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Dylan Cease, Painted 98mph Front Door Two Seamer. 🖌️🎨

Rob Friedman

573,733 subscribers

70,981 次观看 • 1 个月前 •via X (Twitter)

艺术科学技术体育

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Additional recovered images from the same camera at Nancy Guthrie’s front door the morning of her disappearance, including two videos of the individual. Anyone with information, please contact 1-800-CALL-FBI or visit

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Punk : I'm gonna pull my car around, Joe's gonna throw him out the front door and I'm gonna run the son of a bitch over Kingston : I bet you he'll get up from that too...gotta respect it through Punk : If he kicks at two I'm gonna drive right into the ocean

Punk : I'm gonna pull my car around, Joe's gonna throw him out the front door and I'm gonna run the son of a bitch over Kingston : I bet you he'll get up from that too...gotta respect it through Punk : If he kicks at two I'm gonna drive right into the ocean

Ash Stabbath

68,295 次观看 • 24 天前

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UnderTheLight

32,359 次观看 • 6 个月前

Have you ever noticed an old farmhouse with two front doors and wondered why? It looks unusual today, but it once made perfect sense in rural America. Many early farmhouses were built in phases. A single log or frame cabin came first, then a second room was added beside it as the family grew. Since each room was originally its own structure, each kept its own exterior entrance. When joined together, the house ended up with two front doors. There were practical reasons too. Separate doors helped keep private sleeping spaces apart from public living areas when visitors stopped by. It also made it easier to house extended family, hired farm workers, or boarders while maintaining some separation. And before air conditioning, paired doors and aligned openings helped create strong cross-breezes, making hot Southern summers more bearable inside. Once you start looking, you’ll notice these double-door farmhouses everywhere.

Have you ever noticed an old farmhouse with two front doors and wondered why? It looks unusual today, but it once made perfect sense in rural America. Many early farmhouses were built in phases. A single log or frame cabin came first, then a second room was added beside it as the family grew. Since each room was originally its own structure, each kept its own exterior entrance. When joined together, the house ended up with two front doors. There were practical reasons too. Separate doors helped keep private sleeping spaces apart from public living areas when visitors stopped by. It also made it easier to house extended family, hired farm workers, or boarders while maintaining some separation. And before air conditioning, paired doors and aligned openings helped create strong cross-breezes, making hot Southern summers more bearable inside. Once you start looking, you’ll notice these double-door farmhouses everywhere.

The Forgotten South

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hyunsuk and jihoon snuck into the dorms at lunch scared the staff would catch them eating ramen in secret but got even more scared when the door opened but nobody was there + it wont close on its own as it should 😭 #최현석 #지훈 (at 11:52 of the content) 🦔 (heard the sound of door code pressed, door opening and shoes taken off but the sound stopped there and nobody came in) 🦔 we thought someone arrived… tbh that time we snuck out without the staff knowing so we were alr scared 🦔 “oh we cant get caught though” so we both froze for awhile and tbh when we were trainees, they were very strict… 🦔 we were gonna eat ramen in secret that time so we hid it and figured out what to do and when we settled down, no one came in. 🦔 (said they’d hear it if they went somewhere) 🦔 from then on, bc jihoon and i get scared so easily, were like “you go!” “no, you go” and argued for about 10 mins cos we get easily scared. 🦔 i eventually went out to check but there was no one near the shoe rack and the funny thing is it was just jihoon and i, just the two of us so there should only be two pairs of shoes, though there were untiedied shoes too, but there was another pair of shoes that weren’t there when we came in. so we wondered if someone came in quietly but in the end it’s really just the two of us inside the dorms. 🦔 and what was scarier was that like in most apartment buildings, the front door force closes so strongly so if you dont hold it open, it would automatically close right? ours is the same. it wasnt even left on a veryain angle but it stayed open… 🦔 so we spent another 10 mins arguing again and i went outside thinking someone must be holding on to it but there really was no one there. so we tried closing and opening it at that angle again and let go of it but it would close definitely. it doesnt make sense right? 🦔 so thats when i first understood it when people say when you’re truly scared, you cant even scream, you just freeze. 🦔 after we snapped out of it, we wer able to check the intercom footage, but nobody got off the elevator, nobody came up the stairs either, it just showed the door opening by itself like this so we were absolutely terrified and i think we left right away.

hyunsuk and jihoon snuck into the dorms at lunch scared the staff would catch them eating ramen in secret but got even more scared when the door opened but nobody was there + it wont close on its own as it should 😭 #최현석 #지훈 (at 11:52 of the content) 🦔 (heard the sound of door code pressed, door opening and shoes taken off but the sound stopped there and nobody came in) 🦔 we thought someone arrived… tbh that time we snuck out without the staff knowing so we were alr scared 🦔 “oh we cant get caught though” so we both froze for awhile and tbh when we were trainees, they were very strict… 🦔 we were gonna eat ramen in secret that time so we hid it and figured out what to do and when we settled down, no one came in. 🦔 (said they’d hear it if they went somewhere) 🦔 from then on, bc jihoon and i get scared so easily, were like “you go!” “no, you go” and argued for about 10 mins cos we get easily scared. 🦔 i eventually went out to check but there was no one near the shoe rack and the funny thing is it was just jihoon and i, just the two of us so there should only be two pairs of shoes, though there were untiedied shoes too, but there was another pair of shoes that weren’t there when we came in. so we wondered if someone came in quietly but in the end it’s really just the two of us inside the dorms. 🦔 and what was scarier was that like in most apartment buildings, the front door force closes so strongly so if you dont hold it open, it would automatically close right? ours is the same. it wasnt even left on a veryain angle but it stayed open… 🦔 so we spent another 10 mins arguing again and i went outside thinking someone must be holding on to it but there really was no one there. so we tried closing and opening it at that angle again and let go of it but it would close definitely. it doesnt make sense right? 🦔 so thats when i first understood it when people say when you’re truly scared, you cant even scream, you just freeze. 🦔 after we snapped out of it, we wer able to check the intercom footage, but nobody got off the elevator, nobody came up the stairs either, it just showed the door opening by itself like this so we were absolutely terrified and i think we left right away.

♡

41,250 次观看 • 1 个月前

This is the worst art restoration in history. An 81-year-old woman with no training did it. In broad daylight. With the priest's permission. And nobody stopped her. The original was called Ecce Homo, a small fresco of Christ crowned with thorns, painted around 1930 by the Spanish artist Elías García Martínez straight onto the wall of a church in Borja, in northeastern Spain. After eighty years the damp in the walls had begun to eat the paint away, so in 2012 a parishioner named Cecilia Giménez decided to save it. She was 81, she had loved painting all her life, but she had no training whatsoever. What she left on the wall was a blurred and wide-eyed face staring out of the plaster. When the town saw it, officials assumed the church had been vandalised, and reportedly considered taking legal action. Then they found out it was Cecilia. She could not understand the fuss. "The priest knew it," she told Spanish television. "I've never tried to do anything hidden." She also insisted she had not even finished. She had left the paint to dry and gone away for two weeks, intending to come back and complete the job. She never got the chance... Within days the image had crossed the planet. The internet named it Ecce Mono, and Monkey Jesus, and Potato Jesus, and turned it into thousands of memes. Not everyone was laughing. For the people who prayed in that church, it was not a joke at all. Some of them called it a desecration, and some called it blasphemy. Whatever the world saw in the image, they had lost the face they had knelt in front of all their lives. And people now travel across the world to see the thing that replaced it. In the year after the "restoration", around 57,000 visitors came to Borja, a town most of them could not have found on a map. But the point is this: the beautiful face that Elías García Martínez painted is gone... Nobody ever thinks about him. He was a trained artist and a teacher at the fine arts school in Zaragoza, and around 1930 he stood in front of that wall and painted the face of Christ onto it by hand. The whole world knows what happened to his painting. Almost nobody knows his name.

This is the worst art restoration in history. An 81-year-old woman with no training did it. In broad daylight. With the priest's permission. And nobody stopped her. The original was called Ecce Homo, a small fresco of Christ crowned with thorns, painted around 1930 by the Spanish artist Elías García Martínez straight onto the wall of a church in Borja, in northeastern Spain. After eighty years the damp in the walls had begun to eat the paint away, so in 2012 a parishioner named Cecilia Giménez decided to save it. She was 81, she had loved painting all her life, but she had no training whatsoever. What she left on the wall was a blurred and wide-eyed face staring out of the plaster. When the town saw it, officials assumed the church had been vandalised, and reportedly considered taking legal action. Then they found out it was Cecilia. She could not understand the fuss. "The priest knew it," she told Spanish television. "I've never tried to do anything hidden." She also insisted she had not even finished. She had left the paint to dry and gone away for two weeks, intending to come back and complete the job. She never got the chance... Within days the image had crossed the planet. The internet named it Ecce Mono, and Monkey Jesus, and Potato Jesus, and turned it into thousands of memes. Not everyone was laughing. For the people who prayed in that church, it was not a joke at all. Some of them called it a desecration, and some called it blasphemy. Whatever the world saw in the image, they had lost the face they had knelt in front of all their lives. And people now travel across the world to see the thing that replaced it. In the year after the "restoration", around 57,000 visitors came to Borja, a town most of them could not have found on a map. But the point is this: the beautiful face that Elías García Martínez painted is gone... Nobody ever thinks about him. He was a trained artist and a teacher at the fine arts school in Zaragoza, and around 1930 he stood in front of that wall and painted the face of Christ onto it by hand. The whole world knows what happened to his painting. Almost nobody knows his name.

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Canadian citizen Adi Vital-Kaploun (33) was sheltering in her home in Kibbutz Holit when Hamas terrorists attacked. They murdered her in front of her sons, Negev (4) and Eshel (4.5 months), and booby-trapped her body in case anyone tried to move it. Six terrorists then broke into Avital Aladjem’s house next door, where she was hiding with another neighbor, US citizen Hayim Katzman (32). The terrorists murdered Hayim and took Avital hostage, and used her, Negev, and Eshel as human shields as they walked through the kibbutz, setting houses and cars on fire. The terrorists then forced Avital to walk to Gaza carrying Eshel while one of the terrorists carried Negev, who had been shot in the leg. For some inexplicable reason, after crossing the Gaza border, the terrorists abandoned them, and Avital managed to make her way back to Holit with the children, hiding from terrorists along the way. There, she reunited the children with their father, and they were evacuated to safety. Hamas tried to exploit the Vital-Kaploun children to promote a blatantly false “humanitarian” narrative. They shared a propaganda video of the two traumatized children being “cared for” by Hamas terrorists, after their mother had been murdered in front of them and before they were kidnapped. Hamas also tried to exploit a video of Avital and the children making their way back from Gaza, claiming they freed a mother and her children out of the goodness of their hearts. In reality, they murdered the children’s mother in front of them and kidnapped the children with their neighbor, and likely abandoned them after getting tired of carrying the screaming children.

Canadian citizen Adi Vital-Kaploun (33) was sheltering in her home in Kibbutz Holit when Hamas terrorists attacked. They murdered her in front of her sons, Negev (4) and Eshel (4.5 months), and booby-trapped her body in case anyone tried to move it. Six terrorists then broke into Avital Aladjem’s house next door, where she was hiding with another neighbor, US citizen Hayim Katzman (32). The terrorists murdered Hayim and took Avital hostage, and used her, Negev, and Eshel as human shields as they walked through the kibbutz, setting houses and cars on fire. The terrorists then forced Avital to walk to Gaza carrying Eshel while one of the terrorists carried Negev, who had been shot in the leg. For some inexplicable reason, after crossing the Gaza border, the terrorists abandoned them, and Avital managed to make her way back to Holit with the children, hiding from terrorists along the way. There, she reunited the children with their father, and they were evacuated to safety. Hamas tried to exploit the Vital-Kaploun children to promote a blatantly false “humanitarian” narrative. They shared a propaganda video of the two traumatized children being “cared for” by Hamas terrorists, after their mother had been murdered in front of them and before they were kidnapped. Hamas also tried to exploit a video of Avital and the children making their way back from Gaza, claiming they freed a mother and her children out of the goodness of their hearts. In reality, they murdered the children’s mother in front of them and kidnapped the children with their neighbor, and likely abandoned them after getting tired of carrying the screaming children.

Israel War Room

17,044 次观看 • 10 个月前

EVERYONE PROMPTS THE ACTION. ALMOST NOBODY LOCKS THE IDENTITY — WHICH IS WHY TWO-CHARACTER SCENES FALL APART. Two freerunners racing across Tokyo rooftops, eight cuts, corkscrews over a rooftop gap at the end. The parkour is the easy part. Keeping them two separate people who never blend into each other is the part that actually breaks. Here's the full prompt built that way. Attach two reference photos as image_1 and image_2, and the same structure works for any multi-character action piece: FORMAT: 15 seconds, 16:9, 1080p, 8-cut cinematic ultra-advanced parkour footage. CHARACTERS: Two realistic individuals from image_1 and image_2. Use the attached images as absolute character references, and fully maintain the facial features, hairstyles, hair colors, skin textures, body types, height differences, outfits, color schemes, and age appearances of each person across all cuts. No altering into different people, face swaps, outfit changes, hairstyle changes, or mixing of the two individuals' features. SETTING: A sunny modern Japanese city reminiscent of Tokyo, Shibuya, and Yokohama — rooftops, alleys, staircases, railings, pipes, concrete walls. The two protagonists, as equals, race through at high speed running side by side, following, crossing paths, and coordinating. CUTS: 1. (00:00–00:01.60) Low-angle rear tracking. Both accelerate side by side and simultaneously kong vault over separate obstacles. 2. (00:01.60–00:03.40) Front low-angle. One wall runs the left wall, the other the right, then tic-tac to cross in midair and land on opposite rooftops. 3. (00:03.40–00:05.20) Lateral tracking. Consecutive precision jumps, then cat leaps to grab and climb a high wall. 4. (00:05.20–00:07.20) Rooftop tracking. The leader dash vaults, the trailer websters over the gap, then they swap front and back positions. 5. (00:07.20–00:09.20) Overhead moving camera. Both dive roll, then run side by side to speed vault a long railing. 6. (00:09.20–00:11.30) Handheld retreating from the front. One underbars, the other side flips, conquering the obstacle simultaneously. 7. (00:11.30–00:13.20) Drone from diagonal rear above. Both palm spin off left and right walls, kong vault, accelerate into the final jump. 8. (00:13.20–00:15.00) Climax. Both leap a large rooftop gap, each doing a corkscrew, camera circling them in midair as they land on separate rooftop edges — then run side by side into the distance. QUALITY: Live-action film quality. World-championship-level smooth freerunning. Realistic center-of-gravity shifts, muscle movement, natural landing impacts, swaying hair and clothing. Sharp background, natural motion blur only during high-speed movement. PROHIBITED: Facial distortion, altering into different people, face or body swaps, outfit changes, hairstyle changes, body type changes, limb multiplication, duplicates, body fusion, penetration, warping, floating, unnatural landings, anime style, CG style. A few things worth noticing about why it's built this way: The character block does identity work three separate times — the reference images, the "fully maintain" list, and the prohibited list at the end. That redundancy isn't padding; each one closes a different door the model tends to walk through. The prohibited list names the exact failure modes — face swaps, body fusion, limb multiplication. Telling the model what not to do is more effective here than describing what you want, because these are the specific ways two-character scenes collapse. Every cut assigns each person a distinct action — one wall runs left, the other right; one underbars, the other side flips. Giving them separate roles keeps them functionally two people, so the model can't average them into one. And the cuts are individually timed and framed. Long continuous motion is where identity drift creeps in — breaking it into eight discrete shots gives the model less room to blend them. Made in Seedance 2.0.

EVERYONE PROMPTS THE ACTION. ALMOST NOBODY LOCKS THE IDENTITY — WHICH IS WHY TWO-CHARACTER SCENES FALL APART. Two freerunners racing across Tokyo rooftops, eight cuts, corkscrews over a rooftop gap at the end. The parkour is the easy part. Keeping them two separate people who never blend into each other is the part that actually breaks. Here's the full prompt built that way. Attach two reference photos as image_1 and image_2, and the same structure works for any multi-character action piece: FORMAT: 15 seconds, 16:9, 1080p, 8-cut cinematic ultra-advanced parkour footage. CHARACTERS: Two realistic individuals from image_1 and image_2. Use the attached images as absolute character references, and fully maintain the facial features, hairstyles, hair colors, skin textures, body types, height differences, outfits, color schemes, and age appearances of each person across all cuts. No altering into different people, face swaps, outfit changes, hairstyle changes, or mixing of the two individuals' features. SETTING: A sunny modern Japanese city reminiscent of Tokyo, Shibuya, and Yokohama — rooftops, alleys, staircases, railings, pipes, concrete walls. The two protagonists, as equals, race through at high speed running side by side, following, crossing paths, and coordinating. CUTS: 1. (00:00–00:01.60) Low-angle rear tracking. Both accelerate side by side and simultaneously kong vault over separate obstacles. 2. (00:01.60–00:03.40) Front low-angle. One wall runs the left wall, the other the right, then tic-tac to cross in midair and land on opposite rooftops. 3. (00:03.40–00:05.20) Lateral tracking. Consecutive precision jumps, then cat leaps to grab and climb a high wall. 4. (00:05.20–00:07.20) Rooftop tracking. The leader dash vaults, the trailer websters over the gap, then they swap front and back positions. 5. (00:07.20–00:09.20) Overhead moving camera. Both dive roll, then run side by side to speed vault a long railing. 6. (00:09.20–00:11.30) Handheld retreating from the front. One underbars, the other side flips, conquering the obstacle simultaneously. 7. (00:11.30–00:13.20) Drone from diagonal rear above. Both palm spin off left and right walls, kong vault, accelerate into the final jump. 8. (00:13.20–00:15.00) Climax. Both leap a large rooftop gap, each doing a corkscrew, camera circling them in midair as they land on separate rooftop edges — then run side by side into the distance. QUALITY: Live-action film quality. World-championship-level smooth freerunning. Realistic center-of-gravity shifts, muscle movement, natural landing impacts, swaying hair and clothing. Sharp background, natural motion blur only during high-speed movement. PROHIBITED: Facial distortion, altering into different people, face or body swaps, outfit changes, hairstyle changes, body type changes, limb multiplication, duplicates, body fusion, penetration, warping, floating, unnatural landings, anime style, CG style. A few things worth noticing about why it's built this way: The character block does identity work three separate times — the reference images, the "fully maintain" list, and the prohibited list at the end. That redundancy isn't padding; each one closes a different door the model tends to walk through. The prohibited list names the exact failure modes — face swaps, body fusion, limb multiplication. Telling the model what not to do is more effective here than describing what you want, because these are the specific ways two-character scenes collapse. Every cut assigns each person a distinct action — one wall runs left, the other right; one underbars, the other side flips. Giving them separate roles keeps them functionally two people, so the model can't average them into one. And the cuts are individually timed and framed. Long continuous motion is where identity drift creeps in — breaking it into eight discrete shots gives the model less room to blend them. Made in Seedance 2.0.

Nexlow

112,930 次观看 • 17 天前

🚨 Burglary Investigation – Community Assistance Needed 🚨 On June 23, 2025, at approximately 4:34 AM, two suspects broke into Amai Coffee (1701 Pico Blvd) by shattering the glass front door. The suspects were captured on surveillance footage and fled the scene in a white or silver sedan (unknown make/model). 👥 Suspect Descriptions: • Suspect 1: Male, average build, wearing a black sweater, black face mask, blue jeans, and black shoes. • Suspect 2: Male, average build, wearing a black FILA sweater (white lettering), red face mask, black pants, and black shoes. Although no items were reported stolen, the forced entry caused approximately $1,000 in damage to the storefront. A similar burglary occurred at this location three months ago, and a neighboring business, Dr. T House, was also targeted around the same time. If you recognize these suspects, the vehicle, or have any information that may assist in this investigation, please contact Detective Sean Baker (sean.baker@santamonica.gov ) or Detective Sergeant Shaun Cooney (Shaun.Cooney@santamonica.gov) at 310-458-8932. Your support is vital in helping us maintain the safety of the Santa Monica community.

🚨 Burglary Investigation – Community Assistance Needed 🚨 On June 23, 2025, at approximately 4:34 AM, two suspects broke into Amai Coffee (1701 Pico Blvd) by shattering the glass front door. The suspects were captured on surveillance footage and fled the scene in a white or silver sedan (unknown make/model). 👥 Suspect Descriptions: • Suspect 1: Male, average build, wearing a black sweater, black face mask, blue jeans, and black shoes. • Suspect 2: Male, average build, wearing a black FILA sweater (white lettering), red face mask, black pants, and black shoes. Although no items were reported stolen, the forced entry caused approximately $1,000 in damage to the storefront. A similar burglary occurred at this location three months ago, and a neighboring business, Dr. T House, was also targeted around the same time. If you recognize these suspects, the vehicle, or have any information that may assist in this investigation, please contact Detective Sean Baker ([email protected] ) or Detective Sergeant Shaun Cooney ([email protected]) at 310-458-8932. Your support is vital in helping us maintain the safety of the Santa Monica community.

Santa Monica Police

11,258 次观看 • 1 年前

My mother adopted me after I was abandoned on her doorstep—25 years later, after I had become successful, my biological mother appeared out of nowhere. When my mom was young, she had a serious accident that left her paralyzed from the waist down. The doctors told her she would never walk again and that she would never be able to have children. Then, twenty-five years ago, she heard a baby crying outside her front door. When she opened it, she found a newborn baby girl lying there. That baby was me. There was nothing but a baby carrier and a handwritten note saying I had been abandoned. My mother didn't hesitate for long. She adopted me immediately, even though everyone around her tried to stop her. A single woman, permanently in a wheelchair—no one believed she could raise a child on her own. But she proved everyone wrong. My mother was there for me every step of the way. It was always just the two of us. She came to every school performance, took me to dance classes, and cried when I graduated from college. She is my entire world 🙏

My mother adopted me after I was abandoned on her doorstep—25 years later, after I had become successful, my biological mother appeared out of nowhere. When my mom was young, she had a serious accident that left her paralyzed from the waist down. The doctors told her she would never walk again and that she would never be able to have children. Then, twenty-five years ago, she heard a baby crying outside her front door. When she opened it, she found a newborn baby girl lying there. That baby was me. There was nothing but a baby carrier and a handwritten note saying I had been abandoned. My mother didn't hesitate for long. She adopted me immediately, even though everyone around her tried to stop her. A single woman, permanently in a wheelchair—no one believed she could raise a child on her own. But she proved everyone wrong. My mother was there for me every step of the way. It was always just the two of us. She came to every school performance, took me to dance classes, and cried when I graduated from college. She is my entire world 🙏

G-MA & G-PA

547,085 次观看 • 5 个月前

Seedance 2.0 on Haimeta is next level. It doesn’t even look AI-generated anymore, it looks filmed. Prompt: FORMAT: 15s / 180 BPM / ONE CONTINUOUS SHOT / 360 POV downhill stair run, viral energy, max chaos SUBJECTS: First-person cyclist, handlebars and front wheel flashing low in frame during drops and hard turns. Vendors, laundry, scooters, dogs, chickens, cars, and pedestrians erupt around the rider as sudden obstacles. ENVIRONMENT: Dense Brazilian hillside streets, painted concrete stairs, tight landings, tiled corners, hanging wires, murals, awnings, puddles, hot late afternoon light, deep alley shadows, city sprawling below. MOOD: Adrenaline, max chaos, and nonstop street speed with violent spatial intensity in every direction. COLOR LOGIC: Hyperreal Pop Look CAMERA DETAILS: 360 action-cam POV, horizon-stable but brutal, nonstop forward drive, minimal roll, heavy stair vibration, sharp side and rear parallax, full-sphere chaos, no release. TIMELINE: 0:00-0:03: POV freefalls down a steep stairwell. The front wheel punches over the first steps, bars jackhammer below frame, the whole sphere shuddering with every hit while a child lunges in from the left to yank a rolling soccer ball out of the rider's line and walls, rails, balconies, and faces whip past on both sides. Violent forward descent with brutal stair vibration. SFX: (city hum, distant funk beat, tire chatter, breath, rapid stair hits, frame rattle). Hard sun above, deep shadow pockets below. 0:03-0:05: POV slashes left across a tiny landing, skips a broken crate, and drops again as laundry cracks across the front hemisphere, shoulder missing painted concrete by inches while side-wrap onlookers recoil. Hard lateral shake, immediate snap back into the stair run. SFX: (cloth slap, skid, crowd shout, chain buzz, stair chatter). 0:05-0:08: POV hammers the next staircase as a stray dog cuts center frame and startled chickens burst upward from the side steps, wings flaring across the sphere. The rider flicks the bars, rear wheel skates loose, then needles between a fruit cart and handrail with almost no clearance while the sphere jitters from every stair impact. Fast vibrating continuous-shot chaos. SFX: (tire chirp, crate clack, wings flapping, squawks, paw skitter, stair thuds, bass from window, metal rattle). 0:08-0:10: POV blasts out of one stair run, skips across a short asphalt gap between two stair sections without slowing, slams the opposite curb, and drops straight into the next descending steps. Only once the rider is fully back on the stairs do horns burst behind while passing cars rip through the side wrap. Full-speed crossing with strong lateral parallax and zero release. SFX: (engine idle, tire buzz, chain rattle, curb thump, car horns behind). 0:10-0:13: POV keeps attacking the next stair section immediately after the asphalt gap, machine-gunning through two tight landings and another steep stepped lane, every hit punching a fresh jolt through the sphere as stacked homes, wires, and alley mouths curl around the viewer and the overlook rushes closer. Forward lunge with impact drive and nonstop shake. SFX: (air rush, heavy thump, stair chatter, horn echo fading, chain lash, wind buffeting). 0:13-0:15: POV rips through the final stepped approach to the overlook and throws the rear wheel into a savage sideways skid, dust and gravel spraying across the lower frame while stair-lined drops fall away to both sides and the skyline blooms around the entire sphere in one fast violent sweep. The bike stays hot through the slide as the city fills every direction. SFX: (rear tire screech, gravel spray, freewheel spin, city roar, music drop)."

Seedance 2.0 on Haimeta is next level. It doesn’t even look AI-generated anymore, it looks filmed. Prompt: FORMAT: 15s / 180 BPM / ONE CONTINUOUS SHOT / 360 POV downhill stair run, viral energy, max chaos SUBJECTS: First-person cyclist, handlebars and front wheel flashing low in frame during drops and hard turns. Vendors, laundry, scooters, dogs, chickens, cars, and pedestrians erupt around the rider as sudden obstacles. ENVIRONMENT: Dense Brazilian hillside streets, painted concrete stairs, tight landings, tiled corners, hanging wires, murals, awnings, puddles, hot late afternoon light, deep alley shadows, city sprawling below. MOOD: Adrenaline, max chaos, and nonstop street speed with violent spatial intensity in every direction. COLOR LOGIC: Hyperreal Pop Look CAMERA DETAILS: 360 action-cam POV, horizon-stable but brutal, nonstop forward drive, minimal roll, heavy stair vibration, sharp side and rear parallax, full-sphere chaos, no release. TIMELINE: 0:00-0:03: POV freefalls down a steep stairwell. The front wheel punches over the first steps, bars jackhammer below frame, the whole sphere shuddering with every hit while a child lunges in from the left to yank a rolling soccer ball out of the rider's line and walls, rails, balconies, and faces whip past on both sides. Violent forward descent with brutal stair vibration. SFX: (city hum, distant funk beat, tire chatter, breath, rapid stair hits, frame rattle). Hard sun above, deep shadow pockets below. 0:03-0:05: POV slashes left across a tiny landing, skips a broken crate, and drops again as laundry cracks across the front hemisphere, shoulder missing painted concrete by inches while side-wrap onlookers recoil. Hard lateral shake, immediate snap back into the stair run. SFX: (cloth slap, skid, crowd shout, chain buzz, stair chatter). 0:05-0:08: POV hammers the next staircase as a stray dog cuts center frame and startled chickens burst upward from the side steps, wings flaring across the sphere. The rider flicks the bars, rear wheel skates loose, then needles between a fruit cart and handrail with almost no clearance while the sphere jitters from every stair impact. Fast vibrating continuous-shot chaos. SFX: (tire chirp, crate clack, wings flapping, squawks, paw skitter, stair thuds, bass from window, metal rattle). 0:08-0:10: POV blasts out of one stair run, skips across a short asphalt gap between two stair sections without slowing, slams the opposite curb, and drops straight into the next descending steps. Only once the rider is fully back on the stairs do horns burst behind while passing cars rip through the side wrap. Full-speed crossing with strong lateral parallax and zero release. SFX: (engine idle, tire buzz, chain rattle, curb thump, car horns behind). 0:10-0:13: POV keeps attacking the next stair section immediately after the asphalt gap, machine-gunning through two tight landings and another steep stepped lane, every hit punching a fresh jolt through the sphere as stacked homes, wires, and alley mouths curl around the viewer and the overlook rushes closer. Forward lunge with impact drive and nonstop shake. SFX: (air rush, heavy thump, stair chatter, horn echo fading, chain lash, wind buffeting). 0:13-0:15: POV rips through the final stepped approach to the overlook and throws the rear wheel into a savage sideways skid, dust and gravel spraying across the lower frame while stair-lined drops fall away to both sides and the skyline blooms around the entire sphere in one fast violent sweep. The bike stays hot through the slide as the city fills every direction. SFX: (rear tire screech, gravel spray, freewheel spin, city roar, music drop)."

Iqra Saifi

25,829 次观看 • 4 个月前

This is the account given by the woman featured in the video: A neighbor's Pit Bull kept escaping just to come sit on my porch. When I finally figured out why, I laughed before doing anything else. Not exactly the reaction my son - or even I - was expecting. For months, no one could make sense of it. He belonged to the family across the street. Young couple, two boys, the kind of household that refreshed their yard every spring and treated painting trim like a weekend project. And still... their dog kept leaving. Not to chase anything. Not to get into trouble. Not even to explore. He would cross the street, climb up my steps, and sit right at my front door like he had somewhere to be. The tirst time, I assumed he was lost. The second time, I figured their gate wasn't secure. By the third time, even his owners looked a little embarrassed — like this wasn't misbehavior anymore, it was determination. "I'm so sorry," the wife said one day, standing in my yard with an empty leash, slightly out of breath. "He got out again... and came straight here." I looked at him. Big head. White chest. Soft amber eyes beneath a face that would usually make people hesitate. There he was, sitting calmly on my porch in the quiet mountain sun, as steady as if he belonged there. When I opened the door, he didn't run. Didn't bark. He just leaned his warm body against my leg and let out a long, contented sigh. That was six years after my husband passed. Six years of living alone in Flagstaff. Six years of one cup, one plate, one empty side of the bed. People kept telling me I should get a dog, like love was something you could just pick back up when you felt ready. But I had already lost one great love. I wasn't looking for another bond that would one day leave me counting the silence again. So when that dog kept choosing my porch instead of his own home... I didn't feel chosen. I telt trapped. I just didn't know by what. It took time to understand. It wasn't pressure. It wasn't loss waiting to happen. It was something gentler. He wasn't replacing anything. He wasn't asking for anything I couldn't give. He just showed up. Again and again. Until the quiet didn't feel so heavy anymore. Eventually, his family and I stopped apologizing back and forth and started laughing about it instead. We worked out a rhythm — he'd visit, I'd keep the door open, and somehow, it all just fit. Now, he still comes by. Not because he's escaping. But because he has two homes. And for the first time in years, mine doesn't feel empty anymore.

This is the account given by the woman featured in the video: A neighbor's Pit Bull kept escaping just to come sit on my porch. When I finally figured out why, I laughed before doing anything else. Not exactly the reaction my son - or even I - was expecting. For months, no one could make sense of it. He belonged to the family across the street. Young couple, two boys, the kind of household that refreshed their yard every spring and treated painting trim like a weekend project. And still... their dog kept leaving. Not to chase anything. Not to get into trouble. Not even to explore. He would cross the street, climb up my steps, and sit right at my front door like he had somewhere to be. The tirst time, I assumed he was lost. The second time, I figured their gate wasn't secure. By the third time, even his owners looked a little embarrassed — like this wasn't misbehavior anymore, it was determination. "I'm so sorry," the wife said one day, standing in my yard with an empty leash, slightly out of breath. "He got out again... and came straight here." I looked at him. Big head. White chest. Soft amber eyes beneath a face that would usually make people hesitate. There he was, sitting calmly on my porch in the quiet mountain sun, as steady as if he belonged there. When I opened the door, he didn't run. Didn't bark. He just leaned his warm body against my leg and let out a long, contented sigh. That was six years after my husband passed. Six years of living alone in Flagstaff. Six years of one cup, one plate, one empty side of the bed. People kept telling me I should get a dog, like love was something you could just pick back up when you felt ready. But I had already lost one great love. I wasn't looking for another bond that would one day leave me counting the silence again. So when that dog kept choosing my porch instead of his own home... I didn't feel chosen. I telt trapped. I just didn't know by what. It took time to understand. It wasn't pressure. It wasn't loss waiting to happen. It was something gentler. He wasn't replacing anything. He wasn't asking for anything I couldn't give. He just showed up. Again and again. Until the quiet didn't feel so heavy anymore. Eventually, his family and I stopped apologizing back and forth and started laughing about it instead. We worked out a rhythm — he'd visit, I'd keep the door open, and somehow, it all just fit. Now, he still comes by. Not because he's escaping. But because he has two homes. And for the first time in years, mine doesn't feel empty anymore.

Gabriele Corno

112,500 次观看 • 22 天前