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Archibald Brown

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45,565 görüntüleme • 16 gün önce •via X (Twitter)

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Johnny Elbows the one and only: 😭
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Johnny Elbows the one and only: 😭

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An ELBOWS UP festival today in Toronto 🤯 with Mayor Chow in attendance. To clarify, Elbows Up only applies to USA TARIFFS, no others like CHINA 🇨🇳 😅 Embarrassing
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An ELBOWS UP festival today in Toronto 🤯 with Mayor Chow in attendance. To clarify, Elbows Up only applies to USA TARIFFS, no others like CHINA 🇨🇳 😅 Embarrassing

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Weghorst elbows Goes, only receives a yellow card. 🟨#afca #AJAAZ #ajax #heitinga #eredivisie
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Weghorst elbows Goes, only receives a yellow card. 🟨#afca #AJAAZ #ajax #heitinga #eredivisie

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Elbows out. #F1TheMovie is back in IMAX! Now playing only in theaters. Get tickets now. #FilmedForIMAX
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Elbows out. #F1TheMovie is back in IMAX! Now playing only in theaters. Get tickets now. #FilmedForIMAX

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Canadian legend Mike Myers didn't only flash his "Canada is Not For Sale" shirt on SNL, he also mouthed and motioned ELBOWS UP!
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Canadian legend Mike Myers didn't only flash his "Canada is Not For Sale" shirt on SNL, he also mouthed and motioned ELBOWS UP!

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CARNEY sends a message to Canadians that Canada will be better ONLY with Alberta 👀 Yeah, might be too late. The vote is coming ELBOWS UP
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CARNEY sends a message to Canadians that Canada will be better ONLY with Alberta 👀 Yeah, might be too late. The vote is coming ELBOWS UP

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“We don’t apologize for our Elbows Up Boycott of USA or our boos at sporting events! We triple down because as we saw from Italian Prime Minister and our efforts with our boycott that push back is only thing Trump respects!” Sub to 🇨🇦 OShow #PowerCast 🔗
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“We don’t apologize for our Elbows Up Boycott of USA or our boos at sporting events! We triple down because as we saw from Italian Prime Minister and our efforts with our boycott that push back is only thing Trump respects!” Sub to 🇨🇦 OShow #PowerCast 🔗

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Frame 1- Wrong way to perform a lat pulldown❌ Frame 2- Correct way to perform a lat pulldown✅ Cues: •Drive elbows down to hip •No leaning or slight lean is permissible •Don’t compromise elbow direction for ROM Note- This only applies if the exercise is performed for the shoulder adduction function of the lats.
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Frame 1- Wrong way to perform a lat pulldown❌ Frame 2- Correct way to perform a lat pulldown✅ Cues: •Drive elbows down to hip •No leaning or slight lean is permissible •Don’t compromise elbow direction for ROM Note- This only applies if the exercise is performed for the shoulder adduction function of the lats.

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How to build an INSANE Chest & Back: (Free weights only) • 2-3 Sets of Incline Dumbbell Bench Press • 2-3 Sets of Wide Grip Pull-Ups • 2-3 Sets of Flat Barbell Bench Press • 2-3 Sets of Chest Supported Dumbbell Rows w/ Flared Elbows Then, 3-4 days later…. • 2-3 Sets of Flat Barbell Bench Press • 2-3 Sets of Chest Supported Dumbbell Rows w/ Flared Elbows • 2-3 Sets of Incline Dumbbell Bench Press • 2-3 Sets of Wide Grip Pull-Ups All sets should feature good-great technique in the 5ish to 10ish rep range with sets ending when you reach failure or you’re at least very close to that point
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How to build an INSANE Chest & Back: (Free weights only) • 2-3 Sets of Incline Dumbbell Bench Press • 2-3 Sets of Wide Grip Pull-Ups • 2-3 Sets of Flat Barbell Bench Press • 2-3 Sets of Chest Supported Dumbbell Rows w/ Flared Elbows Then, 3-4 days later…. • 2-3 Sets of Flat Barbell Bench Press • 2-3 Sets of Chest Supported Dumbbell Rows w/ Flared Elbows • 2-3 Sets of Incline Dumbbell Bench Press • 2-3 Sets of Wide Grip Pull-Ups All sets should feature good-great technique in the 5ish to 10ish rep range with sets ending when you reach failure or you’re at least very close to that point

Dean Turner

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Most lifters only think about their legs when they squat. But your squat is only as strong as your upper body tension. ✅A tight torso + strong legs = a big squat. Here’s how to lock it in 👇 ☑️ Pull the bar into you, not onto you Loose bar? You’ve already lost. Pull it into your traps/lats like you’re trying to bend it around you. ☑️ Lock your upper back first Upper back tight ➡️ brace ➡️ squat. Set the tone from the top. ☑️ Elbows control your torso Elbows drifting up? Chest collapses. Tuck them down and back = stacked, powerful torso. ☑️ Upper body moves first? Weight wins A strong squat starts with zero movement up top. Locked-in torso = TOTAL control of the bar so your legs can do their job. Fix your upper body tension and your squat instantly feels 20–40 lbs stronger…dead serious.
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Most lifters only think about their legs when they squat. But your squat is only as strong as your upper body tension. ✅A tight torso + strong legs = a big squat. Here’s how to lock it in 👇 ☑️ Pull the bar into you, not onto you Loose bar? You’ve already lost. Pull it into your traps/lats like you’re trying to bend it around you. ☑️ Lock your upper back first Upper back tight ➡️ brace ➡️ squat. Set the tone from the top. ☑️ Elbows control your torso Elbows drifting up? Chest collapses. Tuck them down and back = stacked, powerful torso. ☑️ Upper body moves first? Weight wins A strong squat starts with zero movement up top. Locked-in torso = TOTAL control of the bar so your legs can do their job. Fix your upper body tension and your squat instantly feels 20–40 lbs stronger…dead serious.

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🚨 Kendall Jenner at the Venice Film Festival, Italy 🇮🇹 Kendall is the only one in the Jenner-Kardashian clan with even a hint of class, style and elegance She doesn’t look like a blow-up doll, doesn’t have a permanently vacant expression, isn’t redone all the way down to the elbows, hasn’t turned motherhood into a multicultural casting call, and at least doesn’t look like she walked out of a gilded ghetto But still a ghetto

Mambo Italiano

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The lats are not a nervous rescue dog. "Depress the scapula first." It's welded to my spine. Where's it going? "Now retract, but don't over-retract." So retract the correct amount. Cheers. "Think about pulling with your elbows, not your hands." My elbows are attached to my hands. This has been the arrangement for some time. "Imagine your hands are just hooks." Imagining. "Now feel the stretch and visualise the lat spread." Visualising. Bar hasn't moved. "You're not connected to it yet. We'll do some band work first." Brother in christ. It is the biggest muscle in my upper body, it is bolted to my pelvis, and it has one job: pull the arm down. That is its entire personality. Put your hands on the bar. Make the bar go down. Heavy. Don't turn it into a row. The lat has no choice. It's the only thing in there that can do it.
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The lats are not a nervous rescue dog. "Depress the scapula first." It's welded to my spine. Where's it going? "Now retract, but don't over-retract." So retract the correct amount. Cheers. "Think about pulling with your elbows, not your hands." My elbows are attached to my hands. This has been the arrangement for some time. "Imagine your hands are just hooks." Imagining. "Now feel the stretch and visualise the lat spread." Visualising. Bar hasn't moved. "You're not connected to it yet. We'll do some band work first." Brother in christ. It is the biggest muscle in my upper body, it is bolted to my pelvis, and it has one job: pull the arm down. That is its entire personality. Put your hands on the bar. Make the bar go down. Heavy. Don't turn it into a row. The lat has no choice. It's the only thing in there that can do it.

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Nobody does dumbbell flyes the way Arnold Schwarzenegger did. Back then it was all about a wide movement, max pec stretch, and only a slight bend in the elbows. Now most guys have turned it into some kind of fly-press… Which is still a solid chest exercise—but it’s not the same as flyes. Arnold flyes: - maximum pec stretch, more pec isolation - very minimal triceps involvement - lighter load, higher reps Fly-press: - less stretch than true flyes - triceps gets in, less pec isolation - heavier load can be used safely

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Angel Combat 1st 52kg Tournament - Match 4 - Arisa Suthida vs Seo Hae-rin: Angel Combat 52kg Tournament คู่ที่ 4 — อาริสะ สุธิดา “Bangkok Reaper” ปะทะ ซอ แฮริน “Crimson Cross” ศึกมวยไทยเดือดระหว่างพลังเข่า ศอก และคลินช์อันโหดเหี้ยมของไทย กับหมัดเร็ว แรงกดดัน และคอมโบสุดเฉียบของเกาหลี ใครจะยืนหยัดเป็นผู้ชนะในสังเวียนนี้? Angel Combat 52kg Tournament 제4경기 — 아리사 수티다 “Bangkok Reaper” vs 서해린 “Crimson Cross”. 태국 무에타이의 강력한 클린치, 니킥, 엘보와 한국 복싱 압박의 빠른 손, 바디샷, 날카로운 카운터가 충돌한다. 링 위에서 끝까지 살아남을 파이터는 누구인가? Angel Combat 52kg Tournament 4th Match — Arisa Suthida “Bangkok Reaper” vs Seo Hae-rin “Crimson Cross”. Thai Muay Thai precision meets Korean boxing pressure in a fierce showdown of knees, elbows, body shots, and relentless fighting spirit. Two warriors enter the ring — only one can control the night. Angel Combat 52kg Tournament 第4試合 — アリサ・スティダ “Bangkok Reaper” vs ソ・ヘリン “Crimson Cross”。タイの鋭いムエタイ、強烈な首相撲、膝、肘が、韓国の高速ボクシング、ボディショット、鋭いカウンターと激突する。リングを支配するのはどちらだ。 Disclaimer: It is an A.I. generated video. It does not portray any real person.

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Angel Combat

19,354 görüntüleme • 3 ay önce

Molly wasn't supposed to be the one who reached Daisy. Her mother had only brought her to the shelter for a short visit, thinking they'd walk through, meet a few dogs, and leave a little while later. Down one of the quieter kennel rows, the large bulldog stood pressed into the back corner of her enclosure. Daisy looked strong from a distance, but nothing about her posture felt confident. Her head stayed low, her eyes fixed forward, and her paws were planted like the floor was the only thing holding her together. A raised bed sat off to one side, untouched. Shelter staff had already explained that Daisy had been struggling since arriving there. She wasn't aggressive, and she wasn't loud. Fear had settled into her so deeply that she no longer seemed to believe much good could come from anyone stepping through that doorway. Most visitors took one look and kept moving. Molly didn't. She lowered herself to the floor outside the kennel entrance and stayed there without making a fuss. Her small pink cardigan bunched at the elbows as she leaned forward, watching Daisy with the kind of patience children sometimes have when adults have already decided a moment is over. No treat was in her hand. No toy was offered. She only stretched out her arm slowly, palm up, and gave Daisy space to choose. Then her voice came. "Come on," she said softly. "It's okay."Nothing happened at first. Daisy stayed where she was, tight against the wall, carrying that familiar look animals get when life has taught them to expect the worst before anything else. Molly didn't pull her hand back. Another quiet second passed before Daisy shifted her weight. One paw moved forward, then stopped. Her face stayed tense, and her eyes never left the little girl sitting outside the kennel. Molly kept speaking in the same gentle voice, barely above a whisper. There was no excitement in her tone, no pressure, no rush for something emotional to happen on cue. She sounded like a child speaking to someone who seemed lonely. That was enough to change the room. Daisy took another step, then another, leaving the corner one slow movement at a time. Her body still looked cautious, but the distance between them kept shrinking until her nose was finally close enough to reach Molly's hand. Molly smiled and leaned in carefully. A second later, her arms were around Daisy's neck. Daisy didn't pull away. She stood there and accepted the embrace, pressing her heavy body close as if the decision had cost her something and comfort had finally answered back. People talk a lot about rescuing dogs, yet moments like this make it feel more honest to say that trust often has to be rescued first. Daisy walked into that day carrying all the weight of whatever had happened before. By the time Molly held her, the fear still hadn't disappeared completely. She just wasn't carrying it alone anymore.
0:12

Molly wasn't supposed to be the one who reached Daisy. Her mother had only brought her to the shelter for a short visit, thinking they'd walk through, meet a few dogs, and leave a little while later. Down one of the quieter kennel rows, the large bulldog stood pressed into the back corner of her enclosure. Daisy looked strong from a distance, but nothing about her posture felt confident. Her head stayed low, her eyes fixed forward, and her paws were planted like the floor was the only thing holding her together. A raised bed sat off to one side, untouched. Shelter staff had already explained that Daisy had been struggling since arriving there. She wasn't aggressive, and she wasn't loud. Fear had settled into her so deeply that she no longer seemed to believe much good could come from anyone stepping through that doorway. Most visitors took one look and kept moving. Molly didn't. She lowered herself to the floor outside the kennel entrance and stayed there without making a fuss. Her small pink cardigan bunched at the elbows as she leaned forward, watching Daisy with the kind of patience children sometimes have when adults have already decided a moment is over. No treat was in her hand. No toy was offered. She only stretched out her arm slowly, palm up, and gave Daisy space to choose. Then her voice came. "Come on," she said softly. "It's okay."Nothing happened at first. Daisy stayed where she was, tight against the wall, carrying that familiar look animals get when life has taught them to expect the worst before anything else. Molly didn't pull her hand back. Another quiet second passed before Daisy shifted her weight. One paw moved forward, then stopped. Her face stayed tense, and her eyes never left the little girl sitting outside the kennel. Molly kept speaking in the same gentle voice, barely above a whisper. There was no excitement in her tone, no pressure, no rush for something emotional to happen on cue. She sounded like a child speaking to someone who seemed lonely. That was enough to change the room. Daisy took another step, then another, leaving the corner one slow movement at a time. Her body still looked cautious, but the distance between them kept shrinking until her nose was finally close enough to reach Molly's hand. Molly smiled and leaned in carefully. A second later, her arms were around Daisy's neck. Daisy didn't pull away. She stood there and accepted the embrace, pressing her heavy body close as if the decision had cost her something and comfort had finally answered back. People talk a lot about rescuing dogs, yet moments like this make it feel more honest to say that trust often has to be rescued first. Daisy walked into that day carrying all the weight of whatever had happened before. By the time Molly held her, the fear still hadn't disappeared completely. She just wasn't carrying it alone anymore.

Gabriele Corno

25,330 görüntüleme • 2 ay önce

made with Seedance 2.5 prompt: **CAMERA:** DV 16mm tape camcorder handheld feel. POV of CHASE holding the camera herself, occasionally propping it on the floor or a mat for hands-free core shots. Hand shake, misaligned framing, delayed focus pulls, clumsy zooms, occasional face cut-off framing, imperfect shots. Camcorder never appears on screen. **LOOK:** Soft, slightly blurry tape quality, faint tape noise, bloomed highlights under gym lighting, flickering auto-exposure, muted contrast, realistic skin tones. **STYLE:** Playful, self-deprecating gym-vlog tone — genuine strain mixed with humor, complaining about core work while still pushing through it. Quick handheld cuts, energy staying light and funny throughout rather than fully exhausted. **Character** CHASE — Korean idol, 20s. Long black hair in a high ponytail, glowing skin with a light sweat sheen, big expressive eyes. Slim athletic build. Modest long-sleeve athletic top, loose joggers or fitted leggings (arms and torso fully covered), sneakers off or socks, no jewelry. **Setting** A gym mat area in the evening — mirror wall nearby, water bottle on the floor, soft overhead lighting, other equipment visible in the background. **Storyboard (15s, 6 cuts)** 1. *(~2.5s, propped camera, medium shot)* She lies down on the mat, propping up on her elbows, already sighing dramatically. CHASE: "Okay, core day — my least favorite day." 2. *(~2.5s, propped camera, plank position)* She holds a plank, arms shaking slightly, talking through gritted teeth. CHASE (strained): "Why does this get harder every single time—" 3. *(~2.5s, medium propped shot, crunches)* She moves into a set of crunches, breathing hard, complaining between reps. CHASE: "Nobody warns you how much this actually burns." 4. *(~2s, macro insert, shallow DOF)* Close-up on her hands gripping the mat edges during a leg raise, abs visibly working. No dialogue — ambient gym sound only. 5. *(~2.5s, handheld, leg raises)* She finishes a slow leg raise set, flopping back onto the mat immediately after, laughing at herself. CHASE (breathless): "Okay— that's it, I'm done—" 6. *(~3s, arm's-length selfie finish)* Still lying on the mat, she lifts the camera above her face, grinning tiredly. CHASE: "Core day never gets easier — see you guys tomorrow, hopefully."
0:15

made with Seedance 2.5 prompt: **CAMERA:** DV 16mm tape camcorder handheld feel. POV of CHASE holding the camera herself, occasionally propping it on the floor or a mat for hands-free core shots. Hand shake, misaligned framing, delayed focus pulls, clumsy zooms, occasional face cut-off framing, imperfect shots. Camcorder never appears on screen. **LOOK:** Soft, slightly blurry tape quality, faint tape noise, bloomed highlights under gym lighting, flickering auto-exposure, muted contrast, realistic skin tones. **STYLE:** Playful, self-deprecating gym-vlog tone — genuine strain mixed with humor, complaining about core work while still pushing through it. Quick handheld cuts, energy staying light and funny throughout rather than fully exhausted. **Character** CHASE — Korean idol, 20s. Long black hair in a high ponytail, glowing skin with a light sweat sheen, big expressive eyes. Slim athletic build. Modest long-sleeve athletic top, loose joggers or fitted leggings (arms and torso fully covered), sneakers off or socks, no jewelry. **Setting** A gym mat area in the evening — mirror wall nearby, water bottle on the floor, soft overhead lighting, other equipment visible in the background. **Storyboard (15s, 6 cuts)** 1. *(~2.5s, propped camera, medium shot)* She lies down on the mat, propping up on her elbows, already sighing dramatically. CHASE: "Okay, core day — my least favorite day." 2. *(~2.5s, propped camera, plank position)* She holds a plank, arms shaking slightly, talking through gritted teeth. CHASE (strained): "Why does this get harder every single time—" 3. *(~2.5s, medium propped shot, crunches)* She moves into a set of crunches, breathing hard, complaining between reps. CHASE: "Nobody warns you how much this actually burns." 4. *(~2s, macro insert, shallow DOF)* Close-up on her hands gripping the mat edges during a leg raise, abs visibly working. No dialogue — ambient gym sound only. 5. *(~2.5s, handheld, leg raises)* She finishes a slow leg raise set, flopping back onto the mat immediately after, laughing at herself. CHASE (breathless): "Okay— that's it, I'm done—" 6. *(~3s, arm's-length selfie finish)* Still lying on the mat, she lifts the camera above her face, grinning tiredly. CHASE: "Core day never gets easier — see you guys tomorrow, hopefully."

WasifAI

61,052 görüntüleme • 13 gün önce

As I lay there on the highway, he came close, still pointing the gun at me, but I lay still, praying in my mind, “Don’t shoot again.” My Blood was everywhere, and he confirmed I was dead before rushing back to the car and driving off, leaving me in my pool of blood around 1 a.m. I lay there in agony, thinking I was going to die. I asked myself why they had to shoot me again. I wasn’t a threat anymore; why shoot me again? That question echoed in my mind. Cars continued to pass without stopping, avoiding my body in the middle of the road. I waved my hands for help as they drove by, but none stopped. I couldn’t move any part of my body except my hands. Over 30 cars passed without anyone stopping. I realized no help was coming; my motionless body lay in the middle of the road. After some time, I tried shaking my legs, and to my surprise, they moved! I was relieved because I thought they were numb. I decided to move my body out of the road. I attempted to stand but fell because the bullet passed through my hip, only my flesh on the right was holding it. I could feel the pain; the other side was swollen. I wasn’t sure how bad it was, but all my waist was on fire. Some drivers nearly ran over me, forcing me to move my body away from the center of the highway toward the pavements that divide the road. That night was brutal. I lay there, bleeding and in pain, for about two hours, knowing that help wasn't coming. I felt sure I was going to die. As I lay there helpless, my life flashed before me. I thought about my family and how I had come to Awka to bury my mom, now I will be buried. I feared for my siblings, who depended on me, and I called on God for help. Only the sounds of birds and the occasional passing car broke the silence, and I realized no human was coming to help me. I called on my late parents, especially my sweet mom, telling her I was coming because I was so tired. My vision blurred, my throat was dry, and I was too exhausted to wave. I prayed, accepting my fate, gave my life to Christ again, and asked Him to accept my soul. Looking up, I saw only darkness, no hope anywhere, just my blood-soaked body. I was becoming weaker, dizzy, and had a strong urge to sleep, knowing that if I closed my eyes, all the agony would go away. So I decided to let go, imagining my friends finding my body in the morning and taking me to the morgue. I imagined being buried beside my mom and how heartbroken my friends and siblings would be. But still, no help came. I could only guess the time, but I knew the night was long, and daybreak was far off. Just as I was about to close my eyes and accept my death, I saw a torchlight in the distance, about 500 meters away. Hope surged back into me. I knew I could get help if I could reach the light, but I was weak, how can I move my motionless body with damaged waist. I tried to stand, despite the pain in my waist. I moved to the pavement divider, trying to pull myself up, but I fell, hitting my waist painfully on the ground. I tried again, holding onto the pavement, moving slowly toward the light, but the pain was too much, and I fell again. Finally, I decided to crawl toward it. Pushing my body along the rough highway surface with only my elbows and arms, I kept low. Whenever I spotted a car, I lay flat, pretending to be dead, hoping they wouldn’t come back and shoot me a third time. The friction against the rough ground gave me cuts, and my arms began to bleed, but I kept moving. Eventually, I reached there and it was aluminum company near the highway and I began shouting for help. I was so cold, shivering, and very thirsty. I kept calling out, “Help! I need a hospital!” After about 30 minutes, they pointed a torchlight toward me, and a few men came out, cocking their guns—around four armed men. Terrified, I started screaming, “Don’t shoot!”
0:15

As I lay there on the highway, he came close, still pointing the gun at me, but I lay still, praying in my mind, “Don’t shoot again.” My Blood was everywhere, and he confirmed I was dead before rushing back to the car and driving off, leaving me in my pool of blood around 1 a.m. I lay there in agony, thinking I was going to die. I asked myself why they had to shoot me again. I wasn’t a threat anymore; why shoot me again? That question echoed in my mind. Cars continued to pass without stopping, avoiding my body in the middle of the road. I waved my hands for help as they drove by, but none stopped. I couldn’t move any part of my body except my hands. Over 30 cars passed without anyone stopping. I realized no help was coming; my motionless body lay in the middle of the road. After some time, I tried shaking my legs, and to my surprise, they moved! I was relieved because I thought they were numb. I decided to move my body out of the road. I attempted to stand but fell because the bullet passed through my hip, only my flesh on the right was holding it. I could feel the pain; the other side was swollen. I wasn’t sure how bad it was, but all my waist was on fire. Some drivers nearly ran over me, forcing me to move my body away from the center of the highway toward the pavements that divide the road. That night was brutal. I lay there, bleeding and in pain, for about two hours, knowing that help wasn't coming. I felt sure I was going to die. As I lay there helpless, my life flashed before me. I thought about my family and how I had come to Awka to bury my mom, now I will be buried. I feared for my siblings, who depended on me, and I called on God for help. Only the sounds of birds and the occasional passing car broke the silence, and I realized no human was coming to help me. I called on my late parents, especially my sweet mom, telling her I was coming because I was so tired. My vision blurred, my throat was dry, and I was too exhausted to wave. I prayed, accepting my fate, gave my life to Christ again, and asked Him to accept my soul. Looking up, I saw only darkness, no hope anywhere, just my blood-soaked body. I was becoming weaker, dizzy, and had a strong urge to sleep, knowing that if I closed my eyes, all the agony would go away. So I decided to let go, imagining my friends finding my body in the morning and taking me to the morgue. I imagined being buried beside my mom and how heartbroken my friends and siblings would be. But still, no help came. I could only guess the time, but I knew the night was long, and daybreak was far off. Just as I was about to close my eyes and accept my death, I saw a torchlight in the distance, about 500 meters away. Hope surged back into me. I knew I could get help if I could reach the light, but I was weak, how can I move my motionless body with damaged waist. I tried to stand, despite the pain in my waist. I moved to the pavement divider, trying to pull myself up, but I fell, hitting my waist painfully on the ground. I tried again, holding onto the pavement, moving slowly toward the light, but the pain was too much, and I fell again. Finally, I decided to crawl toward it. Pushing my body along the rough highway surface with only my elbows and arms, I kept low. Whenever I spotted a car, I lay flat, pretending to be dead, hoping they wouldn’t come back and shoot me a third time. The friction against the rough ground gave me cuts, and my arms began to bleed, but I kept moving. Eventually, I reached there and it was aluminum company near the highway and I began shouting for help. I was so cold, shivering, and very thirsty. I kept calling out, “Help! I need a hospital!” After about 30 minutes, they pointed a torchlight toward me, and a few men came out, cocking their guns—around four armed men. Terrified, I started screaming, “Don’t shoot!”

Daiso Dike

77,897 görüntüleme • 1 yıl önce

Made with Seedance 2.5 on MakeUGC (native 15-second video, no editing) PROMPT ⬇️ **CAMERA:** DV 16mm tape camcorder handheld feel. POV of MILA holding the camera herself, occasionally propping it on the floor or a mat for hands-free core shots. Hand shake, misaligned framing, delayed focus pulls, clumsy zooms, occasional face cut-off framing, imperfect shots. Camcorder never appears on screen. **LOOK:** Soft, slightly blurry tape quality, faint tape noise, bloomed highlights under gym lighting, flickering auto-exposure, muted contrast, realistic skin tones. **STYLE:** Playful, self-deprecating gym-vlog tone — genuine strain mixed with humor, complaining about core work while still pushing through it. Quick handheld cuts, energy staying light and funny throughout rather than fully exhausted. **Character** MILA — a beautiful American Instagram-style brunette model and performer, 20. Long dark-brown hair in a high ponytail, glowing skin with a light sweat sheen, glossy lips, expressive eyes, soft glam makeup and delicate sparkly stud earrings. Slim athletic figure with a very large, full bust, very full rounded buttocks, a narrow waist, flat stomach and lean arms and legs. She wears a cobalt-blue supportive sports bra with thin straps and a deep scoop neckline showing cleavage, paired with matching ultra-short fitted athletic shorts. Bare shoulders, arms and midriff. White ankle socks, sneakers off. She speaks with an American accent. **Setting** A gym mat area in the evening — mirror wall nearby, water bottle on the floor, soft overhead lighting, other equipment visible in the background. **Storyboard (15s, 6 shots)** 1. *(~2.5s, propped camera, medium shot)* She lies down on the mat, propping up on her elbows, already sighing dramatically. MILA: “Core day. Pray for me.” 2. *(~2.5s, propped camera, plank position)* She holds a plank, arms shaking slightly, talking through gritted teeth. MILA (strained): “Why am I shaking already?” 3. *(~2.5s, medium propped shot, crunches)* She moves into a set of crunches, breathing hard, complaining between reps. MILA: “This looked way easier online.” 4. *(~2s, macro insert, shallow DOF)* Close-up on her hands gripping the mat edges during a leg raise, abs visibly working. No dialogue — ambient gym sound only. 5. *(~2.5s, handheld, leg raises)* She finishes a slow leg raise set, flopping back onto the mat immediately after, laughing at herself. MILA (breathless): “Yep—my abs just quit.” 6. *(~3s, arm’s-length selfie finish)* Still lying on the mat, she lifts the camera above her face (camera no visible), grinning tiredly. MILA: “Same time tomorrow? No promises.” #AIVideo
0:15

Made with Seedance 2.5 on MakeUGC (native 15-second video, no editing) PROMPT ⬇️ **CAMERA:** DV 16mm tape camcorder handheld feel. POV of MILA holding the camera herself, occasionally propping it on the floor or a mat for hands-free core shots. Hand shake, misaligned framing, delayed focus pulls, clumsy zooms, occasional face cut-off framing, imperfect shots. Camcorder never appears on screen. **LOOK:** Soft, slightly blurry tape quality, faint tape noise, bloomed highlights under gym lighting, flickering auto-exposure, muted contrast, realistic skin tones. **STYLE:** Playful, self-deprecating gym-vlog tone — genuine strain mixed with humor, complaining about core work while still pushing through it. Quick handheld cuts, energy staying light and funny throughout rather than fully exhausted. **Character** MILA — a beautiful American Instagram-style brunette model and performer, 20. Long dark-brown hair in a high ponytail, glowing skin with a light sweat sheen, glossy lips, expressive eyes, soft glam makeup and delicate sparkly stud earrings. Slim athletic figure with a very large, full bust, very full rounded buttocks, a narrow waist, flat stomach and lean arms and legs. She wears a cobalt-blue supportive sports bra with thin straps and a deep scoop neckline showing cleavage, paired with matching ultra-short fitted athletic shorts. Bare shoulders, arms and midriff. White ankle socks, sneakers off. She speaks with an American accent. **Setting** A gym mat area in the evening — mirror wall nearby, water bottle on the floor, soft overhead lighting, other equipment visible in the background. **Storyboard (15s, 6 shots)** 1. *(~2.5s, propped camera, medium shot)* She lies down on the mat, propping up on her elbows, already sighing dramatically. MILA: “Core day. Pray for me.” 2. *(~2.5s, propped camera, plank position)* She holds a plank, arms shaking slightly, talking through gritted teeth. MILA (strained): “Why am I shaking already?” 3. *(~2.5s, medium propped shot, crunches)* She moves into a set of crunches, breathing hard, complaining between reps. MILA: “This looked way easier online.” 4. *(~2s, macro insert, shallow DOF)* Close-up on her hands gripping the mat edges during a leg raise, abs visibly working. No dialogue — ambient gym sound only. 5. *(~2.5s, handheld, leg raises)* She finishes a slow leg raise set, flopping back onto the mat immediately after, laughing at herself. MILA (breathless): “Yep—my abs just quit.” 6. *(~3s, arm’s-length selfie finish)* Still lying on the mat, she lifts the camera above her face (camera no visible), grinning tiredly. MILA: “Same time tomorrow? No promises.” #AIVideo

Alpha Mom

156,669 görüntüleme • 1 gün önce