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![Quelle honte ! Mais quelle honte ! Apparemment ces 3 personnes passent leur live à m'insulter ainsi que mes amis et je ne vais comme d'habitude même pas leur donner l'heure. Et si un jour je leur réponds, s'il vous plaît, faudra vraiment pas me dire oui Mehdi t'es méchant pourquoi tu fais une vidéo sur eux quand il y en a eu 50 sur moi avant sans réponse de ma part. Il y a deux types de personnes, ceux qui créent et ceux qui commentent, vous trois, et les gros youtubeurs vous soutenant ne faites partie d'aucune des deux catégories, vous êtes des sous merdes humaines. Je ne vais même pas parler de moi parce que, peut etre, penserez vous, que j'ai un agenda personnel alors que je suis juste outré par des propos inadmissibles, ceux où ils font preuve de racisme et misogynie envers des gens que je n'apprécie même pas : "ta gueule [Carole]" "tu n'es pas facile à satisfaire c'est pour ça que Julien t'a divorcé" "J'en peux plus de ce jeu, j'en peux plus de ce noir, j'en peux plus d'Ubisoft" (Le 17x5 =\= 85 n'est pas un propos haineux mais prouve l'étendue du problème quand on donne la parole à un imbécile incapable de poser un calcul élémentaire) A Julien, toi qui discute ouvertement avec ces gens et te félicitent des vidéos qu'ils font sur moi (cf dernière vidéo de slapp a mon sujet) vas tu continuer de soutenir leur comportement extrêmement toxique ou vas tu avoir un peu de dignité et défendre la mère de ton enfant ? Soyons honnêtes, si j'avais dit le dixième de ce qu'ils ont dit sur Carole, vous deux auriez déjà tweeter depuis la salle d'attente des urgences du CHU le plus proche. A Bugland, vas tu continuer de soutenir et participer activement a leur campagne de harcèlement en étant dans le chat de leur live, aux commentaires des vidéos qu'ils font sur les gens pour obtenir la sympathie, les vues et les likes de leur communauté cancérigène pour "finir en top tendance test youtube" ou vas tu enfin avoir une race ? A mes frères et soeurs à la peau noire, jamais on ne laissera ce genre de propos haineux devenir acceptables. Aux joueuses, jamais on ne laissera ces propos misogynes passer. Aux autres, allez vous commencer à voir le problème avec ces gens racistes et misogynes et prendre position ou bien allez-vous continuer de fermer les yeux pour ne pas dire les baisser lâchement devant ces propos nauséabonds ? Ces gens n'ont aucune force, le test qu'ils mettent en avant dans l'extrait publié par Tony Boy ne fait pas le 1/4 des vues du mien alors que je suis pris pour cible et disliké en masse depuis des mois. Alors que je suis tout petit. Imaginez les deux secondes aller harceler et disliker IGN ou JV, ce sera une goutte d'eau. Zéro force, ils ont, alors n'ayez pas peur, ils ne sont rien. La grandeur médiatique de la licence Assassin's Creed a constitué une aubaine pour eux, ils ont surfé dessus pendant des mois, ont rempli leur panse au détriment de la santé mentale de centaines de développeurs, le jeu étant sorti ils vont se rabattre sur South of Midnight et voyant que tout le monde s'en tape, leur truc va s'essouffler et face au frigo vide, ils finiront par faire du fait divers comme leur maitre. Ils ne sont pas passionnés. Et à ce propos : aux développeurs de Bioware et Ubisoft, l'industrie vous a lâché. J'en suis sincèrement désolé. Ca ne devrait pas être possible d'en venir à créer une cellule anti harcèlement, d'avoir des devs qui tombent en dépression parce qu'ils ont eu l'audace de faire leur travail et de sortir un jeu. Deux jeux extrêmement polish d'ailleurs, signe que le travail a techniquement et factuellement bien été fait. On peut d'ailleurs ne pas aimer le rendu de ce travail et même le dire. C'est mon cas avec Dragon Age. Mais en aucun arriver à de telles extrêmes poussés par ces gens et validés par de gros youtubeurs qui vont avoir beaucoup de mal à se regarder dans un miroir. Ici, on sera resté droit dans nos bottes, sans lâcher personne ni faire de mal à qui que ce soit. Al hamdoulilah.](https://image.24vids.com/tw-1902236316311380104/ext_tw_video_thumb/1902236053303418880/pu/img/KN92Awnb1H5vIr1O.jpg)
![【ヴォーギングっぽいダンス動画プロンプトテンプレ】 有名ファッション雑誌『VOGUE』に由来するヴォーギング。70年代〜80年代のニューヨークのクラブシーンで、ダンサーたちが雑誌のモデルたちの華麗なポーズや手の動きを真似て踊り始めたことからその名がつきましたとさ。 AIでの再現が難しいジャンルなんですが、Seedance2.0で少し近づいた気がする！ #Dreaminacpp #Dreamina Dreamina AI 以下、キャラクターシートを参照しての動画プロンプトですー！（Seedance2.0 15秒） ※たまに弾かれます🙏 👇 [Prompt] The exact same character from the reference image @画像1 — 100% identical face, hairstyle, outfit, body proportions, no changes whatsoever, clean high-quality skin with subtle glow. She performs a fierce ballroom Vogue Fem dance break in an ultra-stylish environment that perfectly matches her specific aesthetic and original vibe. She executes rapid hand performance, complex geometric arm framing, striking precise poses, and sudden dramatic death drops, projecting explosive diva energy. Mind-blowing music video multi-cut camera work: starts with a rapid 360-degree orbit tracking shot around her, transitions with a fast whip-pan to an extreme low Dutch-angle looking up at her poses, followed by dynamic push-and-pull dolly movements tightly synced to her intricate hand frames. High-energy rapid editing. Cinematic color grading: dramatic high-contrast lighting designed to make her exact outfit pop, sleek environmental reflections, cinematic anamorphic lens flares, subtle film grain, high-end music video style. 4K, photorealistic, ultra-sharp skin and fabric details, intense rhythmic speed ramps synced to an imaginary heavy bass beat, hyper-fast whip transitions mixed with buttery slow-motion on her sharpest voguing poses, "ultra-dynamic high-end fashion music video masterpiece" optional, 24fps](https://image.24vids.com/tw-2075416373266940201/amplify_video_thumb/2075405160688615424/img/3rkTe7ivPHrpK278.jpg)
![Claude CodeにMiniMax H3のプロンプトを丸投げしたら、この動画ができました😃 Claude Codeに投げたプロンプト↓ ------------------- MiniMax H3を使ってモーショングラフィックスをバリバリ使った15秒のCMを作りたい。 どんな内容が良いと思う？ 条件は以下 ・モーショングラフィックスを多用 ・人物も登場させる（実写・アニメーションは問わない） ・アスペクト比は16:9 ------------------- すると、Claude Codeが3つCM案を提案。 そのうちの1つを選んだら↓のプロンプトができました。 MiniMax H3を利用したツールはMiniMax Design。 #MiniMaxH3 on #MiniMaxDesign Claude Codeが作ったMiniMax H3向けのプロンプト↓ ---------------------- integrated_multimodal_description: 2D-animated, a bold graphic-design motion-graphics commercial in 16:9 with exactly 13 distinct cuts at 24fps. This film is 85% kinetic graphic design and 15% character action: giant kinetic Japanese typography, hard-edged flat shapes, split screens, halftone, speed lines, torn-paper reveals and shutter flashes. Palette, strictly four colors: fluorescent orange, deep black, off-white, silver grey. The recurring character is a young anime street dancer with a black chin-length bob and blunt bangs, sharp confident eyes, an oversized off-white track jacket with fluorescent-orange sleeve stripes, black cargo shorts, and chunky white sneakers with fluorescent-orange lines. Preserve her exact face, proportions, hairstyle, outfit, materials and colors throughout; never redesign her. Every graphic element moves fast and snaps hard on the beat. [Shot 1] On a deep black field, a massive off-white circle slams into frame left of center, then two fluorescent-orange bars wipe across the upper and lower thirds, then the Japanese kanji "烈" builds itself stroke by stroke in off-white at the center until it is complete. The camera shakes slightly with small amplitude at fast speed on each impact. [Shot 2] At 00:01.000, the camera cuts to an off-white field where four black squares rotate into the center one at a time. The largest square opens as a porthole revealing an extreme close-up of the dancer's ice-sharp eye glancing up, then a red-and-cyan split flash tears across the edges and the squares shatter into flat shards. The camera pushes in with small amplitude at fast speed. [Shot 3] At 00:02.000, the camera cuts to an off-white field filled by an enormous black kanji "烈". The dancer sprints in from frame left, power-slides along the baseline of the typography, and fluorescent-orange ink splatter trails behind her as speed lines streak past. The camera trucks left with large amplitude at fast speed. The kanji stays fully readable before she crosses in front of it. [Shot 4] At 00:03.100, the camera cuts to a vertical triptych of fluorescent-orange, deep black and off-white panels. Her flat silhouette appears in each panel in stroboscopic freeze, one after another — takeoff, mid-air tuck, landing — while giant vertical silver text "全速" scrolls upward behind the panels. Static shot. [Shot 5] At 00:04.000, the camera cuts to a black field where a giant tilted ring of fluorescent-orange Japanese characters reading "止マルナ" rotates. The dancer leaps through the center of the ring, spins once in mid-air, and the characters break off and scatter outward as flat shards. The camera arcs with large amplitude at fast speed, then snap-zooms onto her confident face. [Shot 6] At 00:05.100, the camera cuts to a clean off-white editorial card holding a huge black kanji "跳" with one orange diagonal slash. She vaults over the word itself, plants her palm on its left radical, the character compresses like a spring under her hand, then rebounds as her legs whip across the frame. Static shot. [Shot 7] At 00:06.000, the camera cuts to a full fluorescent-orange field crossed by one thick black diagonal stripe. She back-flips along the stripe in three stroboscopic ghost frames tinted black, off-white and silver grey, while a large outlined kanji "回" rotates 180 degrees in sync with her rotation. The camera rolls clockwise with small amplitude at fast speed. [Shot 8] At 00:07.000, the camera cuts to an off-white field with a hard black band. Four bold black kanji slam in one at a time at different scales and angles — "速", then "鋭", then "静", then "烈" — each landing with a white shutter flash and an orange impact mark, while she slides on her knees across the foreground, jacket flaring. The camera shakes slightly with small amplitude at fast speed. [Shot 9] At 00:08.000, the camera cuts to a black frame where a white wireframe grid tilts away in 3D. She runs up the grid like a wall, kicks off it, and hangs frozen in mid-air as a fluorescent-orange circle stamps around her pose like a target lock with silver UI brackets and tick marks. The camera tilts up with small amplitude at slow speed. [Shot 10] At 00:09.000, the freeze releases and the camera cuts to layered flat-color panes stacked toward the lens. She dives straight at the camera, the panes tear open one at a time like thick paper, and each tear reveals a larger portion of the black kanji "烈" behind, before her sneaker wipes across the foreground. The camera pulls out with large amplitude at fast speed. [Shot 11] At 00:10.100, the camera cuts to a rapid-fire montage of four full-screen graphic posters of her in different action poses — mid-flip, sliding, landing, hands in pockets — snapping past with hard cuts, each with an oversized silver number 01 to 04, a black barcode strip and thick diagonal slashes. Static shot. [Shot 12] At 00:11.100, the camera cuts to a clean off-white cyclorama for the hero moment. She lands a final backflip dead center in slow motion, straightens with both hands in her pockets, and a shockwave of concentric fluorescent-orange rings blasts outward from her feet carrying shattered fragments of the kanji "烈" with it, then the frame overexposes toward white. The camera pushes in with small amplitude at slow speed. [Shot 13] At 00:13.000, the camera cuts to the final identity card on a pale off-white field. An enormous black kanji "烈" dominates the frame with translucent orange rings and thin technical arcs behind it, the silver-grey word "RETSU" sits directly beneath the kanji, and she stands relaxed at the lower center overlapping the bottom of the strokes with her jacket rippling. One thin orange pulse sweeps horizontally through the typography and holds cleanly until exactly 15.000 seconds. Static shot. Editing: extremely aggressive rhythm — hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, split flashes and impact shakes. Every cut must feel compositionally different. All Japanese typography is always fully readable before the character overlaps it. No weapons, no combat, no fire, no explosions; all energy comes from motion design, ink, torn paper, wind and her street-dance athleticism. No photorealism, no 3D rendering, no gradients, no browser interface, no player controls, no subtitles, no captions, and no text other than the Japanese characters named above. Exactly 13 cuts. overall_soundscape: Sneaker impacts, knee slides and landings hit hard against a clean room tone. Ink splatters burst, thick paper tears open, and flat panels shatter like glass. Sharp whooshes carry the color wipes and typography slams, with small shutter clicks on each flash. No dialogue. non_diegetic_music: An original 15-second drum-heavy breakbeat with a deep sub bass, hard snare hits, risers and glitch fills locked to every cut. Begin with a single impact, build tightly through the middle, peak at the landing at 00:11.100, and end with a cold electronic logo sting that resolves at 15.000 seconds.](https://image.24vids.com/tw-2090306302966919515/amplify_video_thumb/2090304831605137408/img/zF64xYqkGN14GBEY.jpg)
![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.](https://image.24vids.com/tw-2087681623718518870/amplify_video_thumb/2087680897478955008/img/8z97seoFxzmaTDGp.jpg)