVERY meal. • Bowl of grapes: 60 cal estimate (actually ~260) • 4 boiled eggs: 1,010 cal estimate (actually ~300) • Meat portions: consistently off by 50% These aren't my words, but the reviews you can see for yourself on App Store and other places. If the whole USP is saving time vs manual logging, and you still have to correct everything... what's the point? What Cal AI did get right: Distribution. • Viral TikTok content • Smart influencer partnerships • 8M downloads in under a year They absolutely crushed GTM. But the product doesn't work lol. The gap between the "90% accuracy" claim vs the actual user experience kills trust. And in health apps, trust is everything. This is the problem with AI apps across the board right now. Everyone's racing to ship fast and go viral. Nobody's asking: "Does this actually solve the problem?" Distribution > product quality is a losing game. As a result, you're bound to encounter problems: 1. Training data doesn't match real-world variety 2. No depth sensing for portion size 3. Poor training data on homemade meals 4. Zero context (is that chicken grilled or fried?) You only get fast & inaccurate answers. This is why, when I started building my own recipe app, I looked at Cal and other AI nutrition apps and noticed that being accurate was the biggest factor. Here's how we're building Nonna differently: ✓ Multi-model AI (different models for different foods) ✓ User feedback loop to improve estimates ✓ Manual override that actually trains the system ✓ Ship when it works, not when it's "good enough" If the AI can't nail it, we're not shipping it. But accuracy alone is boring. So we're also adding some additional features that make you want to use it daily: • Fridge Story: shareable infographic of your fridge contents • Mystery Ingredient: weekly cooking challenges • Cuisine Spin: random inspiration when you're stuck • Expectation vs Reality: before/after photo collages Tl;dr: Distribution gets downloads. Product keeps users. Cal got millions of downloads. How many people still use it daily after manually correcting every meal for a week? Viral marketing with a broken product = expensive way to disappoint people.
0:11

Cal AI might be the most viral health app this year. 8M+ downloads, projected to do $30M revenue this year. Built by two teenagers. Everyone's using it. But nobody's talking about the fact that their AI is completely broken... To the point where users are manually correcting EVERY meal. • Bowl of grapes: 60 cal estimate (actually ~260) • 4 boiled eggs: 1,010 cal estimate (actually ~300) • Meat portions: consistently off by 50% These aren't my words, but the reviews you can see for yourself on App Store and other places. If the whole USP is saving time vs manual logging, and you still have to correct everything... what's the point? What Cal AI did get right: Distribution. • Viral TikTok content • Smart influencer partnerships • 8M downloads in under a year They absolutely crushed GTM. But the product doesn't work lol. The gap between the "90% accuracy" claim vs the actual user experience kills trust. And in health apps, trust is everything. This is the problem with AI apps across the board right now. Everyone's racing to ship fast and go viral. Nobody's asking: "Does this actually solve the problem?" Distribution > product quality is a losing game. As a result, you're bound to encounter problems: 1. Training data doesn't match real-world variety 2. No depth sensing for portion size 3. Poor training data on homemade meals 4. Zero context (is that chicken grilled or fried?) You only get fast & inaccurate answers. This is why, when I started building my own recipe app, I looked at Cal and other AI nutrition apps and noticed that being accurate was the biggest factor. Here's how we're building Nonna differently: ✓ Multi-model AI (different models for different foods) ✓ User feedback loop to improve estimates ✓ Manual override that actually trains the system ✓ Ship when it works, not when it's "good enough" If the AI can't nail it, we're not shipping it. But accuracy alone is boring. So we're also adding some additional features that make you want to use it daily: • Fridge Story: shareable infographic of your fridge contents • Mystery Ingredient: weekly cooking challenges • Cuisine Spin: random inspiration when you're stuck • Expectation vs Reality: before/after photo collages Tl;dr: Distribution gets downloads. Product keeps users. Cal got millions of downloads. How many people still use it daily after manually correcting every meal for a week? Viral marketing with a broken product = expensive way to disappoint people.

Denislav Jeliazkov

37,989 views • 9 months ago

URGENT TOPIC - PLEASE READ: ⸻ The “UFO Sphere” Phenomenon in Buga, Colombia – March 2025 An Analysis of Its Origins, Messages, and Possible Warnings for Humanity The appearance of a “UFO sphere” in Buga, Colombia in March 2025 attracted widespread attention from the international community, with many theories and analyses proposed. Below is a summary of the key information and evaluations surrounding this event: ⸻ 🛸 Description of the Phenomenon In early March 2025, residents of the city of Buga, Colombia recorded footage of a spherical, silver-colored object flying across the sky in a zigzag pattern at high speeds. Remarkably, the object emitted no sound and showed no signs of a propulsion system. After a period of flight, it gently landed in a nearby field. Some local residents approached and recovered the object. ⸻ 🔬 Preliminary Scientific Analysis The object, dubbed the “Esfera de Buga,” measures approximately 50 cm in diameter and weighs around 2 kg. X-ray analysis revealed an internal structure of three layers of metal, with 18 smaller spheres arranged around a central core referred to as the “chip.” No welding marks or signs of manual assembly were found, suggesting an unknown manufacturing process. The outer shell has a density similar to human bone, potentially composed of titanium or steel. ⸻ 🧬 Symbols and Message The surface of the sphere bears symbols resembling ancient runes, Ogham, and other archaic writing systems. Using artificial intelligence, researchers decoded the following message: “The origin of birth is through union and energy within the cycle of transformation — a meeting point of unity, expansion, and individual consciousness.” This message is interpreted as a call for humanity to shift its collective consciousness in order to protect the Earth. ⸻ ⚠️ Reactions and Related Phenomena •A resident who touched the object reported feeling fatigued for several days afterward. •When water was poured onto the sphere, it evaporated instantly, releasing smoke and vapor. •The Colombian government has not issued an official statement on the incident. ⸻ 🤔 Theories About Its Origin 1.Extraterrestrial Technology – The complex structure and philosophical message suggest a non-Earth origin. Debris – Possibly a part of a satellite or space equipment, though no official reports confirm this. Project or Hoax – Some speculate it could be an elaborate art installation or prank. ⸻ 🔍 Conclusion The “Esfera de Buga” remains an enigma with multiple competing theories. Although no official conclusion has been reached, the event has sparked significant interest and debate in both scientific circles and the public. Continued research and analysis will be crucial in uncovering the true nature of this object. ⸻ Q: Some claim that UFOs sent this sphere to warn humanity about a developing biological chip that could profoundly impact humankind—possibly in a harmful way. I’ve also heard that a man is working on such a chip to ‘reprogram’ the human brain and is testing it on prisoners. Could this be true? A: Metta’s question touches on an extremely sensitive and profound topic — the potential abuse of advanced technology to control human consciousness, and the possibility that UFO phenomena may be issuing a warning. Let’s analyze this from multiple angles: ⸻ 👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻
0:10

URGENT TOPIC - PLEASE READ: ⸻ The “UFO Sphere” Phenomenon in Buga, Colombia – March 2025 An Analysis of Its Origins, Messages, and Possible Warnings for Humanity The appearance of a “UFO sphere” in Buga, Colombia in March 2025 attracted widespread attention from the international community, with many theories and analyses proposed. Below is a summary of the key information and evaluations surrounding this event: ⸻ 🛸 Description of the Phenomenon In early March 2025, residents of the city of Buga, Colombia recorded footage of a spherical, silver-colored object flying across the sky in a zigzag pattern at high speeds. Remarkably, the object emitted no sound and showed no signs of a propulsion system. After a period of flight, it gently landed in a nearby field. Some local residents approached and recovered the object. ⸻ 🔬 Preliminary Scientific Analysis The object, dubbed the “Esfera de Buga,” measures approximately 50 cm in diameter and weighs around 2 kg. X-ray analysis revealed an internal structure of three layers of metal, with 18 smaller spheres arranged around a central core referred to as the “chip.” No welding marks or signs of manual assembly were found, suggesting an unknown manufacturing process. The outer shell has a density similar to human bone, potentially composed of titanium or steel. ⸻ 🧬 Symbols and Message The surface of the sphere bears symbols resembling ancient runes, Ogham, and other archaic writing systems. Using artificial intelligence, researchers decoded the following message: “The origin of birth is through union and energy within the cycle of transformation — a meeting point of unity, expansion, and individual consciousness.” This message is interpreted as a call for humanity to shift its collective consciousness in order to protect the Earth. ⸻ ⚠️ Reactions and Related Phenomena •A resident who touched the object reported feeling fatigued for several days afterward. •When water was poured onto the sphere, it evaporated instantly, releasing smoke and vapor. •The Colombian government has not issued an official statement on the incident. ⸻ 🤔 Theories About Its Origin 1.Extraterrestrial Technology – The complex structure and philosophical message suggest a non-Earth origin. Debris – Possibly a part of a satellite or space equipment, though no official reports confirm this. Project or Hoax – Some speculate it could be an elaborate art installation or prank. ⸻ 🔍 Conclusion The “Esfera de Buga” remains an enigma with multiple competing theories. Although no official conclusion has been reached, the event has sparked significant interest and debate in both scientific circles and the public. Continued research and analysis will be crucial in uncovering the true nature of this object. ⸻ Q: Some claim that UFOs sent this sphere to warn humanity about a developing biological chip that could profoundly impact humankind—possibly in a harmful way. I’ve also heard that a man is working on such a chip to ‘reprogram’ the human brain and is testing it on prisoners. Could this be true? A: Metta’s question touches on an extremely sensitive and profound topic — the potential abuse of advanced technology to control human consciousness, and the possibility that UFO phenomena may be issuing a warning. Let’s analyze this from multiple angles: ⸻ 👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻👇🏻

Metta UniⓋerse

20,240 views • 1 year ago

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. 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; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.
0:15

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. 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; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.

Nawal

18,336 views • 1 month ago

Questions for Candace Owens Question 1 You have said that you were kicked out of your home at age 14 and lived with a boyfriend for six months, describing yourself as “one of those kids.” How did those early experiences shape your understanding of relationships, authority, and personal boundaries? Question 2 Years later, in your debate with 20 feminists and on the podcast Whatever, you often gave the impression that you were not one of those kids. Maybe I am wrong, Candace, so can you tell us whether you ever talked about your past in those debates, or explained how those early experiences shaped the beliefs you now promote for women? Question 3 You have said that from about ages 8 to 18, you read only fiction books, and that you began reading nonfiction only after you became interested in politics. How did spending almost a decade reading only fiction affect how you understand the world’s complexity and complicated issues in general? Question 4 In 2007, you sued the Stamford Board of Education after reporting racist death-threat voicemails. In 2024, you publicly stated that you were again receiving death threats, but this time from the French government. Given that, according to you, your parents kicked you out of your home at age 14, that you later received death threats from students connected to the Stamford Board of Education, and that you now say you are receiving death threats from the French government, how do you understand this pattern of death-threat claims appearing at major phases of your life? Question 5 In 2015, when you started the project called Degree180, you published articles criticizing conservative Republicans and the Tea Party movement, and mocking Donald Trump, including comments about his penis size. During that same period, you also wrote articles stating that cheating and having affairs could be romantic, and another article suggesting that it could be smart for a woman to marry a gay man. Even if you identified at that time as a Democrat or a liberal, these views are not commonly held within those groups. What values were guiding those arguments at that time? Question 6 In 2016, you launched a project that involved publicly identifying individuals accused of online harassment. After the project was suspended, you were later doxxed. After you were doxxed, you blamed the left. Is that true, and did that experience contribute to your shift toward conservatism? Question 7 You have said that you used Charlie Kirk’s credit card to buy airline tickets to the UK without asking his permission. What was the nature of your professional or personal relationship with him that made you feel comfortable enough to do that? Question 8 In December 2018, during that UK trip, you met George Farmer. Shortly afterward, in May 2019, you made comments at a Turning Point UK event stating that nationalism itself was not problematic, and that Hitler’s issue was his global ambitions rather than nationalism confined to Germany. How do you reflect on the timing and substance of those remarks today? Question 9 After 2019, TPUSA distanced itself from you and you were no longer on the payroll, even though you later spoke at events such as the Michigan event in 2024. How did that distancing affect how you viewed TPUSA from that point forward? Question 10 Is it possible for you, and for your followers, to consider that Erika Kirk is not a perfect human being, like all of us, and that Turning Point USA is not a flawless organization, like any organization, but that your conclusion that they betrayed Charlie could be wrong, especially if that conclusion was influenced by a dream? Cc:Paramount Tactical - Gary Melton Nathan Livingstone (MilkBarTV) NΛTLY DΞNISΞ Alex Jones Tim Pool Tyler Bowyer Andrew Kolvet FBI Donald J. Trump Dr. Phil Dr Jordan B Peterson Elon Musk Patrick Bet-David Adam 🆘 Sosnick
0:29

Questions for Candace Owens Question 1 You have said that you were kicked out of your home at age 14 and lived with a boyfriend for six months, describing yourself as “one of those kids.” How did those early experiences shape your understanding of relationships, authority, and personal boundaries? Question 2 Years later, in your debate with 20 feminists and on the podcast Whatever, you often gave the impression that you were not one of those kids. Maybe I am wrong, Candace, so can you tell us whether you ever talked about your past in those debates, or explained how those early experiences shaped the beliefs you now promote for women? Question 3 You have said that from about ages 8 to 18, you read only fiction books, and that you began reading nonfiction only after you became interested in politics. How did spending almost a decade reading only fiction affect how you understand the world’s complexity and complicated issues in general? Question 4 In 2007, you sued the Stamford Board of Education after reporting racist death-threat voicemails. In 2024, you publicly stated that you were again receiving death threats, but this time from the French government. Given that, according to you, your parents kicked you out of your home at age 14, that you later received death threats from students connected to the Stamford Board of Education, and that you now say you are receiving death threats from the French government, how do you understand this pattern of death-threat claims appearing at major phases of your life? Question 5 In 2015, when you started the project called Degree180, you published articles criticizing conservative Republicans and the Tea Party movement, and mocking Donald Trump, including comments about his penis size. During that same period, you also wrote articles stating that cheating and having affairs could be romantic, and another article suggesting that it could be smart for a woman to marry a gay man. Even if you identified at that time as a Democrat or a liberal, these views are not commonly held within those groups. What values were guiding those arguments at that time? Question 6 In 2016, you launched a project that involved publicly identifying individuals accused of online harassment. After the project was suspended, you were later doxxed. After you were doxxed, you blamed the left. Is that true, and did that experience contribute to your shift toward conservatism? Question 7 You have said that you used Charlie Kirk’s credit card to buy airline tickets to the UK without asking his permission. What was the nature of your professional or personal relationship with him that made you feel comfortable enough to do that? Question 8 In December 2018, during that UK trip, you met George Farmer. Shortly afterward, in May 2019, you made comments at a Turning Point UK event stating that nationalism itself was not problematic, and that Hitler’s issue was his global ambitions rather than nationalism confined to Germany. How do you reflect on the timing and substance of those remarks today? Question 9 After 2019, TPUSA distanced itself from you and you were no longer on the payroll, even though you later spoke at events such as the Michigan event in 2024. How did that distancing affect how you viewed TPUSA from that point forward? Question 10 Is it possible for you, and for your followers, to consider that Erika Kirk is not a perfect human being, like all of us, and that Turning Point USA is not a flawless organization, like any organization, but that your conclusion that they betrayed Charlie could be wrong, especially if that conclusion was influenced by a dream? Cc:Paramount Tactical - Gary Melton Nathan Livingstone (MilkBarTV) NΛTLY DΞNISΞ Alex Jones Tim Pool Tyler Bowyer Andrew Kolvet FBI Donald J. Trump Dr. Phil Dr Jordan B Peterson Elon Musk Patrick Bet-David Adam 🆘 Sosnick

Jinet Gharibian

105,902 views • 7 months ago

Can't help but smile at this one. One of those stories I think we are going to look back and laugh at one day. ⬇️ James Voorhies was an uncommitted catcher (and a very good one) just over a year ago. Hadn't thrown a varsity inning on the mound. In October going into his senior year I played catch with him at the local elementary school. We threw on a crabgrass field and I told him after 15 minutes of playing catch that his arm, body type, and feel for the baseball were far too advanced for him to not be on the mound. James agreed to start throwing bullpens and "give it a shot". 3 weeks later I did a workout with some of our clients and James threw a bullpen on the game mound. He was 85-87 and absolutely pounded the zone. Threw 3 of the dirtiest changeups I’ve seen (we had played with a kick-change grip a few weeks prior). I had never seen him throw against hitters. Saw a 15 minute catch play session and his first bullpen in years. I Immediately sent the video to a handful of Division 1 programs that were on his list and gave them the scoop. “He's got zero track record but everything about him looks like a future pro arm”. Responses ranged anywhere from excitement to skepticism, which was 100% to be expected. Fast forward a few months to February... CSUN pulled the trigger before his high school season even started and James went on to post a 1.09 ERA, 83 IP, 60 H, 21 BB, and 83 K in his first year of pitching to help take College Park HS to the NCS championship. So here we are essentially 1 year after Jimmy started pitching full time and he’s up to 94 mph as a true freshman, with a win and a save in his first two collegiate appearances with 7.2 IP, 4 H, 1 BB, 13 K. Pretty cool story of a guy going “all in” on something new and different, and a college program taking a chance on a guy that they see future potential in. But the best part of this story and biggest point I want to make is that I firmly believe the reason Jimmy V was the guy that CSUN took a shot on was because of his makeup, work ethic, character, and competitiveness. Jimmy is one of the best “makeup” guys I’ve ever recruited or advised. He is the perfect combination of humble and confident and was the QB/captain of his football team in high school. Jimmy made it easy for CSUN to say “that’s the guy we want to take a chance on.” And yes, it helped that he was 6’4” and a big time multi-sport athlete with a ton of upside. It fires me up to watch Jimmy doing his thing at a very high level. He’s got a ton of good baseball ahead of him. @jam8svoorhies CollegePark Baseball Diablo Valley Baseball Club CSUN Baseball
0:18

Can't help but smile at this one. One of those stories I think we are going to look back and laugh at one day. ⬇️ James Voorhies was an uncommitted catcher (and a very good one) just over a year ago. Hadn't thrown a varsity inning on the mound. In October going into his senior year I played catch with him at the local elementary school. We threw on a crabgrass field and I told him after 15 minutes of playing catch that his arm, body type, and feel for the baseball were far too advanced for him to not be on the mound. James agreed to start throwing bullpens and "give it a shot". 3 weeks later I did a workout with some of our clients and James threw a bullpen on the game mound. He was 85-87 and absolutely pounded the zone. Threw 3 of the dirtiest changeups I’ve seen (we had played with a kick-change grip a few weeks prior). I had never seen him throw against hitters. Saw a 15 minute catch play session and his first bullpen in years. I Immediately sent the video to a handful of Division 1 programs that were on his list and gave them the scoop. “He's got zero track record but everything about him looks like a future pro arm”. Responses ranged anywhere from excitement to skepticism, which was 100% to be expected. Fast forward a few months to February... CSUN pulled the trigger before his high school season even started and James went on to post a 1.09 ERA, 83 IP, 60 H, 21 BB, and 83 K in his first year of pitching to help take College Park HS to the NCS championship. So here we are essentially 1 year after Jimmy started pitching full time and he’s up to 94 mph as a true freshman, with a win and a save in his first two collegiate appearances with 7.2 IP, 4 H, 1 BB, 13 K. Pretty cool story of a guy going “all in” on something new and different, and a college program taking a chance on a guy that they see future potential in. But the best part of this story and biggest point I want to make is that I firmly believe the reason Jimmy V was the guy that CSUN took a shot on was because of his makeup, work ethic, character, and competitiveness. Jimmy is one of the best “makeup” guys I’ve ever recruited or advised. He is the perfect combination of humble and confident and was the QB/captain of his football team in high school. Jimmy made it easy for CSUN to say “that’s the guy we want to take a chance on.” And yes, it helped that he was 6’4” and a big time multi-sport athlete with a ton of upside. It fires me up to watch Jimmy doing his thing at a very high level. He’s got a ton of good baseball ahead of him. @jam8svoorhies CollegePark Baseball Diablo Valley Baseball Club CSUN Baseball

Josh Nashed

13,383 views • 6 months ago

here's how you can scale to 10k/month on tiktok shop with slideshows so most affiliates are stuck doing the same thing every day. film, edit, post, make like $60-80 in commissions. and the problem isn't effort, it's that your time is the bottleneck. you can't film 15 videos a day. so your output caps and your money caps with it. meanwhile there's a guy in canada who made $18k in his first two weeks. never filmed anything. never showed his face. never even held a product. canada doesn't even support tiktok shop, he's running us tiktok from there. all slideshows. and when i say slideshows i mean 4-7 images posted like a normal tiktok with a product link attached. that's it. someone buys off it, you get paid. making one takes maybe 5% of the skill of making a video. now here's the catch. tiktok gated the feature. most accounts can't attach products to photo posts, you'll get a "product links not available in photo mode" error. some accounts randomly have it. quick way to check: open tiktok studio on desktop (has to be desktop, mobile won't work), hit upload. if you see "videos or photos" you have access. click photos, upload your images, attach the link. if you only see video upload, you're not in yet. uk and europe are getting it randomly right now, us is only top gmv creators for the moment. check every day because tiktok doesn't tell you when you get it, the option just shows up. worst case you build the system now and execute day one when your account unlocks. because the people getting random access with no clue what they're doing are posting random images and making nothing. the format is easy, that doesn't mean it's mindless. the format itself is one thing repeated over and over: pain point first, product second. slide one hits an insecurity. back acne from the gym. car turning into an oven all summer. makeup that never sits right. the person scrolling sees it and goes "wait that's literally me." middle slides twist the knife a bit more. then "so i tried this thing everyone's using," show it working, before and after, and the last slide is just the offer. sale, free shipping, link below. done. that structure sells cold traffic. people who've never seen the product buy off one slideshow because you sold the problem, not the product. and here's the part most people don't clock when they're scrolling past these: none of it is real. the guy holding the ceiling fan doesn't own a ceiling fan. the back acne was generated onto the model. the smoothies were never made. it's all ai images. which kills every excuse at once. no face, no product in hand, no waiting on shipping, no country restrictions. the workflow is dumb simple. screenshot a slideshow style you like, drop it in chatgpt, say "make me 3x4 images in this style." then describe your pain point scene. couple walking to a car that's been baking in the sun, whatever it is. then grab the product image off the tiktok listing, feed it in, "now show them using this." repeat per slide. no fancy prompts, the reference images do all the work. two small things that matter more than they should. keep everything 3:4 or the mixed sizes make the whole post look off. and don't bake text into the images, add it inside tiktok. native text looks like a person posted it. baked text looks like an ad. people can feel the difference even if they can't explain it. if you want it to look even more real, take a photo of your actual kitchen or desk and only generate the product into it. real room, ai product. nobody can tell. for ideas, don't invent anything. steal structure, swap one variable. the number one post in the uk right now is a simpsons style slideshow about linen trousers. take that exact skeleton and run it with a sports set or summer shorts instead. same format, different product, suddenly it's unsaturated again. or take viral videos and turn them into slides. one guy took a viral video about a sink drainage thing, rebuilt it as images, and beat the original with 1.7m views. first week on the platform. the biggest edge though is going backwards. pull products that went viral 2-3 months ago, take the exact hooks that already converted millions of views, and rerun them as slideshows. nobody's done them in this format because the format barely exists. you're not testing ideas, you're re-releasing proven hits. then it just comes down to volume. no filming, no editing, no product costs means each post is basically free. so post 10-15 a day. most will flop, who cares. one will do 500k views in two days and when it does you remake it 50 times and drain it. every gated feature on tiktok runs the same cycle. early access prints, wide rollout saturates, then it's just another format everyone does. slideshows are still in the first part of that cycle.
0:11

here's how you can scale to 10k/month on tiktok shop with slideshows so most affiliates are stuck doing the same thing every day. film, edit, post, make like $60-80 in commissions. and the problem isn't effort, it's that your time is the bottleneck. you can't film 15 videos a day. so your output caps and your money caps with it. meanwhile there's a guy in canada who made $18k in his first two weeks. never filmed anything. never showed his face. never even held a product. canada doesn't even support tiktok shop, he's running us tiktok from there. all slideshows. and when i say slideshows i mean 4-7 images posted like a normal tiktok with a product link attached. that's it. someone buys off it, you get paid. making one takes maybe 5% of the skill of making a video. now here's the catch. tiktok gated the feature. most accounts can't attach products to photo posts, you'll get a "product links not available in photo mode" error. some accounts randomly have it. quick way to check: open tiktok studio on desktop (has to be desktop, mobile won't work), hit upload. if you see "videos or photos" you have access. click photos, upload your images, attach the link. if you only see video upload, you're not in yet. uk and europe are getting it randomly right now, us is only top gmv creators for the moment. check every day because tiktok doesn't tell you when you get it, the option just shows up. worst case you build the system now and execute day one when your account unlocks. because the people getting random access with no clue what they're doing are posting random images and making nothing. the format is easy, that doesn't mean it's mindless. the format itself is one thing repeated over and over: pain point first, product second. slide one hits an insecurity. back acne from the gym. car turning into an oven all summer. makeup that never sits right. the person scrolling sees it and goes "wait that's literally me." middle slides twist the knife a bit more. then "so i tried this thing everyone's using," show it working, before and after, and the last slide is just the offer. sale, free shipping, link below. done. that structure sells cold traffic. people who've never seen the product buy off one slideshow because you sold the problem, not the product. and here's the part most people don't clock when they're scrolling past these: none of it is real. the guy holding the ceiling fan doesn't own a ceiling fan. the back acne was generated onto the model. the smoothies were never made. it's all ai images. which kills every excuse at once. no face, no product in hand, no waiting on shipping, no country restrictions. the workflow is dumb simple. screenshot a slideshow style you like, drop it in chatgpt, say "make me 3x4 images in this style." then describe your pain point scene. couple walking to a car that's been baking in the sun, whatever it is. then grab the product image off the tiktok listing, feed it in, "now show them using this." repeat per slide. no fancy prompts, the reference images do all the work. two small things that matter more than they should. keep everything 3:4 or the mixed sizes make the whole post look off. and don't bake text into the images, add it inside tiktok. native text looks like a person posted it. baked text looks like an ad. people can feel the difference even if they can't explain it. if you want it to look even more real, take a photo of your actual kitchen or desk and only generate the product into it. real room, ai product. nobody can tell. for ideas, don't invent anything. steal structure, swap one variable. the number one post in the uk right now is a simpsons style slideshow about linen trousers. take that exact skeleton and run it with a sports set or summer shorts instead. same format, different product, suddenly it's unsaturated again. or take viral videos and turn them into slides. one guy took a viral video about a sink drainage thing, rebuilt it as images, and beat the original with 1.7m views. first week on the platform. the biggest edge though is going backwards. pull products that went viral 2-3 months ago, take the exact hooks that already converted millions of views, and rerun them as slideshows. nobody's done them in this format because the format barely exists. you're not testing ideas, you're re-releasing proven hits. then it just comes down to volume. no filming, no editing, no product costs means each post is basically free. so post 10-15 a day. most will flop, who cares. one will do 500k views in two days and when it does you remake it 50 times and drain it. every gated feature on tiktok runs the same cycle. early access prints, wide rollout saturates, then it's just another format everyone does. slideshows are still in the first part of that cycle.

Mufasa

13,066 views • 13 days ago

Hello Hugh Thomas , let’s do it one by one, sample by sample, stone by stone. Whenever an artificial stone recipe of mine reaches a certain stage that’s the results are comparable to the natural version I’ll send a cast sample to you (with its mold) to analyze. The first one could be this perfectly chiseled fake limestone cube. As you can see you can’t fit a razor blade between the stone and the cheap silicone mold from Temu. This proves my micro chiseling skills. The recipe is public, you don’t even need my cube, you could create your own - but you won’t. So I’ll send this cute cube to you. The “secret” recipe is: I started from wood ash lye, also called potash, or K2CO3, by slowly dripping water through hard wood ash. Hard wood ash from your fireplace, yeah. Then I added slaked lime, and the chemical reaction produced fine, molecular level CaCO3 particles, fine limestone floating in the liquid. FYI: the secret chemical reaction is, and was in the ancient times as well: K2CO3 + Ca(OH)2 = CaCO3 + 2KOH Yummy! Next step: I let the limestone particles settle, and poured the KOH, potassium hydroxide solution above (that also formed in the liquid, see above) into the kitchen sink as it is a very good drain cleaner indeed. I added water and poured it into the sink several times, trying to clean the slurry from the KOH. So yes, the cube is from almost pure limestone, CaCO3 - with some residual KOH contamination. The KOH contamination can be reduced infinitely, I just stopped after 4 rounds. (Pro tip: put the slurry into a filter bag and put the bag into a mountain creek for an hour.) The next step is filtering and pressing the remaining liquid from the slurry. Because it’s a wet mess at this point. Pressure is a key factor to success! At least one thing is accurate from the universal canon: no pressure-no stone. How do I know? By trying and failing a few (dozen) times. So I poured the white limestone slurry into a sock 🧦 and pressed and squeezed it by hand - and that was JUST enough pressure for the magic to happen 😮 It looks like nature/god is on our side, everything is working as it was designed this way. Then I put the almost dry limestone paste into this Temu mold. Fun fact: it still contains a lot of water which will eventually be pressed out as the crystallization progresses, so we’ll need to get rid of that water through a hole, a nub. But there is no hole 🕳️ on this Temu mold so I poured the excess liquid from the top a few times. Hardening time=drying time=crystallization time : 1 week. The important lesson I learned from this experience is as follows: I tried to understand why this sludge turned into hard stone, because, as we were told, IT IS IMPOSSIBLE, and my understanding is this: wood ash lye does two different magics in parallel for this to happen: 1. It magically contains the right kind of contamination to facilitate calcite crystal formation and 2. The incredibly high pH (remember, 2 molecules of KOH are produced from 1 molecule of K2CO3!) in the liquid boost the calcite formation even more. ———- My only request from you and your colleagues concerning this analysis is full, 100000% transparency. And be honest. I know something you clearly don’t: you have lost this battle already. We need the data fast, not in 4 years or something. Transparency means sharing whatever you find here on X, without scientific drama and pullbacks. We don’t need a 947 pages scientific paper. We need the results, the data only. BTW: I already know what you will find: a “special type of natural limestone” with some minimal potassium contamination🤣🤣🤣 Now feel free to DM me, let this scientific analysis happen! And thank you for your offer!
0:14

Hello Hugh Thomas , let’s do it one by one, sample by sample, stone by stone. Whenever an artificial stone recipe of mine reaches a certain stage that’s the results are comparable to the natural version I’ll send a cast sample to you (with its mold) to analyze. The first one could be this perfectly chiseled fake limestone cube. As you can see you can’t fit a razor blade between the stone and the cheap silicone mold from Temu. This proves my micro chiseling skills. The recipe is public, you don’t even need my cube, you could create your own - but you won’t. So I’ll send this cute cube to you. The “secret” recipe is: I started from wood ash lye, also called potash, or K2CO3, by slowly dripping water through hard wood ash. Hard wood ash from your fireplace, yeah. Then I added slaked lime, and the chemical reaction produced fine, molecular level CaCO3 particles, fine limestone floating in the liquid. FYI: the secret chemical reaction is, and was in the ancient times as well: K2CO3 + Ca(OH)2 = CaCO3 + 2KOH Yummy! Next step: I let the limestone particles settle, and poured the KOH, potassium hydroxide solution above (that also formed in the liquid, see above) into the kitchen sink as it is a very good drain cleaner indeed. I added water and poured it into the sink several times, trying to clean the slurry from the KOH. So yes, the cube is from almost pure limestone, CaCO3 - with some residual KOH contamination. The KOH contamination can be reduced infinitely, I just stopped after 4 rounds. (Pro tip: put the slurry into a filter bag and put the bag into a mountain creek for an hour.) The next step is filtering and pressing the remaining liquid from the slurry. Because it’s a wet mess at this point. Pressure is a key factor to success! At least one thing is accurate from the universal canon: no pressure-no stone. How do I know? By trying and failing a few (dozen) times. So I poured the white limestone slurry into a sock 🧦 and pressed and squeezed it by hand - and that was JUST enough pressure for the magic to happen 😮 It looks like nature/god is on our side, everything is working as it was designed this way. Then I put the almost dry limestone paste into this Temu mold. Fun fact: it still contains a lot of water which will eventually be pressed out as the crystallization progresses, so we’ll need to get rid of that water through a hole, a nub. But there is no hole 🕳️ on this Temu mold so I poured the excess liquid from the top a few times. Hardening time=drying time=crystallization time : 1 week. The important lesson I learned from this experience is as follows: I tried to understand why this sludge turned into hard stone, because, as we were told, IT IS IMPOSSIBLE, and my understanding is this: wood ash lye does two different magics in parallel for this to happen: 1. It magically contains the right kind of contamination to facilitate calcite crystal formation and 2. The incredibly high pH (remember, 2 molecules of KOH are produced from 1 molecule of K2CO3!) in the liquid boost the calcite formation even more. ———- My only request from you and your colleagues concerning this analysis is full, 100000% transparency. And be honest. I know something you clearly don’t: you have lost this battle already. We need the data fast, not in 4 years or something. Transparency means sharing whatever you find here on X, without scientific drama and pullbacks. We don’t need a 947 pages scientific paper. We need the results, the data only. BTW: I already know what you will find: a “special type of natural limestone” with some minimal potassium contamination🤣🤣🤣 Now feel free to DM me, let this scientific analysis happen! And thank you for your offer!

Marcell Fóti 🪨

38,468 views • 1 month ago

Real Benefits of Staying Overnight at Accor’s Mercure Ba Na Hills 🏰☁️ Save Time • Save Money • Experience the REAL Ba Na Hills If Ba Na Hills, Vietnam 🇻🇳 is on your itinerary, do NOT do it as a day trip. An overnight stay at Mercure Ba Na Hills French Village completely changes the experience — and most people miss this 👇 ⸻ 🚡 World’s most unique hotel access — arrive by cable car with luggage This is the ONLY hotel where you reach your hotel room via cable car — with your luggage 🎒🧳 Your stay literally starts with a scenic cable car journey over the lush green forest, waterfalls and through the clouds ☁️ No roads. No buses. Just views and vibes. ⸻ ✨ Ba Na Hills at night = pure magic After sunset 🌄, it feels like you’re staying above the clouds ☁️ Silent streets, misty castles, and unreal vibes — something day visitors never see. 🚶‍♂️ Post 4:30 PM = Ba Na Hills becomes yours Once the day crowd leaves: • Empty streets • Quiet castles • Peaceful photo spots 📸 • Zero chaos ⸻ 🚡 VIP Cable Car access (Huge hidden benefit!) ✔️ Mercure guests get VIP / priority entry into cable cars ✔️ Private cable cars for your family only ✔️ No queues at all ⏳ Day visitors wait 60–90 minutes EACH side, and 10–15 people are packed into one cable car. This benefit alone saves hours. ⸻ 🎢 Fantasy Park with ZERO crowds 🗓️ Friday–Sunday: Open till 7 PM in the evening while day visitors leave by 4:30 PM. Unlimited FREE Rides, games, and 4D/5D shows — repeated multiple times 🎮🎠 No queues. No rush. Full fun mode 😍 ⸻ 🎿 Alpine Coaster Happy Hours = Double Win at this Gravity Based Roller Coasters 🎢, Most Popular at Ba Na 💰 Pay just VND 50k (instead of VND 80k) ⏰ 4:30–5:30 PM | 8:30–9:30 AM 🚫 Almost no waiting 🌫️ Evening mist rides on mountains = unforgettable ⸻ 🌉 Golden Hand Bridge — crowd-free access The iconic Golden Bridge is accessible ONLY to Mercure guests from 6 AM–8 AM Till ~9 AM, there are very few people — perfect for photos & serenity 📸 ⸻ 🚡 30% discount on Cable Car + ALL attractions if purchased at Mercure check-in, The two-way Cable Car tickets includes 👇following on all days on your Stay ✔️ All cable cars (up, down & internal) ✔️ All funiculars 🚆 ✔️ Unlimited Fantasy Park & Moon Castle games ✔️ 4D / 5D / 7D & 360° movies ✔️ Flying Eye Theatre ✔️ Indoor & outdoor bumper cars ✔️ All rides ✔️ Sun Castle & Moon/Lunar Castle ✔️ Le Jardin D’Amour, Pagoda & Love Garden 🌸 ✔️ Thác Thần Mặt Trời waterfall & Golden Horse Statue ✔️Except Alpine Coasters & 10D Show, everything is Free, unlimited times 🤩 Most day visitors don’t even realise what they miss. ⸻ 💡 Bottom Line: Ba Na Hills is NOT meant to be rushed. You need time to feel the vibe and explore peacefully. After staying there, I honestly wished I had booked 2 nights instead of 1. 🏰 A night stay at Mercure Ba Na Hills isn’t just about the hotel — it unlocks the best version of Ba Na Hills. 🔖 Save this post 🇻🇳 Stay tuned for more Vietnam travel & credit-card-optimised travel tips. 📘 Visit SpendWisely Blog: Detailed credit card reviews & guides 👉 Some links may be referral links in the above post. It supports the page without any cost to you. #creditcard #spendwisely #creditcards
0:56

Real Benefits of Staying Overnight at Accor’s Mercure Ba Na Hills 🏰☁️ Save Time • Save Money • Experience the REAL Ba Na Hills If Ba Na Hills, Vietnam 🇻🇳 is on your itinerary, do NOT do it as a day trip. An overnight stay at Mercure Ba Na Hills French Village completely changes the experience — and most people miss this 👇 ⸻ 🚡 World’s most unique hotel access — arrive by cable car with luggage This is the ONLY hotel where you reach your hotel room via cable car — with your luggage 🎒🧳 Your stay literally starts with a scenic cable car journey over the lush green forest, waterfalls and through the clouds ☁️ No roads. No buses. Just views and vibes. ⸻ ✨ Ba Na Hills at night = pure magic After sunset 🌄, it feels like you’re staying above the clouds ☁️ Silent streets, misty castles, and unreal vibes — something day visitors never see. 🚶‍♂️ Post 4:30 PM = Ba Na Hills becomes yours Once the day crowd leaves: • Empty streets • Quiet castles • Peaceful photo spots 📸 • Zero chaos ⸻ 🚡 VIP Cable Car access (Huge hidden benefit!) ✔️ Mercure guests get VIP / priority entry into cable cars ✔️ Private cable cars for your family only ✔️ No queues at all ⏳ Day visitors wait 60–90 minutes EACH side, and 10–15 people are packed into one cable car. This benefit alone saves hours. ⸻ 🎢 Fantasy Park with ZERO crowds 🗓️ Friday–Sunday: Open till 7 PM in the evening while day visitors leave by 4:30 PM. Unlimited FREE Rides, games, and 4D/5D shows — repeated multiple times 🎮🎠 No queues. No rush. Full fun mode 😍 ⸻ 🎿 Alpine Coaster Happy Hours = Double Win at this Gravity Based Roller Coasters 🎢, Most Popular at Ba Na 💰 Pay just VND 50k (instead of VND 80k) ⏰ 4:30–5:30 PM | 8:30–9:30 AM 🚫 Almost no waiting 🌫️ Evening mist rides on mountains = unforgettable ⸻ 🌉 Golden Hand Bridge — crowd-free access The iconic Golden Bridge is accessible ONLY to Mercure guests from 6 AM–8 AM Till ~9 AM, there are very few people — perfect for photos & serenity 📸 ⸻ 🚡 30% discount on Cable Car + ALL attractions if purchased at Mercure check-in, The two-way Cable Car tickets includes 👇following on all days on your Stay ✔️ All cable cars (up, down & internal) ✔️ All funiculars 🚆 ✔️ Unlimited Fantasy Park & Moon Castle games ✔️ 4D / 5D / 7D & 360° movies ✔️ Flying Eye Theatre ✔️ Indoor & outdoor bumper cars ✔️ All rides ✔️ Sun Castle & Moon/Lunar Castle ✔️ Le Jardin D’Amour, Pagoda & Love Garden 🌸 ✔️ Thác Thần Mặt Trời waterfall & Golden Horse Statue ✔️Except Alpine Coasters & 10D Show, everything is Free, unlimited times 🤩 Most day visitors don’t even realise what they miss. ⸻ 💡 Bottom Line: Ba Na Hills is NOT meant to be rushed. You need time to feel the vibe and explore peacefully. After staying there, I honestly wished I had booked 2 nights instead of 1. 🏰 A night stay at Mercure Ba Na Hills isn’t just about the hotel — it unlocks the best version of Ba Na Hills. 🔖 Save this post 🇻🇳 Stay tuned for more Vietnam travel & credit-card-optimised travel tips. 📘 Visit SpendWisely Blog: Detailed credit card reviews & guides 👉 Some links may be referral links in the above post. It supports the page without any cost to you. #creditcard #spendwisely #creditcards

SpendWisely

29,433 views • 7 months ago

Made with Seedance 2.0 Prompt: A little breakfast, a little sunshine, and a whole lot of good vibes. ✨🍓☕ Made with Seedance 2.0 Prompt: Create a photorealistic, cinematic lifestyle vlog featuring a **22-year-old female influencer** in a bright, modern apartment kitchen during golden morning light. The video should feel like it was casually filmed on a high-end smartphone with natural handheld camera movement, subtle autofocus shifts, realistic lighting, authentic kitchen sounds, and believable facial expressions. Maintain the same character throughout the entire sequence. **Scene 1 (0–3s):** She walks into the kitchen wearing an oversized cream sweatshirt and grey lounge shorts, smiling at the camera while opening the refrigerator. She grabs eggs, milk, butter, yogurt, berries, granola, and coffee beans. **Dialogue:** "Come make breakfast with me... I'm starving." **Scene 2 (3–6s):** Close-up of butter sizzling in a pan as she cracks two eggs with one hand. She gently stirs them into fluffy scrambled eggs while steam rises naturally. **Dialogue:** "Scrambled eggs are non-negotiable." **Scene 3 (6–9s):** She pours pancake batter onto a hot pan, flips a golden pancake in one smooth motion, then laughs after catching it perfectly. **Dialogue:** "Okay... that flip was actually kind of impressive." **Scene 4 (9–12s):** She assembles a yogurt bowl with thick Greek yogurt, crunchy granola, fresh strawberries, blueberries, banana slices, and a drizzle of honey. Quick macro shots capture the textures and movement. **Dialogue:** "This might be my favorite part." **Scene 5 (12–15s):** She pours a fresh cup of coffee, carries everything to a sunny dining table, sits down, takes a bite of pancake, then a sip of coffee while smiling at the camera. **Dialogue:** "Breakfast is served. Hope you have the best day." **Style Notes:** Ultra-realistic, premium influencer aesthetic, natural skin texture, soft morning sunlight through windows, cozy neutral kitchen, realistic food textures, shallow depth of field, smooth handheld camera, subtle cinematic motion blur, authentic ambient sounds (sizzling pan, coffee pouring, utensils, birds outside), warm color grading, 4K quality, highly detailed, TikTok/Instagram Reel lifestyle vlog, seamless continuity, no jumpy character changes, natural lip-sync matching dialogue.
0:15

Made with Seedance 2.0 Prompt: A little breakfast, a little sunshine, and a whole lot of good vibes. ✨🍓☕ Made with Seedance 2.0 Prompt: Create a photorealistic, cinematic lifestyle vlog featuring a **22-year-old female influencer** in a bright, modern apartment kitchen during golden morning light. The video should feel like it was casually filmed on a high-end smartphone with natural handheld camera movement, subtle autofocus shifts, realistic lighting, authentic kitchen sounds, and believable facial expressions. Maintain the same character throughout the entire sequence. **Scene 1 (0–3s):** She walks into the kitchen wearing an oversized cream sweatshirt and grey lounge shorts, smiling at the camera while opening the refrigerator. She grabs eggs, milk, butter, yogurt, berries, granola, and coffee beans. **Dialogue:** "Come make breakfast with me... I'm starving." **Scene 2 (3–6s):** Close-up of butter sizzling in a pan as she cracks two eggs with one hand. She gently stirs them into fluffy scrambled eggs while steam rises naturally. **Dialogue:** "Scrambled eggs are non-negotiable." **Scene 3 (6–9s):** She pours pancake batter onto a hot pan, flips a golden pancake in one smooth motion, then laughs after catching it perfectly. **Dialogue:** "Okay... that flip was actually kind of impressive." **Scene 4 (9–12s):** She assembles a yogurt bowl with thick Greek yogurt, crunchy granola, fresh strawberries, blueberries, banana slices, and a drizzle of honey. Quick macro shots capture the textures and movement. **Dialogue:** "This might be my favorite part." **Scene 5 (12–15s):** She pours a fresh cup of coffee, carries everything to a sunny dining table, sits down, takes a bite of pancake, then a sip of coffee while smiling at the camera. **Dialogue:** "Breakfast is served. Hope you have the best day." **Style Notes:** Ultra-realistic, premium influencer aesthetic, natural skin texture, soft morning sunlight through windows, cozy neutral kitchen, realistic food textures, shallow depth of field, smooth handheld camera, subtle cinematic motion blur, authentic ambient sounds (sizzling pan, coffee pouring, utensils, birds outside), warm color grading, 4K quality, highly detailed, TikTok/Instagram Reel lifestyle vlog, seamless continuity, no jumpy character changes, natural lip-sync matching dialogue.

Al-Shamus

26,901 views • 1 month ago

This post about bench press safety escaped containment and got a lot of people commenting in disagreement that safeties/spotter arms would've saved him. And in truth, my language below was a little too absolute: safeties MIGHT have saved his life (though even if so, would not have prevented all damage), but it's far from certain that they would have, so I stand by the overall sentiment. I will explain in detail below. The spotter arms have to be set below the top of your arched chest or else they’ll interfere with every rep - you'll clang the bar on the safeties, which not only severely interrupts proper technique and performance, but can also be potentially injurious in its own right as the clanging against the safeties takes you out of the rhythm of the rep and leads to uneven and chaotic force application demands mid-rep. The safeties can’t be set a mere milimeter or even a half inch below the chest: both because most racks have 2-3 inch hole spacings that don't allow such finely calibrated setting, but even if they do - also because as a gross movement pattern, not a fine movement pattern, you can’t control the movement of the bar precisely and accurately enough not to clang the safeties if they’re so close to your chest. Human beings performing gross movement patterns simply lack such fine control: on heavy sets, the bar might be slightly uneven on one side, you might lose a touch of your arch over the course of the set, etc... and end up clanging the safeties anyway, if they're set so close to the top of your arched chest. These issues are not form errors that can be prevented with proper training, but are inherent limitations in the human capability to control gross motor pattern movements at a heavy weight. Thus, the safeties have to be far enough below your chest in order to not interfere with the set itself, such that they can’t possibly catch the bar before it hits your chest in the case of a sudden catastrophic drop. The proper placement for the safeties is far enough below your chest so as not to interfere with the normal execution of the set and so the bar never touches the safeties at all during the set, even with the inherent human limitations of gross motor pattern control. But high enough such tha - if you find yourself unable to successfully press the bar to lockout - you can bring the bar under control back down to your chest, exhale and drop your arch, and the bar will ideally now rest on the safeties instead of your chest and you can crawl and slither out from under it. Worst case, you can roll the bar slightly upwards and the safeties will soon take it, well before it would lie on your neck. I have an example of using the safeties this way in the video below, with 485 lbs. The ability to set this position with precision and accuracy depends on the equipment you're using: Some racks/benches have 1 inch spacings for this purpose, which is excellent and allows greater precision in safety placement, but most common racks have 2-3 inches between holes and thus people must often have the safeties a little lower than they'd ideally be. The main point is the proper use and purpose of safeties in the bench press is not really to catch a very rare catastrophic sudden drop onto your chest, but to allow you to survive the much more common situation of a normal failed rep. Could they theoretically save your life in such a situation where you drop it? Yes, they might. They won't stop the bar before it hits your chest but they might reduce the impact by stopping the bar from going further down and reducing the impact. This may or may not save your life in this rare catastrophic drop situation - it's good to have them there, set up anyway, but it's far from a sure bet. The most important things you can do are to learn and practice good technique, which involves stiff wrists in a very slightly bent back position, and thumbs around the barbell - NO SUICIDE GRIP. The safeties won't catch the bar and stop it from hitting your chest, so it's best to reduce the chances of dropping the bar on your chest from almost zero to even closer to almost zero. I've been bench pressing regularly for well over 20 years, always put my thumbs around the bar, and have never dropped it on myself. Nor has anyone I have coached to the best of my memory, over tens of thousands of sets and hundreds of thousands of reps. I have used safeties to successfully avoid getting trapped under the bar after a failed rep. In the video below, I tweaked my pec while pushing through a rep at 485 and had to set the bar on the pins to avoid getting trapped under it. This kind of situation is the primary use for the safeties. It's good to have them set up regardless - they might indeed save you if you somehow still manage to drop the bar, but they also very well might not.
0:14

This post about bench press safety escaped containment and got a lot of people commenting in disagreement that safeties/spotter arms would've saved him. And in truth, my language below was a little too absolute: safeties MIGHT have saved his life (though even if so, would not have prevented all damage), but it's far from certain that they would have, so I stand by the overall sentiment. I will explain in detail below. The spotter arms have to be set below the top of your arched chest or else they’ll interfere with every rep - you'll clang the bar on the safeties, which not only severely interrupts proper technique and performance, but can also be potentially injurious in its own right as the clanging against the safeties takes you out of the rhythm of the rep and leads to uneven and chaotic force application demands mid-rep. The safeties can’t be set a mere milimeter or even a half inch below the chest: both because most racks have 2-3 inch hole spacings that don't allow such finely calibrated setting, but even if they do - also because as a gross movement pattern, not a fine movement pattern, you can’t control the movement of the bar precisely and accurately enough not to clang the safeties if they’re so close to your chest. Human beings performing gross movement patterns simply lack such fine control: on heavy sets, the bar might be slightly uneven on one side, you might lose a touch of your arch over the course of the set, etc... and end up clanging the safeties anyway, if they're set so close to the top of your arched chest. These issues are not form errors that can be prevented with proper training, but are inherent limitations in the human capability to control gross motor pattern movements at a heavy weight. Thus, the safeties have to be far enough below your chest in order to not interfere with the set itself, such that they can’t possibly catch the bar before it hits your chest in the case of a sudden catastrophic drop. The proper placement for the safeties is far enough below your chest so as not to interfere with the normal execution of the set and so the bar never touches the safeties at all during the set, even with the inherent human limitations of gross motor pattern control. But high enough such tha - if you find yourself unable to successfully press the bar to lockout - you can bring the bar under control back down to your chest, exhale and drop your arch, and the bar will ideally now rest on the safeties instead of your chest and you can crawl and slither out from under it. Worst case, you can roll the bar slightly upwards and the safeties will soon take it, well before it would lie on your neck. I have an example of using the safeties this way in the video below, with 485 lbs. The ability to set this position with precision and accuracy depends on the equipment you're using: Some racks/benches have 1 inch spacings for this purpose, which is excellent and allows greater precision in safety placement, but most common racks have 2-3 inches between holes and thus people must often have the safeties a little lower than they'd ideally be. The main point is the proper use and purpose of safeties in the bench press is not really to catch a very rare catastrophic sudden drop onto your chest, but to allow you to survive the much more common situation of a normal failed rep. Could they theoretically save your life in such a situation where you drop it? Yes, they might. They won't stop the bar before it hits your chest but they might reduce the impact by stopping the bar from going further down and reducing the impact. This may or may not save your life in this rare catastrophic drop situation - it's good to have them there, set up anyway, but it's far from a sure bet. The most important things you can do are to learn and practice good technique, which involves stiff wrists in a very slightly bent back position, and thumbs around the barbell - NO SUICIDE GRIP. The safeties won't catch the bar and stop it from hitting your chest, so it's best to reduce the chances of dropping the bar on your chest from almost zero to even closer to almost zero. I've been bench pressing regularly for well over 20 years, always put my thumbs around the bar, and have never dropped it on myself. Nor has anyone I have coached to the best of my memory, over tens of thousands of sets and hundreds of thousands of reps. I have used safeties to successfully avoid getting trapped under the bar after a failed rep. In the video below, I tweaked my pec while pushing through a rep at 485 and had to set the bar on the pins to avoid getting trapped under it. This kind of situation is the primary use for the safeties. It's good to have them set up regardless - they might indeed save you if you somehow still manage to drop the bar, but they also very well might not.

Deep Squats, Shallow Thoughts

924,757 views • 8 months ago

A little breakfast, a little sunshine, and a whole lot of good vibes. ✨🍓☕ Made with Seedance 2.0 Prompt: Create a photorealistic, cinematic lifestyle vlog featuring a **22-year-old female influencer** in a bright, modern apartment kitchen during golden morning light. The video should feel like it was casually filmed on a high-end smartphone with natural handheld camera movement, subtle autofocus shifts, realistic lighting, authentic kitchen sounds, and believable facial expressions. Maintain the same character throughout the entire sequence. **Scene 1 (0–3s):** She walks into the kitchen wearing an oversized cream sweatshirt and grey lounge shorts, smiling at the camera while opening the refrigerator. She grabs eggs, milk, butter, yogurt, berries, granola, and coffee beans. **Dialogue:** "Come make breakfast with me... I'm starving." **Scene 2 (3–6s):** Close-up of butter sizzling in a pan as she cracks two eggs with one hand. She gently stirs them into fluffy scrambled eggs while steam rises naturally. **Dialogue:** "Scrambled eggs are non-negotiable." **Scene 3 (6–9s):** She pours pancake batter onto a hot pan, flips a golden pancake in one smooth motion, then laughs after catching it perfectly. **Dialogue:** "Okay... that flip was actually kind of impressive." **Scene 4 (9–12s):** She assembles a yogurt bowl with thick Greek yogurt, crunchy granola, fresh strawberries, blueberries, banana slices, and a drizzle of honey. Quick macro shots capture the textures and movement. **Dialogue:** "This might be my favorite part." **Scene 5 (12–15s):** She pours a fresh cup of coffee, carries everything to a sunny dining table, sits down, takes a bite of pancake, then a sip of coffee while smiling at the camera. **Dialogue:** "Breakfast is served. Hope you have the best day." **Style Notes:** Ultra-realistic, premium influencer aesthetic, natural skin texture, soft morning sunlight through windows, cozy neutral kitchen, realistic food textures, shallow depth of field, smooth handheld camera, subtle cinematic motion blur, authentic ambient sounds (sizzling pan, coffee pouring, utensils, birds outside), warm color grading, 4K quality, highly detailed, TikTok/Instagram Reel lifestyle vlog, seamless continuity, no jumpy character changes, natural lip-sync matching dialogue.
0:15

A little breakfast, a little sunshine, and a whole lot of good vibes. ✨🍓☕ Made with Seedance 2.0 Prompt: Create a photorealistic, cinematic lifestyle vlog featuring a **22-year-old female influencer** in a bright, modern apartment kitchen during golden morning light. The video should feel like it was casually filmed on a high-end smartphone with natural handheld camera movement, subtle autofocus shifts, realistic lighting, authentic kitchen sounds, and believable facial expressions. Maintain the same character throughout the entire sequence. **Scene 1 (0–3s):** She walks into the kitchen wearing an oversized cream sweatshirt and grey lounge shorts, smiling at the camera while opening the refrigerator. She grabs eggs, milk, butter, yogurt, berries, granola, and coffee beans. **Dialogue:** "Come make breakfast with me... I'm starving." **Scene 2 (3–6s):** Close-up of butter sizzling in a pan as she cracks two eggs with one hand. She gently stirs them into fluffy scrambled eggs while steam rises naturally. **Dialogue:** "Scrambled eggs are non-negotiable." **Scene 3 (6–9s):** She pours pancake batter onto a hot pan, flips a golden pancake in one smooth motion, then laughs after catching it perfectly. **Dialogue:** "Okay... that flip was actually kind of impressive." **Scene 4 (9–12s):** She assembles a yogurt bowl with thick Greek yogurt, crunchy granola, fresh strawberries, blueberries, banana slices, and a drizzle of honey. Quick macro shots capture the textures and movement. **Dialogue:** "This might be my favorite part." **Scene 5 (12–15s):** She pours a fresh cup of coffee, carries everything to a sunny dining table, sits down, takes a bite of pancake, then a sip of coffee while smiling at the camera. **Dialogue:** "Breakfast is served. Hope you have the best day." **Style Notes:** Ultra-realistic, premium influencer aesthetic, natural skin texture, soft morning sunlight through windows, cozy neutral kitchen, realistic food textures, shallow depth of field, smooth handheld camera, subtle cinematic motion blur, authentic ambient sounds (sizzling pan, coffee pouring, utensils, birds outside), warm color grading, 4K quality, highly detailed, TikTok/Instagram Reel lifestyle vlog, seamless continuity, no jumpy character changes, natural lip-sync matching dialogue.

Maria

34,208 views • 2 months ago

PROMPT: Generate a continuous 15-second premium live-action broadcast TV commercial for a high-performance family kitchen blender, designed as an energetic, polished consumer-appliance advertisement emphasizing FAST BLENDING POWER. The commercial must tell a complete miniature visual story within exactly 15 seconds: a busy family needs breakfast quickly, fresh ingredients enter the blender, one touch unleashes powerful high-speed blending, a thick mixture transforms almost instantly into a perfectly smooth fruit smoothie, the family enjoys the result, and the commercial ends on a clean hero product shot with the promise: “Smooth in Seconds.” Maintain a consistent high-end contemporary commercial visual style throughout the entire sequence: photorealistic food photography, tactile ingredient detail, premium appliance surfaces, energetic but controlled camera movement, crisp natural highlights, appetizing freshness, believable family warmth, and polished broadcast-advertising finish. Shoot as if captured on an ARRI Alexa 35 cinema camera using a coordinated set of 24mm, 35mm, 50mm, 85mm, and 100mm macro cinema lenses. Preserve realistic perspective, physically plausible motion, natural depth of field, smooth highlight roll-off, subtle cinematic contrast, clean skin tones, rich food texture, controlled motion blur, and sharp product detail. The entire commercial takes place during one continuous bright weekday morning in the SAME modern family kitchen. The kitchen has warm off-white cabinetry, pale natural-oak counters, a large sunlit window frame-left, brushed stainless-steel fixtures, a small breakfast table in the background, subtle family-life details, and a clean uncluttered countertop. Warm morning sunlight enters consistently from frame-left at approximately 5200K, supplemented by soft interior fill, producing gentle directional shadows and bright natural reflections. Maintain the same architecture, counter layout, window position, furniture, appliances, background objects, lighting direction, and color palette throughout every shot. New camera angles reveal different perspectives of the same physical kitchen and must never create a different-looking location. LOCKED PRODUCT: one premium family countertop blender with a compact matte-silver motor base, black control panel, one illuminated circular speed control, large clear 1.8-liter blending pitcher, black fitted lid, stainless-steel blade assembly, sturdy black handle, and subtle unbranded front badge area. The blender’s shape, proportions, materials, controls, pitcher geometry, lid, handle, blade assembly, reflections, scale, and countertop position remain identical throughout every shot. It begins centered on the main kitchen counter and never changes location. LOCKED INGREDIENTS: fresh strawberries, banana pieces, blueberries, mango chunks, Greek yogurt, milk, and several ice cubes. Ingredients must retain recognizable colors and textures before entering the pitcher. Once added, object permanence must be respected: ingredients cannot reappear outside the blender. During blending, the mixture must transform physically and continuously from visibly chunky fruit and ice into a uniform thick pink-red smoothie. LOCKED FAMILY: a mother in her mid-30s with shoulder-length dark brown hair wearing a soft beige knit top and blue jeans; a father in his late-30s with short dark hair wearing a pale blue casual shirt; an approximately eight-year-old daughter with dark brown hair in a ponytail wearing a muted yellow T-shirt; and an approximately six-year-old son with short brown hair wearing a light green T-shirt. Preserve their exact ages, facial identity, hairstyle, wardrobe, body proportions, and appearance whenever visible. Their expressions progress naturally from hurried anticipation to impressed surprise to relaxed enjoyment. Avoid surreal food behavior, floating ingredients, impossible liquid physics, teleporting objects, changing blender geometry, inconsistent pitcher fill levels, duplicated fruit, warped hands, extra fingers, changing wardrobe, altered kitchen architecture, random background changes, excessive lens distortion, unreadable product geometry, fake plastic food textures, excessive camera shake, oversaturated grading, artificial CGI appearance, flickering light, exposure shifts, continuity resets, jumpy object positions, text artifacts, random labels, logos, watermarks, or unrelated products. 00:00–00:02.0 — OPENING PROBLEM / FAMILY MORNING RUSH. Begin with a dynamic 24mm wide establishing shot from approximately countertop height, looking diagonally across the kitchen while preserving a left-to-right spatial axis. The mother moves briskly toward the counter from frame-left as the two children wait near the breakfast area in the background, visibly eager and short on time. The father passes behind them preparing to leave. Morning sunlight streaks naturally through the frame-left window. The locked blender is already visible on the counter as the visual anchor, positioned prominently but naturally in the foreground-right. Use a smooth fast dolly-in toward the blender rather than a hard zoom. Small breakfast details suggest a busy school morning without cluttering the frame. Sound begins with subtle morning kitchen ambience, quick footsteps, a chair movement, and upbeat rhythmic music immediately establishing urgency. No spoken dialogue. 00:02.0–00:04.0 — INGREDIENT SPEED MONTAGE. Match-cut into a rapid sequence of three extremely concise food-preparation inserts totaling exactly two seconds. First, a 100mm macro close-up catches vivid strawberries and blueberries dropping into the clear pitcher, with realistic gravity, bounce, moisture, and fruit texture. Cut to banana pieces and mango chunks entering from above, maintaining the exact pitcher position and increasing fill level logically. Cut to a tight side insert as Greek yogurt, milk, and ice cubes enter last. Use crisp impact sounds synchronized with each ingredient: thump, splash, clink. Each insert changes visual information and advances the preparation; never repeat the same composition. Camera movement is minimal and precise so the speed comes primarily from editorial cutting. The blender remains OFF throughout these inserts. 00:04.0–00:05.2 — ONE-TOUCH ACTIVATION. Cut to an 85mm close-up from a low three-quarter front angle of the blender control panel. The mother’s right index finger enters naturally from frame-left and presses the illuminated circular control exactly once. Show believable fingertip compression against the control. The instant contact occurs, the control illumination brightens and the motor begins. Add a precise tactile click followed immediately by a confident rising electric motor sound. Use a subtle fast push-in timed to activation. The hand exits naturally; do not show multiple presses. 00:05.2–00:08.2 — POWER DEMONSTRATION / HERO BLENDING MOMENT. Cut to a dramatic but physically realistic 50mm close three-quarter view of the entire pitcher. The motor accelerates rapidly. Ice cubes and fruit initially tumble downward toward the stainless-steel blades, then form a powerful controlled vortex. Show the transformation continuously: recognizable strawberries, blueberries, banana, mango, yogurt, milk, and ice become progressively smaller and more integrated until the mixture turns into a completely smooth, thick pink-red smoothie. The action must communicate exceptional blending speed without supernatural physics. Condensation begins subtly on the outside of the pitcher. Tiny droplets and believable internal turbulence catch the frame-left morning light. During this three-second power demonstration, execute a controlled semicircular camera move of approximately 35 degrees around the front of the blender without crossing the established spatial axis. Begin slightly frame-left of the product and finish near frontal three-quarter. Maintain the blender base completely stable on the countertop with no unrealistic vibration or sliding. Use one brief 100mm macro insert lasting approximately 0.5 seconds to reveal the high-speed vortex and disappearing final fruit fragment, then return immediately to the matching three-quarter product angle. Sound design intensifies with a strong smooth motor whirr synchronized to the vortex, layered with the upbeat music. At approximately 00:07.6, the last visible fruit fragment disappears into the vortex. By 00:08.2 the mixture is visibly uniform, silky, and completely smooth. This transformation is the commercial’s core proof point: FAST BLENDING POWER. 00:08.2–00:09.5 — INSTANT RESULT. The motor stops cleanly. Cut to a 100mm macro beauty shot looking through the clear pitcher wall at the perfectly smooth smoothie surface settling from a gentle spiral into a glossy, uniform texture. A small central swirl collapses naturally. No chunks remain. Condensation beads on the exterior catch bright highlights. Use shallow depth of field while retaining enough pitcher edge detail to identify the product. Sound drops from the motor into a satisfying soft stop, followed by a subtle musical accent. A confident female voice-over begins: “Powerful blending…” 00:09.5–00:11.5 — POUR AND PROOF. Match the circular smoothie motion into a 50mm close-up of the mother tilting the same pitcher and pouring the thick smoothie into two clear family drinking glasses on the same countertop. The liquid forms a smooth continuous ribbon with realistic viscosity and no splashing errors. The pitcher’s remaining fill level decreases correctly. Camera tracks gently with the pour from left to right. The daughter and son appear softly out of focus beyond the glasses, watching with excited expressions. As the glasses fill, rack focus briefly from the flowing smoothie to the children’s delighted reaction. Voice-over completes: “…smooth results in seconds.” 00:11.5–00:13.0 — FAMILY PAYOFF. Cut to a warm 35mm medium shot at the breakfast counter. The two children each take one synchronized first sip from their filled glasses, then immediately exchange impressed smiles. The mother stands behind them with a relaxed satisfied expression while the father takes a filled travel cup and moves toward frame-right, suggesting the blender has saved valuable morning time. Keep performances natural rather than exaggerated. The blender remains visible in the background on its original counter position, recognizable and unchanged. Morning sunlight and the same warm neutral palette continue without variation. The music opens into a bright satisfying resolution. The daughter gives a quick authentic smile and says: “That was fast!” 00:13.0–00:15.0 — PRODUCT HERO / BRAND END FRAME. Use a clean visual match cut from the child’s smoothie glass to the locked blender standing alone in a polished hero composition on the SAME kitchen counter. Shoot on an 85mm lens at slightly below pitcher midpoint for a confident premium product perspective. The blender occupies the center-right of frame while a freshly poured smoothie glass, two strawberries, several blueberries, and one mango slice form a restrained ingredient arrangement in the lower foreground-left. These garnish ingredients are separate presentation ingredients introduced only for the hero composition and must not imply that previously blended ingredients have magically reappeared. Create a slow controlled 5% push-in during the final two seconds. Frame-left morning sunlight creates a clean edge highlight along the clear pitcher and matte-silver motor base. Maintain realistic reflections, exact product geometry, and crisp separation from the softly defocused kitchen background. At 00:13.3, introduce a clean broadcast-safe text overlay in the negative space on frame-left: “FAST BLENDING POWER” At 00:14.0, transition cleanly to the primary campaign line: “SMOOTH IN SECONDS.” Below it, smaller: “POWER FOR EVERY FAMILY MORNING.” Typography is modern, bold, minimal sans-serif, perfectly legible, horizontally aligned, broadcast-safe, with no distorted letters and no unnecessary graphical effects. Keep all typography outside the physical blender silhouette. Voice-over, confident and warm: “Fast power. Smooth mornings.” End exactly at 00:15.0 on a perfectly stable hero frame with the blender sharply resolved, smoothie glass visible, campaign line readable, music landing on a clean sonic logo accent. CAMERA AND EDITING RULES: Use motivated cuts whenever subject, visual information, camera position, action, or emotional emphasis changes. Maintain energetic medium-fast commercial pacing: wider contextual opening, rapid ingredient inserts, tactile activation close-up, high-energy blending demonstration, sensory result macro, fluid pouring shot, human reaction payoff, then a slower premium hero landing. Preserve the established 180-degree axis throughout. No camera crosses the axis unless visibly motivated, and no silent changes in object placement occur between cuts. Maintain consistent camera height for matching shot types. Screen direction remains left-to-right for preparation and family movement. Every shot must introduce new action, information, perspective, reaction, or product proof. AUDIO DESIGN: Begin with subtle morning kitchen ambience under upbeat modern percussive music. Synchronize fruit impacts, ice clinks, control click, motor acceleration, vortex intensity, motor stop, smoothie pour, drinking sounds, and final sonic logo precisely to picture. The blender motor must sound powerful but refined rather than harsh. Duck music naturally beneath the voice-over and daughter’s dialogue. No audio clipping or abrupt ambience resets between cuts. VISUAL COLOR SYSTEM: warm off-white, pale natural oak, matte silver, fresh strawberry red, blueberry blue, mango golden-yellow, and creamy smoothie pink-red. Preserve natural skin tones and realistic food saturation. Use a premium contemporary commercial grade with moderate contrast, soft highlight roll-off, clean whites, controlled blacks, and no teal-orange exaggeration. MOVEMENT AND PHYSICS: All hands interact correctly with objects. Ingredients obey gravity. Liquid volume remains continuous. The pitcher fill level increases when ingredients are added, decreases when smoothie is poured, and never resets between shots. The blender stays physically planted on the counter during operation. The motor vortex follows plausible fluid dynamics. Hair, clothing, reflections, condensation, shadows, and liquid motion react naturally. Maintain strict character consistency, product consistency, object permanence, environment continuity, lighting continuity, and forward-only time progression across the full sequence. Render the final commercial at 24 fps, 16:9 broadcast aspect ratio, UHD 3840×2160 resolution, high-bitrate cinematic master quality, natural 180-degree shutter motion blur, realistic cinema-lens behavior, subtle fine sensor texture, clean compression, no visible digital artifacts, no temporal flicker, no frame interpolation artifacts, and photorealistic high-end commercial rendering. Preserve sharp product edges and legible end-frame typography while allowing natural depth-of-field falloff. The entire finished sequence must be EXACTLY 15 seconds long. Do not extend or shorten any beat. The central visual message must be immediately understandable without dialogue: a busy family morning becomes easier because this family blender turns whole ingredients and ice into a perfectly smooth drink with exceptional speed. The emotional progression is urgency → activation → power → instant proof → family satisfaction → premium product promise. Final audience takeaway: FAST BLENDING POWER. SMOOTH IN SECONDS.
0:15

PROMPT: Generate a continuous 15-second premium live-action broadcast TV commercial for a high-performance family kitchen blender, designed as an energetic, polished consumer-appliance advertisement emphasizing FAST BLENDING POWER. The commercial must tell a complete miniature visual story within exactly 15 seconds: a busy family needs breakfast quickly, fresh ingredients enter the blender, one touch unleashes powerful high-speed blending, a thick mixture transforms almost instantly into a perfectly smooth fruit smoothie, the family enjoys the result, and the commercial ends on a clean hero product shot with the promise: “Smooth in Seconds.” Maintain a consistent high-end contemporary commercial visual style throughout the entire sequence: photorealistic food photography, tactile ingredient detail, premium appliance surfaces, energetic but controlled camera movement, crisp natural highlights, appetizing freshness, believable family warmth, and polished broadcast-advertising finish. Shoot as if captured on an ARRI Alexa 35 cinema camera using a coordinated set of 24mm, 35mm, 50mm, 85mm, and 100mm macro cinema lenses. Preserve realistic perspective, physically plausible motion, natural depth of field, smooth highlight roll-off, subtle cinematic contrast, clean skin tones, rich food texture, controlled motion blur, and sharp product detail. The entire commercial takes place during one continuous bright weekday morning in the SAME modern family kitchen. The kitchen has warm off-white cabinetry, pale natural-oak counters, a large sunlit window frame-left, brushed stainless-steel fixtures, a small breakfast table in the background, subtle family-life details, and a clean uncluttered countertop. Warm morning sunlight enters consistently from frame-left at approximately 5200K, supplemented by soft interior fill, producing gentle directional shadows and bright natural reflections. Maintain the same architecture, counter layout, window position, furniture, appliances, background objects, lighting direction, and color palette throughout every shot. New camera angles reveal different perspectives of the same physical kitchen and must never create a different-looking location. LOCKED PRODUCT: one premium family countertop blender with a compact matte-silver motor base, black control panel, one illuminated circular speed control, large clear 1.8-liter blending pitcher, black fitted lid, stainless-steel blade assembly, sturdy black handle, and subtle unbranded front badge area. The blender’s shape, proportions, materials, controls, pitcher geometry, lid, handle, blade assembly, reflections, scale, and countertop position remain identical throughout every shot. It begins centered on the main kitchen counter and never changes location. LOCKED INGREDIENTS: fresh strawberries, banana pieces, blueberries, mango chunks, Greek yogurt, milk, and several ice cubes. Ingredients must retain recognizable colors and textures before entering the pitcher. Once added, object permanence must be respected: ingredients cannot reappear outside the blender. During blending, the mixture must transform physically and continuously from visibly chunky fruit and ice into a uniform thick pink-red smoothie. LOCKED FAMILY: a mother in her mid-30s with shoulder-length dark brown hair wearing a soft beige knit top and blue jeans; a father in his late-30s with short dark hair wearing a pale blue casual shirt; an approximately eight-year-old daughter with dark brown hair in a ponytail wearing a muted yellow T-shirt; and an approximately six-year-old son with short brown hair wearing a light green T-shirt. Preserve their exact ages, facial identity, hairstyle, wardrobe, body proportions, and appearance whenever visible. Their expressions progress naturally from hurried anticipation to impressed surprise to relaxed enjoyment. Avoid surreal food behavior, floating ingredients, impossible liquid physics, teleporting objects, changing blender geometry, inconsistent pitcher fill levels, duplicated fruit, warped hands, extra fingers, changing wardrobe, altered kitchen architecture, random background changes, excessive lens distortion, unreadable product geometry, fake plastic food textures, excessive camera shake, oversaturated grading, artificial CGI appearance, flickering light, exposure shifts, continuity resets, jumpy object positions, text artifacts, random labels, logos, watermarks, or unrelated products. 00:00–00:02.0 — OPENING PROBLEM / FAMILY MORNING RUSH. Begin with a dynamic 24mm wide establishing shot from approximately countertop height, looking diagonally across the kitchen while preserving a left-to-right spatial axis. The mother moves briskly toward the counter from frame-left as the two children wait near the breakfast area in the background, visibly eager and short on time. The father passes behind them preparing to leave. Morning sunlight streaks naturally through the frame-left window. The locked blender is already visible on the counter as the visual anchor, positioned prominently but naturally in the foreground-right. Use a smooth fast dolly-in toward the blender rather than a hard zoom. Small breakfast details suggest a busy school morning without cluttering the frame. Sound begins with subtle morning kitchen ambience, quick footsteps, a chair movement, and upbeat rhythmic music immediately establishing urgency. No spoken dialogue. 00:02.0–00:04.0 — INGREDIENT SPEED MONTAGE. Match-cut into a rapid sequence of three extremely concise food-preparation inserts totaling exactly two seconds. First, a 100mm macro close-up catches vivid strawberries and blueberries dropping into the clear pitcher, with realistic gravity, bounce, moisture, and fruit texture. Cut to banana pieces and mango chunks entering from above, maintaining the exact pitcher position and increasing fill level logically. Cut to a tight side insert as Greek yogurt, milk, and ice cubes enter last. Use crisp impact sounds synchronized with each ingredient: thump, splash, clink. Each insert changes visual information and advances the preparation; never repeat the same composition. Camera movement is minimal and precise so the speed comes primarily from editorial cutting. The blender remains OFF throughout these inserts. 00:04.0–00:05.2 — ONE-TOUCH ACTIVATION. Cut to an 85mm close-up from a low three-quarter front angle of the blender control panel. The mother’s right index finger enters naturally from frame-left and presses the illuminated circular control exactly once. Show believable fingertip compression against the control. The instant contact occurs, the control illumination brightens and the motor begins. Add a precise tactile click followed immediately by a confident rising electric motor sound. Use a subtle fast push-in timed to activation. The hand exits naturally; do not show multiple presses. 00:05.2–00:08.2 — POWER DEMONSTRATION / HERO BLENDING MOMENT. Cut to a dramatic but physically realistic 50mm close three-quarter view of the entire pitcher. The motor accelerates rapidly. Ice cubes and fruit initially tumble downward toward the stainless-steel blades, then form a powerful controlled vortex. Show the transformation continuously: recognizable strawberries, blueberries, banana, mango, yogurt, milk, and ice become progressively smaller and more integrated until the mixture turns into a completely smooth, thick pink-red smoothie. The action must communicate exceptional blending speed without supernatural physics. Condensation begins subtly on the outside of the pitcher. Tiny droplets and believable internal turbulence catch the frame-left morning light. During this three-second power demonstration, execute a controlled semicircular camera move of approximately 35 degrees around the front of the blender without crossing the established spatial axis. Begin slightly frame-left of the product and finish near frontal three-quarter. Maintain the blender base completely stable on the countertop with no unrealistic vibration or sliding. Use one brief 100mm macro insert lasting approximately 0.5 seconds to reveal the high-speed vortex and disappearing final fruit fragment, then return immediately to the matching three-quarter product angle. Sound design intensifies with a strong smooth motor whirr synchronized to the vortex, layered with the upbeat music. At approximately 00:07.6, the last visible fruit fragment disappears into the vortex. By 00:08.2 the mixture is visibly uniform, silky, and completely smooth. This transformation is the commercial’s core proof point: FAST BLENDING POWER. 00:08.2–00:09.5 — INSTANT RESULT. The motor stops cleanly. Cut to a 100mm macro beauty shot looking through the clear pitcher wall at the perfectly smooth smoothie surface settling from a gentle spiral into a glossy, uniform texture. A small central swirl collapses naturally. No chunks remain. Condensation beads on the exterior catch bright highlights. Use shallow depth of field while retaining enough pitcher edge detail to identify the product. Sound drops from the motor into a satisfying soft stop, followed by a subtle musical accent. A confident female voice-over begins: “Powerful blending…” 00:09.5–00:11.5 — POUR AND PROOF. Match the circular smoothie motion into a 50mm close-up of the mother tilting the same pitcher and pouring the thick smoothie into two clear family drinking glasses on the same countertop. The liquid forms a smooth continuous ribbon with realistic viscosity and no splashing errors. The pitcher’s remaining fill level decreases correctly. Camera tracks gently with the pour from left to right. The daughter and son appear softly out of focus beyond the glasses, watching with excited expressions. As the glasses fill, rack focus briefly from the flowing smoothie to the children’s delighted reaction. Voice-over completes: “…smooth results in seconds.” 00:11.5–00:13.0 — FAMILY PAYOFF. Cut to a warm 35mm medium shot at the breakfast counter. The two children each take one synchronized first sip from their filled glasses, then immediately exchange impressed smiles. The mother stands behind them with a relaxed satisfied expression while the father takes a filled travel cup and moves toward frame-right, suggesting the blender has saved valuable morning time. Keep performances natural rather than exaggerated. The blender remains visible in the background on its original counter position, recognizable and unchanged. Morning sunlight and the same warm neutral palette continue without variation. The music opens into a bright satisfying resolution. The daughter gives a quick authentic smile and says: “That was fast!” 00:13.0–00:15.0 — PRODUCT HERO / BRAND END FRAME. Use a clean visual match cut from the child’s smoothie glass to the locked blender standing alone in a polished hero composition on the SAME kitchen counter. Shoot on an 85mm lens at slightly below pitcher midpoint for a confident premium product perspective. The blender occupies the center-right of frame while a freshly poured smoothie glass, two strawberries, several blueberries, and one mango slice form a restrained ingredient arrangement in the lower foreground-left. These garnish ingredients are separate presentation ingredients introduced only for the hero composition and must not imply that previously blended ingredients have magically reappeared. Create a slow controlled 5% push-in during the final two seconds. Frame-left morning sunlight creates a clean edge highlight along the clear pitcher and matte-silver motor base. Maintain realistic reflections, exact product geometry, and crisp separation from the softly defocused kitchen background. At 00:13.3, introduce a clean broadcast-safe text overlay in the negative space on frame-left: “FAST BLENDING POWER” At 00:14.0, transition cleanly to the primary campaign line: “SMOOTH IN SECONDS.” Below it, smaller: “POWER FOR EVERY FAMILY MORNING.” Typography is modern, bold, minimal sans-serif, perfectly legible, horizontally aligned, broadcast-safe, with no distorted letters and no unnecessary graphical effects. Keep all typography outside the physical blender silhouette. Voice-over, confident and warm: “Fast power. Smooth mornings.” End exactly at 00:15.0 on a perfectly stable hero frame with the blender sharply resolved, smoothie glass visible, campaign line readable, music landing on a clean sonic logo accent. CAMERA AND EDITING RULES: Use motivated cuts whenever subject, visual information, camera position, action, or emotional emphasis changes. Maintain energetic medium-fast commercial pacing: wider contextual opening, rapid ingredient inserts, tactile activation close-up, high-energy blending demonstration, sensory result macro, fluid pouring shot, human reaction payoff, then a slower premium hero landing. Preserve the established 180-degree axis throughout. No camera crosses the axis unless visibly motivated, and no silent changes in object placement occur between cuts. Maintain consistent camera height for matching shot types. Screen direction remains left-to-right for preparation and family movement. Every shot must introduce new action, information, perspective, reaction, or product proof. AUDIO DESIGN: Begin with subtle morning kitchen ambience under upbeat modern percussive music. Synchronize fruit impacts, ice clinks, control click, motor acceleration, vortex intensity, motor stop, smoothie pour, drinking sounds, and final sonic logo precisely to picture. The blender motor must sound powerful but refined rather than harsh. Duck music naturally beneath the voice-over and daughter’s dialogue. No audio clipping or abrupt ambience resets between cuts. VISUAL COLOR SYSTEM: warm off-white, pale natural oak, matte silver, fresh strawberry red, blueberry blue, mango golden-yellow, and creamy smoothie pink-red. Preserve natural skin tones and realistic food saturation. Use a premium contemporary commercial grade with moderate contrast, soft highlight roll-off, clean whites, controlled blacks, and no teal-orange exaggeration. MOVEMENT AND PHYSICS: All hands interact correctly with objects. Ingredients obey gravity. Liquid volume remains continuous. The pitcher fill level increases when ingredients are added, decreases when smoothie is poured, and never resets between shots. The blender stays physically planted on the counter during operation. The motor vortex follows plausible fluid dynamics. Hair, clothing, reflections, condensation, shadows, and liquid motion react naturally. Maintain strict character consistency, product consistency, object permanence, environment continuity, lighting continuity, and forward-only time progression across the full sequence. Render the final commercial at 24 fps, 16:9 broadcast aspect ratio, UHD 3840×2160 resolution, high-bitrate cinematic master quality, natural 180-degree shutter motion blur, realistic cinema-lens behavior, subtle fine sensor texture, clean compression, no visible digital artifacts, no temporal flicker, no frame interpolation artifacts, and photorealistic high-end commercial rendering. Preserve sharp product edges and legible end-frame typography while allowing natural depth-of-field falloff. The entire finished sequence must be EXACTLY 15 seconds long. Do not extend or shorten any beat. The central visual message must be immediately understandable without dialogue: a busy family morning becomes easier because this family blender turns whole ingredients and ice into a perfectly smooth drink with exceptional speed. The emotional progression is urgency → activation → power → instant proof → family satisfaction → premium product promise. Final audience takeaway: FAST BLENDING POWER. SMOOTH IN SECONDS.

Gumvue Studio

20,808 views • 1 month ago

Didn’t read Matt Bryden’s “Somalia at Risk of Becoming a Jihadist State”? Here’s the TL;DR — (and what he’s really doing.) Bryden’s latest piece is a two-dozen-page “brief” in his signature style: open with al-Shabaab “at the gates,” narrate Somali history as one straight line to collapse, and close by insisting only external intervention can keep the fallout “manageable.” The themes never change: federalism is broken; the national government is the villain; Islamists lurk everywhere; donors are exhausted and abandoning; Somaliland deserves recognition; and any federal member state arguing with Mogadishu becomes a “responsible actor.” This isn’t new. It’s the latest entry in a 30-year pattern: • 1999 – Building Block Approach: praise Ethiopia, warn against a Somali central government. • 2003 – No Quick Fixes: downplay terrorism; call critics “alarmist.” • 2003 – Banana Test: argue Somaliland already meets recognition standards. • 2013 – Somalia Redux?: dismiss national progress as a “surreal bubble.” • 2021 – Fake Fight: claim the FGS was colluding with al-Shabaab. The new brief simply reheats the formula. What makes this brief even more revealing is Bryden’s fixation on Islam — in a country that is 100% Sunni Muslim and whose political actors remain united in fighting al-Shabaab and ISIS. Of course he knows religion and politics mix everywhere: Kenya’s evangelical blocs, Ethiopia’s Orthodox and Pentecostal actors, Europe’s Christian Democrats, and the decisive role of America’s Bible Belt states. Yet somehow, Muslim politicians in Somalia are “the threat.” This five-year fear cycle of “the barbarians are coming” is his franchise. Meanwhile, Somalia actually cooperates daily with Kenya, Ethiopia, the EU, UK, U.S., UAE, Qatar, and Türkiye on security, intelligence, aid, and counter-terrorism. Contrary to his script, the UK injected £30 million into Somalia’s security transition last month; the EU continues to fund AUSSOM; the U.S. conducts regular FGS requested strikes; and the successive government he pronounces “dead on arrival” lifted the arms embargo, secured multibillion-dollar debt relief, and — inconveniently for his framing — now Somalia sits on the UN Security Council. Meanwhile, Somalia has had six presidents since 2000, repeated peaceful transfers of power, and zero coups — outperforming most of the global South. Elections are messy, yes, and we’re entering that season again, but they remain peaceful and actors accept results. None of this fits his screenplay. Then comes the Hollywood section of his brief, where he weites: “al-Shabaab’s potential capture of Mogadishu need not foreshadow a total jihadist conquest… A Provisional Federal Government could be established in a secure interim capital…” And continues: “The balance of forces… between a Mogadishu-based al-Shabaab and a Provisional Federal Government in Baidoa… al-Shabaab’s access to port revenues would triple its income…” And! “Since the militants would stand to inherit most of the arms, equipment, and vehicles currently in the SNA’s possession, al Shabaab’s military capabilities would rapidly surge.” At this point, anyone still drinking from Bryden’s well should reconsider. And perhaps — being well beyond retirement age — he might sip his Kool-Aid quietly instead of splashing it across respected platforms. Finally Somalia gave Matt Bryden a lucrative 35-year career, and he repaid it with scorn. Still, we genuinely wish him long and health life — long enough to watch, year after year, the results of our hard work. Also, neither Soomaalinimo — our march toward a strong, peaceful state — nor Islaamnimo — our pride in our faith and our Prophet — is going anywhere. So, pal, dhexda dhuuqso (tighten your belt — you’ll need it). As for this attached video: that’s Stadium Mogadishu — and no, it does not look like a city al-Shabaab is about to “capture.” Not today. Not tomorrow. Not ever.
0:13

Didn’t read Matt Bryden’s “Somalia at Risk of Becoming a Jihadist State”? Here’s the TL;DR — (and what he’s really doing.) Bryden’s latest piece is a two-dozen-page “brief” in his signature style: open with al-Shabaab “at the gates,” narrate Somali history as one straight line to collapse, and close by insisting only external intervention can keep the fallout “manageable.” The themes never change: federalism is broken; the national government is the villain; Islamists lurk everywhere; donors are exhausted and abandoning; Somaliland deserves recognition; and any federal member state arguing with Mogadishu becomes a “responsible actor.” This isn’t new. It’s the latest entry in a 30-year pattern: • 1999 – Building Block Approach: praise Ethiopia, warn against a Somali central government. • 2003 – No Quick Fixes: downplay terrorism; call critics “alarmist.” • 2003 – Banana Test: argue Somaliland already meets recognition standards. • 2013 – Somalia Redux?: dismiss national progress as a “surreal bubble.” • 2021 – Fake Fight: claim the FGS was colluding with al-Shabaab. The new brief simply reheats the formula. What makes this brief even more revealing is Bryden’s fixation on Islam — in a country that is 100% Sunni Muslim and whose political actors remain united in fighting al-Shabaab and ISIS. Of course he knows religion and politics mix everywhere: Kenya’s evangelical blocs, Ethiopia’s Orthodox and Pentecostal actors, Europe’s Christian Democrats, and the decisive role of America’s Bible Belt states. Yet somehow, Muslim politicians in Somalia are “the threat.” This five-year fear cycle of “the barbarians are coming” is his franchise. Meanwhile, Somalia actually cooperates daily with Kenya, Ethiopia, the EU, UK, U.S., UAE, Qatar, and Türkiye on security, intelligence, aid, and counter-terrorism. Contrary to his script, the UK injected £30 million into Somalia’s security transition last month; the EU continues to fund AUSSOM; the U.S. conducts regular FGS requested strikes; and the successive government he pronounces “dead on arrival” lifted the arms embargo, secured multibillion-dollar debt relief, and — inconveniently for his framing — now Somalia sits on the UN Security Council. Meanwhile, Somalia has had six presidents since 2000, repeated peaceful transfers of power, and zero coups — outperforming most of the global South. Elections are messy, yes, and we’re entering that season again, but they remain peaceful and actors accept results. None of this fits his screenplay. Then comes the Hollywood section of his brief, where he weites: “al-Shabaab’s potential capture of Mogadishu need not foreshadow a total jihadist conquest… A Provisional Federal Government could be established in a secure interim capital…” And continues: “The balance of forces… between a Mogadishu-based al-Shabaab and a Provisional Federal Government in Baidoa… al-Shabaab’s access to port revenues would triple its income…” And! “Since the militants would stand to inherit most of the arms, equipment, and vehicles currently in the SNA’s possession, al Shabaab’s military capabilities would rapidly surge.” At this point, anyone still drinking from Bryden’s well should reconsider. And perhaps — being well beyond retirement age — he might sip his Kool-Aid quietly instead of splashing it across respected platforms. Finally Somalia gave Matt Bryden a lucrative 35-year career, and he repaid it with scorn. Still, we genuinely wish him long and health life — long enough to watch, year after year, the results of our hard work. Also, neither Soomaalinimo — our march toward a strong, peaceful state — nor Islaamnimo — our pride in our faith and our Prophet — is going anywhere. So, pal, dhexda dhuuqso (tighten your belt — you’ll need it). As for this attached video: that’s Stadium Mogadishu — and no, it does not look like a city al-Shabaab is about to “capture.” Not today. Not tomorrow. Not ever.

Abdirashid Hashi

26,009 views • 9 months ago

RUNAWAY FINAL EP #หนีไปก็ตายเปล่าครั้งสุดท้าย #RunawayTheSeries #หนีไปก็ตายเปล่า First of all, let’s talk about the ending. In the series, we added a scene of them going on a trip after being discharged from the hospital. However, the ending everyone saw was the conclusion of the "main story," which follows the original novel. Initially, I intended to end it right there, but I felt it wasn't satisfying enough. So, I added a special chapter specifically to crush Korn even further. Now, let's get to the point. For anyone wondering when Boon was actually possessed, I’m going to reveal everything here. (Please look at the attached images for context on each scene.) Boon was protected by the Moon Deity and possessed her own magical spells, making it impossible for ghosts to harm or retain her. In EP4, when Boon returned to pack her things, her mother inscribed mystic symbols on her right palm to boost her power so she could fight Jomkwan, knowing her vengeance was powerful. If you look closely, every time Jomkwan touched Boon, her hands would burn so hot that smoke appeared. Yet, she fought through the pain without showing it. However, all those protective spells were destroyed the moment Boon grabbed the ritual knife to deflect it from stabbing Win. Once her guardian deity's power weakened, it was game over. Jomkwan began planning to possess Boon the moment she touched her and didn't feel the heat anymore. This is why she stared at Boon for so long; she was calculating. She then tricked everyone into a false sense of security, acting as if she had surrendered and was leaving. The possession actually started the second when Win said, "Let’s finish what we started." Being cunning, Jomkwan slowly took over Boon’s body bit by bit, thinking Boon wouldn't notice. She feared that if she knew, she would use her magic to resist. But she was wrong. Boon knew exactly what was happening, yet she "willingly" let her possess her. Out of guilt for what she had done in the past, she saw this as the only way to atone for her adoptive sister. It was actually Jomkwan who didn't realize Boon was letting her in. The possession became 100% complete after the vacation house was burned down, once all ties were severed and there were no obligations left. Note: Since Jomkwan didn't just want to possess her but wanted to claim the body as her own, Boon’s soul passed away as a result. Regarding Jompol Monk’s advice to burn the house, it wasn't because he wanted to help her. He only realized what was happening after Jomkwan had already fully possessed Boon. She was so convincing that she even fooled a monk. Jomkwan's playfulness in Boon's body when they leave the hospital, and she asks, "Ghosts?" There was no longer any reason to make Win see ghosts, because the real ghost - Jomkwan - was standing right in front of her. Win only truly started to realize something was wrong because the feeling of being near this fake Boon changed. She didn't feel the same heart-fluttering sensation she felt with the real Boon or Thamon. It wasn't until she saw the reflection in the mirror that she finally knew the truth. My favorite line is: "Oops! So you finally realized?" The tone is so mocking and provocative. It perfectly conveys Jomkwan taunting Win, showing her that even though she ran away, it was all for nothing.
0:18

RUNAWAY FINAL EP #หนีไปก็ตายเปล่าครั้งสุดท้าย #RunawayTheSeries #หนีไปก็ตายเปล่า First of all, let’s talk about the ending. In the series, we added a scene of them going on a trip after being discharged from the hospital. However, the ending everyone saw was the conclusion of the "main story," which follows the original novel. Initially, I intended to end it right there, but I felt it wasn't satisfying enough. So, I added a special chapter specifically to crush Korn even further. Now, let's get to the point. For anyone wondering when Boon was actually possessed, I’m going to reveal everything here. (Please look at the attached images for context on each scene.) Boon was protected by the Moon Deity and possessed her own magical spells, making it impossible for ghosts to harm or retain her. In EP4, when Boon returned to pack her things, her mother inscribed mystic symbols on her right palm to boost her power so she could fight Jomkwan, knowing her vengeance was powerful. If you look closely, every time Jomkwan touched Boon, her hands would burn so hot that smoke appeared. Yet, she fought through the pain without showing it. However, all those protective spells were destroyed the moment Boon grabbed the ritual knife to deflect it from stabbing Win. Once her guardian deity's power weakened, it was game over. Jomkwan began planning to possess Boon the moment she touched her and didn't feel the heat anymore. This is why she stared at Boon for so long; she was calculating. She then tricked everyone into a false sense of security, acting as if she had surrendered and was leaving. The possession actually started the second when Win said, "Let’s finish what we started." Being cunning, Jomkwan slowly took over Boon’s body bit by bit, thinking Boon wouldn't notice. She feared that if she knew, she would use her magic to resist. But she was wrong. Boon knew exactly what was happening, yet she "willingly" let her possess her. Out of guilt for what she had done in the past, she saw this as the only way to atone for her adoptive sister. It was actually Jomkwan who didn't realize Boon was letting her in. The possession became 100% complete after the vacation house was burned down, once all ties were severed and there were no obligations left. Note: Since Jomkwan didn't just want to possess her but wanted to claim the body as her own, Boon’s soul passed away as a result. Regarding Jompol Monk’s advice to burn the house, it wasn't because he wanted to help her. He only realized what was happening after Jomkwan had already fully possessed Boon. She was so convincing that she even fooled a monk. Jomkwan's playfulness in Boon's body when they leave the hospital, and she asks, "Ghosts?" There was no longer any reason to make Win see ghosts, because the real ghost - Jomkwan - was standing right in front of her. Win only truly started to realize something was wrong because the feeling of being near this fake Boon changed. She didn't feel the same heart-fluttering sensation she felt with the real Boon or Thamon. It wasn't until she saw the reflection in the mirror that she finally knew the truth. My favorite line is: "Oops! So you finally realized?" The tone is so mocking and provocative. It perfectly conveys Jomkwan taunting Win, showing her that even though she ran away, it was all for nothing.

☀ zonlicht (ซนลิชท์)

90,178 views • 8 months ago