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Do mushrooms communicate? Research shows they're connected through a mycelium network, like the wood wide web. Two Amanita muscaria mushrooms, a PlantWave device, and the soil's electrical changes turn into sound. Biosonification at work—Mario’s soundtrack.🍄🔊

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45,521 views • 9 months ago •via X (Twitter)

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🇬🇧 MAGIC: MUSHROOMS MAKING MUSIC Engineers in the UK just turned fungi into musicians. By placing sensors on mushroom caps, they captured the natural electrical impulses fungi generate - and used them to control motors that play real instruments. The result? A trippy fusion of biology and sound - where mushrooms don’t just inspire the vibe, they create it. And it’s not just a party trick. Scientists believe fungal networks use these signals to communicate amongst each other. So this might not just be music by mushrooms... it could be music from them. Source: Bionica and the Wires, longliveai

🇬🇧 MAGIC: MUSHROOMS MAKING MUSIC Engineers in the UK just turned fungi into musicians. By placing sensors on mushroom caps, they captured the natural electrical impulses fungi generate - and used them to control motors that play real instruments. The result? A trippy fusion of biology and sound - where mushrooms don’t just inspire the vibe, they create it. And it’s not just a party trick. Scientists believe fungal networks use these signals to communicate amongst each other. So this might not just be music by mushrooms... it could be music from them. Source: Bionica and the Wires, longliveai

Mario Nawfal

49,962 views • 1 year ago

🚨STUDY: MAGIC MUSHROOM COMPOUND "RESETS" BRAIN Psilocybin, the hallucinogenic compound in magic mushrooms, temporarily resets entire brain networks controlling time and self-perception, according to a new Nature study. Researchers observed "massive changes" in seven volunteers' brains, with some patterns resembling entirely different individuals. Most changes lasted hours, but one brain link remained disrupted for weeks. The default mode network, active during daydreaming, became desynchronized during drug effects. Interestingly, "grounding" techniques used in psychedelic therapy reduced psilocybin's brain impact. This research could explain psilocybin's potential therapeutic effects on depression and PTSD. While not proving causation, it offers crucial clues for developing mental health treatments. The study's innovative approach, repeatedly imaging fewer subjects, provided unprecedented insight into psilocybin's whole-brain impact. Researchers hope to extend this work to individuals with conditions like depression. Source: Nature , Joshua Siegel

🚨STUDY: MAGIC MUSHROOM COMPOUND "RESETS" BRAIN Psilocybin, the hallucinogenic compound in magic mushrooms, temporarily resets entire brain networks controlling time and self-perception, according to a new Nature study. Researchers observed "massive changes" in seven volunteers' brains, with some patterns resembling entirely different individuals. Most changes lasted hours, but one brain link remained disrupted for weeks. The default mode network, active during daydreaming, became desynchronized during drug effects. Interestingly, "grounding" techniques used in psychedelic therapy reduced psilocybin's brain impact. This research could explain psilocybin's potential therapeutic effects on depression and PTSD. While not proving causation, it offers crucial clues for developing mental health treatments. The study's innovative approach, repeatedly imaging fewer subjects, provided unprecedented insight into psilocybin's whole-brain impact. Researchers hope to extend this work to individuals with conditions like depression. Source: Nature , Joshua Siegel

Mario Nawfal

2,065,403 views • 2 years ago

Kimi K3 + GPT-6 Astra can become something bigger than two agents: a Two-Brain AI Operating System the formula: Two-Brain OS = Research Brain + Execution Brain + Shared State + Router + Tools + Verification not two models doing the same job. two specialized brains connected through one persistent system step 1 -> Kimi K3 becomes the research brain. complex research, source comparison, long-context synthesis and strategic planning happen here. its job is to explore the problem and compress the findings into a clear plan. step 2 -> GPT-6 Astra becomes the execution brain. it receives the plan, writes code, operates tools, creates artifacts and turns decisions into finished work. step 3 -> build a shared state layer. store the objective, evidence, decisions, constraints, failed attempts and next action outside the chat. both brains always know what happened and where the system should continue. step 4 -> add the router. uncertainty and open-ended questions move to Kimi K3. execution, tool use and deterministic tasks move to GPT-6 Astra. every job reaches the brain designed to handle it. step 5 -> create the handoff loop: research -> plan -> execute -> inspect -> update state -> continue. if execution reveals missing information, the task returns to Kimi. if the plan is ready, Astra takes control again. step 6 -> verify before completion. tests, source checks, constraints and explicit success criteria decide whether the result ships or returns to the correct brain with a clear failure signal. that is the difference between using two AI models and building a Two-Brain AI Operating System. Kimi K3 expands the search space. GPT-6 Astra converts it into action. shared state preserves progress, the router controls every handoff, tools execute the work and verification decides when the system is actually finished. one model can generate an answer. two specialized brains connected through memory, routing and verification can run an entire workflow. the full Kimi K3 + GPT-6 Astra Two-Brain OS breakdown is below ↓

Kimi K3 + GPT-6 Astra can become something bigger than two agents: a Two-Brain AI Operating System the formula: Two-Brain OS = Research Brain + Execution Brain + Shared State + Router + Tools + Verification not two models doing the same job. two specialized brains connected through one persistent system step 1 -> Kimi K3 becomes the research brain. complex research, source comparison, long-context synthesis and strategic planning happen here. its job is to explore the problem and compress the findings into a clear plan. step 2 -> GPT-6 Astra becomes the execution brain. it receives the plan, writes code, operates tools, creates artifacts and turns decisions into finished work. step 3 -> build a shared state layer. store the objective, evidence, decisions, constraints, failed attempts and next action outside the chat. both brains always know what happened and where the system should continue. step 4 -> add the router. uncertainty and open-ended questions move to Kimi K3. execution, tool use and deterministic tasks move to GPT-6 Astra. every job reaches the brain designed to handle it. step 5 -> create the handoff loop: research -> plan -> execute -> inspect -> update state -> continue. if execution reveals missing information, the task returns to Kimi. if the plan is ready, Astra takes control again. step 6 -> verify before completion. tests, source checks, constraints and explicit success criteria decide whether the result ships or returns to the correct brain with a clear failure signal. that is the difference between using two AI models and building a Two-Brain AI Operating System. Kimi K3 expands the search space. GPT-6 Astra converts it into action. shared state preserves progress, the router controls every handoff, tools execute the work and verification decides when the system is actually finished. one model can generate an answer. two specialized brains connected through memory, routing and verification can run an entire workflow. the full Kimi K3 + GPT-6 Astra Two-Brain OS breakdown is below ↓

Alex

22,461 views • 13 days ago

This looks like a regular IT server room. But it is actually the main avionics compartment of an Airbus A350, a rare view into what sits at the very front of the aircraft, directly beneath the cockpit floor. Inside are 22 purpose built computing modules made by Thales, each costing more than $100,000+ They host multiple aircraft systems, processing everything from flight controls and landing gear to hydraulics, fuel, electrical systems and flight warnings. All of them are connected through a dual redundants AFDX network, with 14 switches and 29 remote data concentrators distributed throughout the aircraft. Keeping this computing architecture running requires an estimated 50-60+ kW of electrical power. The electricity keeping all of this computing hardware alive is generated in real time from the aircraft's two engines. Each engine mechanically drives two generators through its accessory gearbox, giving the A350 four generators capable of producing up to 100 kVA each. That electricity then flows through the aircraft's power network, where transformers and rectifiers convert it into the different AC and 28 V DC supplies the avionics need. And if those generators fail, the aircraft has layers of backup power, including the APU and, in an extreme emergency, a ram air turbine that deploys automatically if all systems fail. The A350 has two independent avionics cooling circuits, heat extraction fans and backup airflow paths to keep the computers within their operating limits. So the next time you hear the word autopilot, remember what it really takes to make an Airbus A350 fly itself, An entire architecture of computers, networks, redundant power and cooling, hidden beneath the floor where no passenger ever sees it. Source, maintenancemode

This looks like a regular IT server room. But it is actually the main avionics compartment of an Airbus A350, a rare view into what sits at the very front of the aircraft, directly beneath the cockpit floor. Inside are 22 purpose built computing modules made by Thales, each costing more than $100,000+ They host multiple aircraft systems, processing everything from flight controls and landing gear to hydraulics, fuel, electrical systems and flight warnings. All of them are connected through a dual redundants AFDX network, with 14 switches and 29 remote data concentrators distributed throughout the aircraft. Keeping this computing architecture running requires an estimated 50-60+ kW of electrical power. The electricity keeping all of this computing hardware alive is generated in real time from the aircraft's two engines. Each engine mechanically drives two generators through its accessory gearbox, giving the A350 four generators capable of producing up to 100 kVA each. That electricity then flows through the aircraft's power network, where transformers and rectifiers convert it into the different AC and 28 V DC supplies the avionics need. And if those generators fail, the aircraft has layers of backup power, including the APU and, in an extreme emergency, a ram air turbine that deploys automatically if all systems fail. The A350 has two independent avionics cooling circuits, heat extraction fans and backup airflow paths to keep the computers within their operating limits. So the next time you hear the word autopilot, remember what it really takes to make an Airbus A350 fly itself, An entire architecture of computers, networks, redundant power and cooling, hidden beneath the floor where no passenger ever sees it. Source, maintenancemode

Ammanichanda

67,591 views • 1 month ago

CLAUDE JUST MADE ONCHAIN WALLET RESEARCH STUPIDLY EASY. You can literally paste a wallet address into chat and have it read the chain for you. No API keys. No scripts. No extensions. Two connectors do the whole job: · · Both are already inside Settings → Connectors Takes less than 60 sec to connect. CLAUDE DID ALL ONCHAIN RESEARCH FOR ME: Every trade below was public and caught by Claude. Wallet #1 Put $8K into a coin at a $273K mcap. Now worth: $1.35M. Wallet #2 Put $163K across 3 coins. Now worth: $2.64M. Wallet #3 Put $230K into one coin. Now worth: $675K. Nobody hid any of this. The wallets were public. The entries were public. The size was public. Before, you had to dig through explorers and piece it together yourself. Now you just paste the wallet into Claude. I find most of mine through FOMO: Then Claude does the rest.

CLAUDE JUST MADE ONCHAIN WALLET RESEARCH STUPIDLY EASY. You can literally paste a wallet address into chat and have it read the chain for you. No API keys. No scripts. No extensions. Two connectors do the whole job: · · Both are already inside Settings → Connectors Takes less than 60 sec to connect. CLAUDE DID ALL ONCHAIN RESEARCH FOR ME: Every trade below was public and caught by Claude. Wallet #1 Put $8K into a coin at a $273K mcap. Now worth: $1.35M. Wallet #2 Put $163K across 3 coins. Now worth: $2.64M. Wallet #3 Put $230K into one coin. Now worth: $675K. Nobody hid any of this. The wallets were public. The entries were public. The size was public. Before, you had to dig through explorers and piece it together yourself. Now you just paste the wallet into Claude. I find most of mine through FOMO: Then Claude does the rest.

Rekt Fencer

63,960 views • 12 days ago

SOMEONE FROM TOKYO IS MAPPING BIRD LANGUAGE INTO REAL DATA PATTERNS AND THE VISUALIZATION LOOKS LIKE A NEURAL NETWORK DREAMING Every bird sound - frequency, duration, amplitude and modulation - gets converted into 3D space coordinates and rendered as a cluster of colored points in real time through Deepen AI. A microphone captures the acoustic signal, FFT breaks it down into frequency components from 1 kHz to 8 kHz where most birds communicate, an ML model classifies the pattern and the mapped data hits a graph where each call type gets its own color and position in space. Birds have a vocal repertoire of 5 to 200+ unique signals depending on the species - and every signal carries different information about predators, food, territory and mates that humans simply can't hear. The same technology that decodes bird language detects anomalies in industrial machinery, cardiac rhythms and structural vibrations in buildings - he just trained it on nature first.

SOMEONE FROM TOKYO IS MAPPING BIRD LANGUAGE INTO REAL DATA PATTERNS AND THE VISUALIZATION LOOKS LIKE A NEURAL NETWORK DREAMING Every bird sound - frequency, duration, amplitude and modulation - gets converted into 3D space coordinates and rendered as a cluster of colored points in real time through Deepen AI. A microphone captures the acoustic signal, FFT breaks it down into frequency components from 1 kHz to 8 kHz where most birds communicate, an ML model classifies the pattern and the mapped data hits a graph where each call type gets its own color and position in space. Birds have a vocal repertoire of 5 to 200+ unique signals depending on the species - and every signal carries different information about predators, food, territory and mates that humans simply can't hear. The same technology that decodes bird language detects anomalies in industrial machinery, cardiac rhythms and structural vibrations in buildings - he just trained it on nature first.

Cortex

11,128 views • 4 months ago

I pull the handle in with my left hand as I turn the corner. That simple move creates what I call the “water skier effect.” Just like a skier accelerates when the boat changes direction, the club speeds up when you pull in and turn through. It’s not about swinging harder—it’s about applying force at the right moment. This is one of the key pieces most golfers are missing. When you get it right, the strike feels effortless… and the ball jumps. If you’d like to learn how to build this into your swing, join me at my upcoming golf schools: 📍 May 2–3 at Grapevine Golf Course (TX) 📍 July 17–19 at Foxwoods (CT) For lessons or more info, email me at christo@classicswing.golf

I pull the handle in with my left hand as I turn the corner. That simple move creates what I call the “water skier effect.” Just like a skier accelerates when the boat changes direction, the club speeds up when you pull in and turn through. It’s not about swinging harder—it’s about applying force at the right moment. This is one of the key pieces most golfers are missing. When you get it right, the strike feels effortless… and the ball jumps. If you’d like to learn how to build this into your swing, join me at my upcoming golf schools: 📍 May 2–3 at Grapevine Golf Course (TX) 📍 July 17–19 at Foxwoods (CT) For lessons or more info, email me at [email protected]

Classic Golf Swing

61,101 views • 5 months ago

Two girls, arms overhead all day, plastering a ceiling in perfect sync and it makes them around $12,000 a month between them, mostly from filming it. Anyone who's done overhead work knows it's the worst position in the trade — arms up, neck back, shoulders burning inside ten minutes. Most people tap out. These two do it for hours, side by side, matching each other's pace like they share a brain. That's the thing you can't look away from: not just that it's two women on a ceiling, but that they're in rhythm doing the part everyone else dreads. Here's why the pair matters more than people think. A solo worker is a clip you watch once. Two people moving in sync — no talking, just anticipating each other — is a relationship, and relationships are what turn a viewer into a follower. You're not watching a task get done. You're watching a partnership work, and that pulls people back for the next one. The money runs three ways off one phone. Their calendar stays booked because homeowners watch the finish and hire them at full rate, zero ad spend — the video sells the work. Tool and material brands pay $3 - 5k a post to get their gear in genuinely skilled hands. And views, often 5-10 million a clip, stack payouts on a phone one of them wedges on a bucket. Neither of them edits. They film the shift, hand it to AI, it grabs the tightest synced stretch, cuts it to the beat, captions, schedules. They're onto the next room before it posts. The reframe for anyone doing hard work: the part of your job that's physically brutal — the part you assume nobody wants to see — is exactly what people respect watching. Struggle that looks effortless is magnetic. Doing it in sync with someone else doubles it. Do you work with someone you're so in sync with you barely need words? Drop it below — I'm breaking the best ones down next.

Two girls, arms overhead all day, plastering a ceiling in perfect sync and it makes them around $12,000 a month between them, mostly from filming it. Anyone who's done overhead work knows it's the worst position in the trade — arms up, neck back, shoulders burning inside ten minutes. Most people tap out. These two do it for hours, side by side, matching each other's pace like they share a brain. That's the thing you can't look away from: not just that it's two women on a ceiling, but that they're in rhythm doing the part everyone else dreads. Here's why the pair matters more than people think. A solo worker is a clip you watch once. Two people moving in sync — no talking, just anticipating each other — is a relationship, and relationships are what turn a viewer into a follower. You're not watching a task get done. You're watching a partnership work, and that pulls people back for the next one. The money runs three ways off one phone. Their calendar stays booked because homeowners watch the finish and hire them at full rate, zero ad spend — the video sells the work. Tool and material brands pay $3 - 5k a post to get their gear in genuinely skilled hands. And views, often 5-10 million a clip, stack payouts on a phone one of them wedges on a bucket. Neither of them edits. They film the shift, hand it to AI, it grabs the tightest synced stretch, cuts it to the beat, captions, schedules. They're onto the next room before it posts. The reframe for anyone doing hard work: the part of your job that's physically brutal — the part you assume nobody wants to see — is exactly what people respect watching. Struggle that looks effortless is magnetic. Doing it in sync with someone else doubles it. Do you work with someone you're so in sync with you barely need words? Drop it below — I'm breaking the best ones down next.

Rich

23,632 views • 1 month ago

🔊 (sound on) Friday is the LAST DAY to enter for your chance to Name a Red Panda! 🐾 Our two boys have officially entered the “popcorn” phase, so you’ll see (and hear) them exploring a lot more. And with all that personality starting to show, they really need names! Think you’ve got the perfect ones? Enter for your chance to go behind the scenes with our red pandas and be part of Zoo Knoxville history by helping name one of our newest arrivals. 👉 Visit now to enter and read the official contest rules. Donations made through the contest directly support Zoo Knoxville’s mission of exceptional animal care, conservation, and education, including our work with the Red Panda Network.

🔊 (sound on) Friday is the LAST DAY to enter for your chance to Name a Red Panda! 🐾 Our two boys have officially entered the “popcorn” phase, so you’ll see (and hear) them exploring a lot more. And with all that personality starting to show, they really need names! Think you’ve got the perfect ones? Enter for your chance to go behind the scenes with our red pandas and be part of Zoo Knoxville history by helping name one of our newest arrivals. 👉 Visit now to enter and read the official contest rules. Donations made through the contest directly support Zoo Knoxville’s mission of exceptional animal care, conservation, and education, including our work with the Red Panda Network.

Zoo Knoxville

34,290 views • 1 month ago

How do you turn a scene idea into a Prompt? All you need to do is roughly describe what's in your head to an LLM. It doesn't have to be perfect or highly detailed. Once it understands the core idea, it can help turn it into a well-structured prompt. In my case, I use a custom skill file that I built myself. After I provide the idea, it generates both a storyboard and video prompts for me. I then review the outputs and refine them through iteration, giving feedback like "make this shot wider," "change this action," or "move the camera here." After a few rounds of adjustments, I usually arrive at the final result. The process is much closer to directing than writing a perfect prompt from scratch. The Idea: Two characters face each other. Serenity fights like a Wing Chun master. She unleashes a rapid barrage of punches into Ruk's abdomen. The fight should feel highly energetic and sakuga-driven, with exaggerated action beats and dynamic choreography. Use 14 panels. The final attack should show Serenity launching high into the sky, then diving straight down at extreme speed. She lands with both feet on Ruk's head, driving him deep into the ground and burying him on impact. All other scenes should be equally creative and visually inventive. Emphasize fast pacing, flash cuts, burst cuts, sudden perspective changes, dramatic impact moments, and imaginative camera angles. Use aggressive screen direction, strong momentum shifts, dynamic framing, and escalating choreography to create a thrilling, high-energy martial arts sequence. This is the final video, you can check the prompts in the replies. Used tools: Midjourney, Codex, GPT Image 2, Seedance 2.0, Suno, Capcut

How do you turn a scene idea into a Prompt? All you need to do is roughly describe what's in your head to an LLM. It doesn't have to be perfect or highly detailed. Once it understands the core idea, it can help turn it into a well-structured prompt. In my case, I use a custom skill file that I built myself. After I provide the idea, it generates both a storyboard and video prompts for me. I then review the outputs and refine them through iteration, giving feedback like "make this shot wider," "change this action," or "move the camera here." After a few rounds of adjustments, I usually arrive at the final result. The process is much closer to directing than writing a perfect prompt from scratch. The Idea: Two characters face each other. Serenity fights like a Wing Chun master. She unleashes a rapid barrage of punches into Ruk's abdomen. The fight should feel highly energetic and sakuga-driven, with exaggerated action beats and dynamic choreography. Use 14 panels. The final attack should show Serenity launching high into the sky, then diving straight down at extreme speed. She lands with both feet on Ruk's head, driving him deep into the ground and burying him on impact. All other scenes should be equally creative and visually inventive. Emphasize fast pacing, flash cuts, burst cuts, sudden perspective changes, dramatic impact moments, and imaginative camera angles. Use aggressive screen direction, strong momentum shifts, dynamic framing, and escalating choreography to create a thrilling, high-energy martial arts sequence. This is the final video, you can check the prompts in the replies. Used tools: Midjourney, Codex, GPT Image 2, Seedance 2.0, Suno, Capcut

Kōda

23,805 views • 3 months ago

Realistic footage with Seedance 2.0 👇 Prompt: This is handheld documentary footage recorded on an early-2000s consumer DV camcorder at the construction site of the Great Pyramid of Giza. The footage feels like real, imperfect documentation of one of the largest building projects in history. The recording shows hundreds of workers moving massive stone blocks on a large construction ramp. Teams of men are pulling ropes attached to sledges with heavy limestone blocks. Overseers with sticks walk along the lines giving orders. Dust fills the air. In the background, the partially built pyramid rises against the sky. The work is extremely physical and organized. The camera moves along one of the work gangs, following a team of workers as they pull a large block up the ramp. It occasionally tilts up to show the height of the structure. There are natural cuts between different groups of workers and close views of the ropes straining and the stone moving slowly. The movement of the camera feels like someone walking among the workers documenting the labor. The handheld camera shows constant shake, drifting framing, autofocus hunting in the bright sunlight and dust, exposure changes, motion blur, and the typical look of filming heavy physical work with an old DV camcorder. The person filming is clearly moving through the active construction site. Natural sound only: the sound of hundreds of men shouting and grunting in rhythm, ropes creaking under tension, stones scraping on the ground, and general noise of a massive construction site. No music. The result must feel like authentic, raw footage of the construction of the Great Pyramid, captured on an old camcorder.

Realistic footage with Seedance 2.0 👇 Prompt: This is handheld documentary footage recorded on an early-2000s consumer DV camcorder at the construction site of the Great Pyramid of Giza. The footage feels like real, imperfect documentation of one of the largest building projects in history. The recording shows hundreds of workers moving massive stone blocks on a large construction ramp. Teams of men are pulling ropes attached to sledges with heavy limestone blocks. Overseers with sticks walk along the lines giving orders. Dust fills the air. In the background, the partially built pyramid rises against the sky. The work is extremely physical and organized. The camera moves along one of the work gangs, following a team of workers as they pull a large block up the ramp. It occasionally tilts up to show the height of the structure. There are natural cuts between different groups of workers and close views of the ropes straining and the stone moving slowly. The movement of the camera feels like someone walking among the workers documenting the labor. The handheld camera shows constant shake, drifting framing, autofocus hunting in the bright sunlight and dust, exposure changes, motion blur, and the typical look of filming heavy physical work with an old DV camcorder. The person filming is clearly moving through the active construction site. Natural sound only: the sound of hundreds of men shouting and grunting in rhythm, ropes creaking under tension, stones scraping on the ground, and general noise of a massive construction site. No music. The result must feel like authentic, raw footage of the construction of the Great Pyramid, captured on an old camcorder.

TechHalla

71,215 views • 2 months ago

Birdsong is not just sound. It is data made physical. If you could see the air at the exact moment a hemp bunting sings, you would not see empty space. You would see a structured three-dimensional data array. What we hear as a soft “chirp” can be mapped as frequencies, rhythms, amplitudes, and harmonic relationships. A scatter plot turns a fleeting song into a topographic map of sound. And the technical beauty is remarkable: → Sound is a mechanical wave, built from compressions and rarefactions in the air. → The bird controls it through the syrinx, a vocal organ capable of generating two frequencies at once. → Frequency shapes pitch. → Amplitude shapes volume and cluster density. → Timbre creates the unique waveform, the texture of each “sound island.” → Each cluster shows the acoustic proximity of syllables and motifs. What looks like chaos is not chaos. It is a bioengineered signal. Territory. Genetic profile. Hormonal state. Aggression level. Mating fitness. All encoded into patterns of pitch, timing, volume, and timbre. This is why I find it so fascinating. A bird is not simply singing into the air. It is organizing the air. It is carving space into sectors of influence using sound pressure. It is making a physical claim to territory. For some, birdsong is peaceful background music. For others, it is a complex mathematical model calibrated by millions of years of evolution for survival. And here is the urgent lesson for the AI age: We often mistake invisible systems for simplicity. A bird sings, and we hear romance. An AI responds, and we see magic. But underneath both are signals, compression, feedback loops, optimization, and information architecture. The future belongs to those who can read what others dismiss as noise. So I’ll ask you: When you hear birdsong, do you hear music, data, or both? #AI #ArtificialIntelligence #Bioacoustics #Nature #Technology #Data #MachineLearning #Innovation #FutureOfWork #Signals #Evolution

Pascal Bornet

11,376 views • 4 months ago

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇

A FULL ANIME FIGHT SCENE GENERATED WITH AI. AND THE PROMPT IS PUBLIC. Higgsfield just open-sourced its Originals: their flagship in-house productions are now fully transparent. For every video you can see: → the full prompt → every reference (image and audio) → the exact generation settings: model, quality, resolution This clip has a creature transformation, two-character fight choreography, slow motion, even pink blood to dodge the gore. All described in a single prompt you can copy, reproduce or remix as is. Full prompt: "Girll with blue hair and guy with black hair enters empty classroom at dusk, red-orange sky bleeding through tall windows, desks and chairs overturned and scattered with loose papers on the floor; the black-bob girl in a white sailor uniform with blue collar sits collapsed against the wall beneath the blackboard, knees drawn up, sweat soaking her bangs, shoulders convulsing in short spasms, one hand pressed to her stomach, breath ragged and wet. Blue-haired girl in a navy school blazer and pleated skirt enters first through the sliding door, kusarigama scythe held low at her side, blade catching the red window-light; black-haired boy in an open-collar white shirt and loosened tie follows a beat behind, war hammer resting on his shoulder, smirk fading as he sees the sick girl. Camera pushes in low and fast toward the collapsed girl, handheld micro-shake, then whip-pans to the two arrivals freezing in the doorway. The sick girl's spine arches unnaturally, a wet tearing sound as her skin splits along the shoulder blades, bone spurs punching outward, extra eyelids blistering open across her collarbone and cheeks — camera holds in a static wide as the transformation escalates, cutting to tight inserts of individual eyes opening one by one along her growing arms, her school uniform shredding as the body doubles then triples in mass, clawed feet cracking the floorboards, her head deforming into a horned, skull-white cranium ringed with curved fangs, one massive central eye where her face used to be, remnants of the blue collar-ribbon still hanging from a warped throat. She rises to full monster height, towering over the desks, guttural roar rattling the windows. Blue-haired girl plants her feet and swings the scythe up into guard as the boy drops the hammer off his shoulder into a two-handed grip; camera does a fast 180-degree orbit around both of them as they charge. Dutch-angle low shot as the boy closes distance first, hammer swinging in a wide horizontal arc into the monster's leg — impact throws him sideways through a row of desks, wood splintering, into the side wall, plaster cracking around his body, hard cut to his grunt and a slow recovery push off the wall. Blue-haired girl vaults over the wreckage, scythe trailing a whip of motion blur, camera speed-ramping into slow motion as the curved blade connects across the monster's forearm — hot pink ichor sprays in thick arcing ribbons instead of red blood, droplets suspended mid-air in the slowed frame, blade sound a wet metallic tear. Monster backhands her mid-recovery, camera whip-pans to follow her body slamming into the blackboard, chalk dust exploding outward, board cracking down the middle. Rapid cross-cutting: low hero-angle on the boy re-entering with a rising hammer strike into the monster's exposed ribcage-like plating, close slow-mo insert on the point of impact as bone-white shards and pink fluid burst outward; over-the-shoulder shot from the monster's height looking down as both fighters flank it from opposite sides. Girl's scythe hooks into the monster's shoulder joint, camera locked tight on her straining grip and gritted teeth as she wrenches it downward, boy's hammer following through into the same joint a half-second later — impact sound layered, thick and final, monster's roar breaking into a low collapsing groan as its mass folds inward and it drops to its knees then face-first into the floor in a slow, weighty fall, camera pulling back and up into a wide static shot of the wrecked classroom settling into stillness. Both fighters stand over the fallen mass, weapons lowering, chests heaving, camera slowly circling them at floor level; blue-haired girl wipes pink fluid off her cheek with the back of her wrist and starts laughing between breaths, boy lets the hammer head drop to the floor with a thud and laughs too, leaning against a desk, both grinning, exhausted, shoulder-checking each other, red dusk light still pouring through the cracked windows. Ambient sound throughout: creaking wood, scattering papers, cracking plaster, wet impact foley, labored breathing, the monster's guttural vocalizations, ending on genuine breathless laughter. Render risk: full-body transformation sequence may render as a static morph or skip frames — fallback to hard-cutting between three discrete transformation stages rather than one continuous morph if the engine smooths it into mush. Risk: pink blood may drift toward red under default color grading — reinforce with explicit magenta-pink hue callouts at each blood beat. Risk: multi-character wide fight choreography may merge the two fighters' silhouettes in wide shots — favor alternating single-subject framing over simultaneous two-shot action if clarity fails." Made with Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below👇

gus

100,376 views • 2 months ago

Prompt : A realistic cinematic scene opens high in the Swiss Alps at midnight. A dense web of rail lines glows under pale blue moonlight reflecting off endless snowfields. A high-speed express train tears through a mountain junction, sparks flying from the tracks against walls of packed ice. The camera drops from above and latches onto the frost-covered roof of the train, racing forward along the length of the carriages, freezing wind tearing at the lens, snow crystals streaking past like tiny stars. It reaches a ventilation grate and punches downward through the metal seamlessly into a first-class cabin warm with amber light. Inside, quiet warmth. A couple sits shoulder to shoulder, each wearing one earbud from the same pair of wired headphones. Neither speaks. She stares out the frosted window. He stares at her reflection in it. A faint smile sits on his face that he doesn't know is there. The white cord hangs between them in a gentle arc, swaying with the train's rhythm like a lifeline neither wants to unplug. The camera pushes forward past their tangled silhouette, along the fogged window where her fingertip has traced a small lopsided heart in the condensation, past the swaying wine bottle, through the cabin wall, through the next cabin where passengers sleep bundled in coats and scarves, breath barely visible in the cooler air, and continues through the far exterior wall — emerging outside in one unbroken motion, the full train now revealed stretching behind the camera, every window a different shade of warmth and darkness against the blue-black alpine night. The camera rises and pulls far back to reveal the train crossing a moonlit viaduct, a frozen glacial valley shimmering below, jagged peaks dusted in ice glowing on the horizon like ancient teeth of the earth. End on a wide aerial shot, the train now a ribbon of golden light threading between glacier and stone. Silence except for the distant rhythmic clatter of wheels on rail joints, fading like a heartbeat slowing to sleep.

Prompt : A realistic cinematic scene opens high in the Swiss Alps at midnight. A dense web of rail lines glows under pale blue moonlight reflecting off endless snowfields. A high-speed express train tears through a mountain junction, sparks flying from the tracks against walls of packed ice. The camera drops from above and latches onto the frost-covered roof of the train, racing forward along the length of the carriages, freezing wind tearing at the lens, snow crystals streaking past like tiny stars. It reaches a ventilation grate and punches downward through the metal seamlessly into a first-class cabin warm with amber light. Inside, quiet warmth. A couple sits shoulder to shoulder, each wearing one earbud from the same pair of wired headphones. Neither speaks. She stares out the frosted window. He stares at her reflection in it. A faint smile sits on his face that he doesn't know is there. The white cord hangs between them in a gentle arc, swaying with the train's rhythm like a lifeline neither wants to unplug. The camera pushes forward past their tangled silhouette, along the fogged window where her fingertip has traced a small lopsided heart in the condensation, past the swaying wine bottle, through the cabin wall, through the next cabin where passengers sleep bundled in coats and scarves, breath barely visible in the cooler air, and continues through the far exterior wall — emerging outside in one unbroken motion, the full train now revealed stretching behind the camera, every window a different shade of warmth and darkness against the blue-black alpine night. The camera rises and pulls far back to reveal the train crossing a moonlit viaduct, a frozen glacial valley shimmering below, jagged peaks dusted in ice glowing on the horizon like ancient teeth of the earth. End on a wide aerial shot, the train now a ribbon of golden light threading between glacier and stone. Silence except for the distant rhythmic clatter of wheels on rail joints, fading like a heartbeat slowing to sleep.

Umesh

56,770 views • 7 months ago

🚨 SCIENTISTS JUST BUILT A WIRE THAT IS ONLY ONE ATOM WIDE. Researchers have created linear carbon atomic chains essentially a string of carbon atoms bonded in a straight line suspended between two gold electrodes, and directly observed how electrons travel through them. These chains are one of the most extreme forms of matter: a true 1D carbon structure with extraordinary stiffness and unique electronic behavior. In this setup, electrons can travel through the chain in ways that reveal quantum effects not seen in conventional materials. Why this matters: • Linear carbon chains are predicted to be the strongest material known, stronger even than graphene or carbon nanotubes • They offer a platform to study true one-dimensional physics and quantum transport at the atomic scale • Understanding charge flow through single-atom chains could help design future molecular-scale electronics • The gold-carbon-gold junction acts like a prototype for atomic-scale wires and switches The deeper implication: We are now building and testing electronics at the ultimate limit of miniaturization literally one atom wide. These experiments don’t just push the boundaries of what’s physically possible; they give us a window into how matter behaves when reduced to a single dimension. The rules that govern bulk materials break down here, and new quantum phenomena emerge. This kind of work lays the groundwork for a future where electronic devices are engineered atom by atom rather than fabricated in bulk. We’re moving from “smaller transistors” to “wires made of single atoms.” How close do you think we are to practical molecular or atomic-scale electronics becoming reality? Follow for more frontier nanotechnology, quantum transport, and atomic-scale materials research.

🚨 SCIENTISTS JUST BUILT A WIRE THAT IS ONLY ONE ATOM WIDE. Researchers have created linear carbon atomic chains essentially a string of carbon atoms bonded in a straight line suspended between two gold electrodes, and directly observed how electrons travel through them. These chains are one of the most extreme forms of matter: a true 1D carbon structure with extraordinary stiffness and unique electronic behavior. In this setup, electrons can travel through the chain in ways that reveal quantum effects not seen in conventional materials. Why this matters: • Linear carbon chains are predicted to be the strongest material known, stronger even than graphene or carbon nanotubes • They offer a platform to study true one-dimensional physics and quantum transport at the atomic scale • Understanding charge flow through single-atom chains could help design future molecular-scale electronics • The gold-carbon-gold junction acts like a prototype for atomic-scale wires and switches The deeper implication: We are now building and testing electronics at the ultimate limit of miniaturization literally one atom wide. These experiments don’t just push the boundaries of what’s physically possible; they give us a window into how matter behaves when reduced to a single dimension. The rules that govern bulk materials break down here, and new quantum phenomena emerge. This kind of work lays the groundwork for a future where electronic devices are engineered atom by atom rather than fabricated in bulk. We’re moving from “smaller transistors” to “wires made of single atoms.” How close do you think we are to practical molecular or atomic-scale electronics becoming reality? Follow for more frontier nanotechnology, quantum transport, and atomic-scale materials research.

TheNewPhysics

31,491 views • 3 months ago

$Created with Kling 3.0 on Kling AI Prompt: Create a 15-second high-fashion editorial film starring the adult character in >> . Preserve their exact appearance, outfit, accessories and visual style. Render the entire film in the reference’s aesthetic. Use a minimal studio with a reflective floor, bold directional lighting and rhythmic photographic flashes. Show exactly 10 distinct fashion poses, each with a different silhouette and camera angle: 1. A confident standing pose, filmed from floor level with dramatic wide-angle perspective. 2. One hand beside the face, captured in an extreme side-profile close-up. 3. An asymmetric seated pose, seen directly overhead as the camera rotates. 4. One leg extended toward the lens, the foot or reference footwear dominating the foreground through foreshortening. 5. A quick, fluid leg cross, captured from a low diagonal angle. 6. Fingertips catching the edge of an existing sleeve or collar, framed in a tight detail shot. 7. A rear three-quarter turn with a deliberate glance back into the camera. 8. A forward lean toward the lens, ending with the palm briefly covering it. 9. An elongated upward stretch, revealed in a sharply tilted wide shot with strong side lighting. 10. A commanding full-body hero pose, looking down into the lens as the camera rapidly pulls back. Keep the performance fast and rhythmically tight. Flow naturally between poses, holding each for only a fraction of a second while keeping its silhouette clearly readable. No repeated poses or additional pose changes. Connect angles through whip pans, movement-matched cuts, snap zooms, flashes and lens occlusions. Orbit against the character’s turn, sweep from their floor reflection toward their face and plunge from overhead to floor level. Alternate intimate details with dramatic wide compositions. Accelerate between poses and brake sharply on each hold. Keep the sensual gestures quick, confident and fully clothed. Hair and fabric react naturally. No slow motion, lingering shots or gradual camera drift. Build momentum toward the tenth pose, then stop sharply for a crisp final hold. Stable identity and anatomy throughout. No outfit changes, added accessories or text. Sound: a driving 140 BPM fashion beat, rhythmic shutter clicks and subtle fabric movement.$

Created with Kling 3.0 on Kling AI Prompt: Create a 15-second high-fashion editorial film starring the adult character in >> . Preserve their exact appearance, outfit, accessories and visual style. Render the entire film in the reference’s aesthetic. Use a minimal studio with a reflective floor, bold directional lighting and rhythmic photographic flashes. Show exactly 10 distinct fashion poses, each with a different silhouette and camera angle: 1. A confident standing pose, filmed from floor level with dramatic wide-angle perspective. 2. One hand beside the face, captured in an extreme side-profile close-up. 3. An asymmetric seated pose, seen directly overhead as the camera rotates. 4. One leg extended toward the lens, the foot or reference footwear dominating the foreground through foreshortening. 5. A quick, fluid leg cross, captured from a low diagonal angle. 6. Fingertips catching the edge of an existing sleeve or collar, framed in a tight detail shot. 7. A rear three-quarter turn with a deliberate glance back into the camera. 8. A forward lean toward the lens, ending with the palm briefly covering it. 9. An elongated upward stretch, revealed in a sharply tilted wide shot with strong side lighting. 10. A commanding full-body hero pose, looking down into the lens as the camera rapidly pulls back. Keep the performance fast and rhythmically tight. Flow naturally between poses, holding each for only a fraction of a second while keeping its silhouette clearly readable. No repeated poses or additional pose changes. Connect angles through whip pans, movement-matched cuts, snap zooms, flashes and lens occlusions. Orbit against the character’s turn, sweep from their floor reflection toward their face and plunge from overhead to floor level. Alternate intimate details with dramatic wide compositions. Accelerate between poses and brake sharply on each hold. Keep the sensual gestures quick, confident and fully clothed. Hair and fabric react naturally. No slow motion, lingering shots or gradual camera drift. Build momentum toward the tenth pose, then stop sharply for a crisp final hold. Stable identity and anatomy throughout. No outfit changes, added accessories or text. Sound: a driving 140 BPM fashion beat, rhythmic shutter clicks and subtle fabric movement.

Zara

19,645 views • 16 days ago

I had the same thought so I've been playing with it in nanochat. E.g. here's 8 agents (4 claude, 4 codex), with 1 GPU each running nanochat experiments (trying to delete logit softcap without regression). The TLDR is that it doesn't work and it's a mess... but it's still very pretty to look at :) I tried a few setups: 8 independent solo researchers, 1 chief scientist giving work to 8 junior researchers, etc. Each research program is a git branch, each scientist forks it into a feature branch, git worktrees for isolation, simple files for comms, skip Docker/VMs for simplicity atm (I find that instructions are enough to prevent interference). Research org runs in tmux window grids of interactive sessions (like Teams) so that it's pretty to look at, see their individual work, and "take over" if needed, i.e. no -p. But ok the reason it doesn't work so far is that the agents' ideas are just pretty bad out of the box, even at highest intelligence. They don't think carefully though experiment design, they run a bit non-sensical variations, they don't create strong baselines and ablate things properly, they don't carefully control for runtime or flops. (just as an example, an agent yesterday "discovered" that increasing the hidden size of the network improves the validation loss, which is a totally spurious result given that a bigger network will have a lower validation loss in the infinite data regime, but then it also trains for a lot longer, it's not clear why I had to come in to point that out). They are very good at implementing any given well-scoped and described idea but they don't creatively generate them. But the goal is that you are now programming an organization (e.g. a "research org") and its individual agents, so the "source code" is the collection of prompts, skills, tools, etc. and processes that make it up. E.g. a daily standup in the morning is now part of the "org code". And optimizing nanochat pretraining is just one of the many tasks (almost like an eval). Then - given an arbitrary task, how quickly does your research org generate progress on it?

I had the same thought so I've been playing with it in nanochat. E.g. here's 8 agents (4 claude, 4 codex), with 1 GPU each running nanochat experiments (trying to delete logit softcap without regression). The TLDR is that it doesn't work and it's a mess... but it's still very pretty to look at :) I tried a few setups: 8 independent solo researchers, 1 chief scientist giving work to 8 junior researchers, etc. Each research program is a git branch, each scientist forks it into a feature branch, git worktrees for isolation, simple files for comms, skip Docker/VMs for simplicity atm (I find that instructions are enough to prevent interference). Research org runs in tmux window grids of interactive sessions (like Teams) so that it's pretty to look at, see their individual work, and "take over" if needed, i.e. no -p. But ok the reason it doesn't work so far is that the agents' ideas are just pretty bad out of the box, even at highest intelligence. They don't think carefully though experiment design, they run a bit non-sensical variations, they don't create strong baselines and ablate things properly, they don't carefully control for runtime or flops. (just as an example, an agent yesterday "discovered" that increasing the hidden size of the network improves the validation loss, which is a totally spurious result given that a bigger network will have a lower validation loss in the infinite data regime, but then it also trains for a lot longer, it's not clear why I had to come in to point that out). They are very good at implementing any given well-scoped and described idea but they don't creatively generate them. But the goal is that you are now programming an organization (e.g. a "research org") and its individual agents, so the "source code" is the collection of prompts, skills, tools, etc. and processes that make it up. E.g. a daily standup in the morning is now part of the "org code". And optimizing nanochat pretraining is just one of the many tasks (almost like an eval). Then - given an arbitrary task, how quickly does your research org generate progress on it?

Andrej Karpathy

1,655,680 views • 6 months ago

MiniMax H3 is incredible at text rendering! This is a text to video prompt! Prompt : Create a 15-second cinematic text-animation video built around the quote: “Every great change begins quietly, grows through courage, and becomes impossible to ignore.” The quote should appear gradually as a visual story. Each new phrase must transform the design, atmosphere, movement, and emotional intensity of the scene. Use elegant typography, accurate spelling, cinematic lighting, smooth transitions, and perfectly readable text. 0:00–0:03 | “Every great change” Begin with a completely black screen. A tiny point of warm light slowly appears in the center, like the first spark of an idea. The words “Every great change” emerge softly from the darkness, one word at a time. Use thin, elegant serif typography with wide letter spacing. “Every” fades in gently. “Great” grows slightly larger. “Change” forms from small drifting particles that gather into solid letters. Keep the scene quiet, minimal, and mysterious. 0:03–0:06 | “begins quietly,” The camera slowly moves closer to the text. The previous words shrink and reposition toward the upper-left corner as the phrase “begins quietly,” appears in delicate lowercase letters. Animate the phrase as though it is being written by an invisible hand. Each letter should create a subtle ripple in the darkness. Introduce faint textures, soft shadows, floating dust, and gentle light rays. The comma should appear last and create a small circular pulse. 0:06–0:09 | “grows through courage,” The pulse expands and transforms the scene from darkness into a rich sunrise gradient with deep orange, red, and golden tones. The words “grows through courage” rise upward from the bottom of the frame. Animate “grows” by gradually increasing its size and weight. Animate “through” along a curved path. Animate “courage” in bold uppercase letters that push through a translucent barrier, causing it to crack into geometric fragments. The movement should feel powerful but controlled. 0:09–0:12 | “and becomes” The fragments rotate in slow motion and reorganize into a clean editorial grid. The phrase “AND BECOMES” appears across the frame in condensed sans-serif typography. Animate the letters with fast tracking changes, vertical stretching, masking, and perspective movement. The camera accelerates forward through the center of the word “BECOMES.” The sound and visual energy should steadily build. 0:12–0:14 | “impossible to ignore.” Reveal a vast bright space filled with light, moving shapes, and large-scale typography. The words “IMPOSSIBLE TO IGNORE” appear one after another. “IMPOSSIBLE” expands beyond the edges of the screen. “TO” remains small and perfectly centered. “IGNORE” slams into place with strong visual impact, briefly shaking the surrounding grid and shapes. Use bold contrast, dramatic scale, sharp shadows, and synchronized motion. 0:14–0:15 | Final quote All movement stops instantly. The complete quote appears centered on a clean off-white background: “Every great change begins quietly, grows through courage, and becomes impossible to ignore.” Use refined black typography with “change,” “courage,” and “impossible” highlighted in deep red. Hold the final composition clearly for the last second. Maintain one continuous visual journey from darkness to light, silence to impact, and simplicity to complexity. Keep every phrase connected through visual transformations rather than hard cuts. Use realistic motion blur, precise kerning, clean masks, stable letterforms, smooth camera movement, subtle film grain, cinematic sound design, rising ambient music, soft particles, controlled color transitions, and a final deep impact sound. Avoid misspelled words, warped letters, duplicated characters, unreadable text, random symbols, excessive flickering, chaotic layouts, inconsistent fonts.

MiniMax H3 is incredible at text rendering! This is a text to video prompt! Prompt : Create a 15-second cinematic text-animation video built around the quote: “Every great change begins quietly, grows through courage, and becomes impossible to ignore.” The quote should appear gradually as a visual story. Each new phrase must transform the design, atmosphere, movement, and emotional intensity of the scene. Use elegant typography, accurate spelling, cinematic lighting, smooth transitions, and perfectly readable text. 0:00–0:03 | “Every great change” Begin with a completely black screen. A tiny point of warm light slowly appears in the center, like the first spark of an idea. The words “Every great change” emerge softly from the darkness, one word at a time. Use thin, elegant serif typography with wide letter spacing. “Every” fades in gently. “Great” grows slightly larger. “Change” forms from small drifting particles that gather into solid letters. Keep the scene quiet, minimal, and mysterious. 0:03–0:06 | “begins quietly,” The camera slowly moves closer to the text. The previous words shrink and reposition toward the upper-left corner as the phrase “begins quietly,” appears in delicate lowercase letters. Animate the phrase as though it is being written by an invisible hand. Each letter should create a subtle ripple in the darkness. Introduce faint textures, soft shadows, floating dust, and gentle light rays. The comma should appear last and create a small circular pulse. 0:06–0:09 | “grows through courage,” The pulse expands and transforms the scene from darkness into a rich sunrise gradient with deep orange, red, and golden tones. The words “grows through courage” rise upward from the bottom of the frame. Animate “grows” by gradually increasing its size and weight. Animate “through” along a curved path. Animate “courage” in bold uppercase letters that push through a translucent barrier, causing it to crack into geometric fragments. The movement should feel powerful but controlled. 0:09–0:12 | “and becomes” The fragments rotate in slow motion and reorganize into a clean editorial grid. The phrase “AND BECOMES” appears across the frame in condensed sans-serif typography. Animate the letters with fast tracking changes, vertical stretching, masking, and perspective movement. The camera accelerates forward through the center of the word “BECOMES.” The sound and visual energy should steadily build. 0:12–0:14 | “impossible to ignore.” Reveal a vast bright space filled with light, moving shapes, and large-scale typography. The words “IMPOSSIBLE TO IGNORE” appear one after another. “IMPOSSIBLE” expands beyond the edges of the screen. “TO” remains small and perfectly centered. “IGNORE” slams into place with strong visual impact, briefly shaking the surrounding grid and shapes. Use bold contrast, dramatic scale, sharp shadows, and synchronized motion. 0:14–0:15 | Final quote All movement stops instantly. The complete quote appears centered on a clean off-white background: “Every great change begins quietly, grows through courage, and becomes impossible to ignore.” Use refined black typography with “change,” “courage,” and “impossible” highlighted in deep red. Hold the final composition clearly for the last second. Maintain one continuous visual journey from darkness to light, silence to impact, and simplicity to complexity. Keep every phrase connected through visual transformations rather than hard cuts. Use realistic motion blur, precise kerning, clean masks, stable letterforms, smooth camera movement, subtle film grain, cinematic sound design, rising ambient music, soft particles, controlled color transitions, and a final deep impact sound. Avoid misspelled words, warped letters, duplicated characters, unreadable text, random symbols, excessive flickering, chaotic layouts, inconsistent fonts.

Umesh

22,343 views • 1 month ago

Look at this hand gestures at 00:13 when he's talking about 'dimagi naxals'. He is gesturally indicating to the audience that these people who he terms as 'dimagi naxals' are akin to the insects coming out of the wood work. He also suggests in his speech that they're like a disease. All of this is an attempt to dehumanise dissenters in India, and if he's able to do that successfully, then using state violence becomes easy, because you're only stamping out 'insects'. The minorities in India have already gone through that process of dehumanisation over the past decade and a half through industrialised disinformation and hate speech. However, it is starting to feel that this strategy may not be working anymore. He thinks that he's saying something very profound, but I feel that at least a part of the younger generation sees through his machinations. Time will tell, whether this country will close their eyes to more state violence or will resist it. With the levels of anger and dissatisfaction with this Government increasing every day, the only way to maintain power is to curb dissent.

Look at this hand gestures at 00:13 when he's talking about 'dimagi naxals'. He is gesturally indicating to the audience that these people who he terms as 'dimagi naxals' are akin to the insects coming out of the wood work. He also suggests in his speech that they're like a disease. All of this is an attempt to dehumanise dissenters in India, and if he's able to do that successfully, then using state violence becomes easy, because you're only stamping out 'insects'. The minorities in India have already gone through that process of dehumanisation over the past decade and a half through industrialised disinformation and hate speech. However, it is starting to feel that this strategy may not be working anymore. He thinks that he's saying something very profound, but I feel that at least a part of the younger generation sees through his machinations. Time will tell, whether this country will close their eyes to more state violence or will resist it. With the levels of anger and dissatisfaction with this Government increasing every day, the only way to maintain power is to curb dissent.

Pratik Sinha

136,036 views • 19 days ago