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Experience #BLACKPINK's new single #JUMP all around in #SpatialAudio with #DolbyAtmos on Apple Music. '뛰어(JUMP)'를 #DolbyAtmos 기술이 적용된 #공간음향 으로 즐겨보세요. #BLACKPINK #블랙핑크 #뛰어 #DigitalSingle #YG

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BLACKPINKOFFICIAL

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190,414 Aufrufe • vor 1 Jahr •via X (Twitter)

MusikKunst#BLACKPINK#JUMP#SpatialAudio#DolbyAtmos#DolbyAtmos#공간음향#BLACKPINK#블랙핑크#뛰어#DigitalSingle#YG
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So, let me get this straight SpaceWeatherNews . Earth’s magnetic field is weakening right now, and it’s happening faster than expected. When you look back, the record shows the field didn’t always drift slowly either, sometimes it collapsed and re organized and things got beyond chaotic. The Sun isn’t a campfire in the sky like we were taught, it behaves in cycles and it can get violent in ways we’re only starting to understand. Earth reacts electrically and magnetically, like a living system kinda like bieng plugged into the Sun. Ice cores, tree rings, and archaeological layers all show resets happening at the same times around the world. Not once, but repeatedly. It's a clear pattern. We have direct measurements showing Earth’s magnetic field has weakened significantly in just a couple of centuries, with anomalies growing and the poles accelerating in ways that match pre excursion behavior seen in the geological record. We have lava flows that lock in multiple magnetic directions in a single cooling event, proving the field can shift rapidly, not over slow timelines. We have ice cores and tree rings showing abrupt spikes in cosmic radiation markers like carbon 14 and beryllium 10 that appear globally and simultaneously, which only happens when shielding fails or solar input surges. We have sudden climate reversals, where temperatures jump or crash in decades. Something standard models still have a hard time to explain. And we have synchronized layers of environmental fails in human history. We have abandoned settlements, cultural collapses, and reset layers that line up with those same physical events. None of this is speculative on its own. This is not speculation or fake, these are connected, because we have the individual datasets, they have been peer reviewed, and is sitting in plain sight. Forget the aliens for a second because we have some preparing to do.
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46,819 Aufrufe • vor 5 Monaten

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.
0:15

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.

Noor

13,790 Aufrufe • vor 14 Tagen

Album is out, I’ve waited so long to share these last few years of my life with you The first song was written a little over two years ago at a really low point in my life. I had absolutely no idea what this album would sound like or if I had the energy to write it at all. The last song was written in the fall of 2025 with the most amazing team by my side and a love for music I haven’t felt since before everything all popped off for the first time. I think when you dedicate your life to something you can lose yourself in the day to day stuff and forget why you chose it to begin with. I love telling stories and sharing myself with you. I love music and how it’s allowed me to meet the most interesting people and see the most wonderful things in our world. Always be curious and never stop learning. Open yourself up to new people and experiences as much as you can. Talk to everyone and never assume anything. In a way this feels like the first time ive ever released music though that couldn’t be farther from the truth. Thank you to the fans who have been around since the beginning, or since the ride era finished and I had to take a little time to figure out what was next, or those of you who have found me because of this new stuff. I love the shit out of you. Thank you. Thank you to my team, Darian, Joe, Mark and Tyler, Garrett, Tommy, Aimee, David and matt at Hard8, Soran, Bailey, Max, Andy, Andrew, Katie, Tano, Greg, Lily and Lili, Kristin, Jalen, Tsutai, Glen, Mikelle, Michelle, Ryan and Adam, Polis and Scott, my parents and my family, my wonderful band and touring team. Thank you to the people I am undoubtedly forgetting. The point is while it’s my name on the album, dozens of people worked their asses off to bring this project to your ears. I love and appreciate every single one of them.
0:17

Album is out, I’ve waited so long to share these last few years of my life with you The first song was written a little over two years ago at a really low point in my life. I had absolutely no idea what this album would sound like or if I had the energy to write it at all. The last song was written in the fall of 2025 with the most amazing team by my side and a love for music I haven’t felt since before everything all popped off for the first time. I think when you dedicate your life to something you can lose yourself in the day to day stuff and forget why you chose it to begin with. I love telling stories and sharing myself with you. I love music and how it’s allowed me to meet the most interesting people and see the most wonderful things in our world. Always be curious and never stop learning. Open yourself up to new people and experiences as much as you can. Talk to everyone and never assume anything. In a way this feels like the first time ive ever released music though that couldn’t be farther from the truth. Thank you to the fans who have been around since the beginning, or since the ride era finished and I had to take a little time to figure out what was next, or those of you who have found me because of this new stuff. I love the shit out of you. Thank you. Thank you to my team, Darian, Joe, Mark and Tyler, Garrett, Tommy, Aimee, David and matt at Hard8, Soran, Bailey, Max, Andy, Andrew, Katie, Tano, Greg, Lily and Lili, Kristin, Jalen, Tsutai, Glen, Mikelle, Michelle, Ryan and Adam, Polis and Scott, my parents and my family, my wonderful band and touring team. Thank you to the people I am undoubtedly forgetting. The point is while it’s my name on the album, dozens of people worked their asses off to bring this project to your ears. I love and appreciate every single one of them.

Johnny Orlando

12,269 Aufrufe • vor 1 Monat

There’s a feeling of “wtf is a designer anymore” floating around… I felt it while scrolling Reddit after Figma Make was announced 😬 For some people it simply didn’t compute that a code prototype could be a design artifact. But I’ll let you in on a little secret… A few days ago I visited a well-known design leader and he said that in the last 6 months, ~40% of their team's design artifacts are now created in Lovable, Bolt, etc. That’s kind of crazy, right? It's a big reason why Ioana Teleanu (1st AI designer at Miro) said design is "in the middle of an identity crisis" So Ioana and I went deep into this topic during today's episode and I want to share a few ideas I’m still thinking about: ——— We’re in a weird moment in history where there are AI designers and non-AI designers. But this is a blip on the timeline as adoption accelerates. The idea of "AI designer" won't exist in the future Here's what Ioana said 👇 “We’re all gonna be thinking about some sort of AI angle in the way we do our work. I don’t even feel that the AI design role will exist in this explicit format in a couple of years. All the designers will be AI designers” I want to make something clear though... Ioana described herself as generally “change averse” and the type of person who "DOESN'T jump on new things" That’s why her initial approach to AI was a bit less intentional… But now she’s changed her tune: “We have a moral duty to experiment with these technologies because we're designers and we should be curious about the world, and we should be curious about the future.” The cost of ignoring new technology has never been higher So if you’re interested in what it looks like to design AI experiences within your existing product then I think you’ll really enjoy this week's episode Ioana shares a ton of lessons learned from Miro and frameworks for how she helps clients integrate AI effectively 👇
0:11

There’s a feeling of “wtf is a designer anymore” floating around… I felt it while scrolling Reddit after Figma Make was announced 😬 For some people it simply didn’t compute that a code prototype could be a design artifact. But I’ll let you in on a little secret… A few days ago I visited a well-known design leader and he said that in the last 6 months, ~40% of their team's design artifacts are now created in Lovable, Bolt, etc. That’s kind of crazy, right? It's a big reason why Ioana Teleanu (1st AI designer at Miro) said design is "in the middle of an identity crisis" So Ioana and I went deep into this topic during today's episode and I want to share a few ideas I’m still thinking about: ——— We’re in a weird moment in history where there are AI designers and non-AI designers. But this is a blip on the timeline as adoption accelerates. The idea of "AI designer" won't exist in the future Here's what Ioana said 👇 “We’re all gonna be thinking about some sort of AI angle in the way we do our work. I don’t even feel that the AI design role will exist in this explicit format in a couple of years. All the designers will be AI designers” I want to make something clear though... Ioana described herself as generally “change averse” and the type of person who "DOESN'T jump on new things" That’s why her initial approach to AI was a bit less intentional… But now she’s changed her tune: “We have a moral duty to experiment with these technologies because we're designers and we should be curious about the world, and we should be curious about the future.” The cost of ignoring new technology has never been higher So if you’re interested in what it looks like to design AI experiences within your existing product then I think you’ll really enjoy this week's episode Ioana shares a ton of lessons learned from Miro and frameworks for how she helps clients integrate AI effectively 👇

Ridd 🤿

42,098 Aufrufe • vor 1 Jahr