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Final from Joe Hartmann Diamond Classic semifinal No. 7 Cherry Hill West 2 No. 1 Gloucester Catholic 0 Game ends on this liner to first for a DP WP: Ryder Garino LP: Tate DeRias GC Baseball Gloucester Catholic Athletics Coach Mac CH West Athletics South Design

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Kevin Minnick 🏈🐶🏀🐶⚾️

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11,947 Aufrufe • vor 2 Jahren •via X (Twitter)

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The Talent Hunter 🎯

40,562 Aufrufe • vor 4 Monaten

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Standart비트코인

39,118 Aufrufe • vor 12 Tagen

Who said travel outfits can't steal the spotlight? ✈️🔥 Created with GPT image 2 and Seedance 2.0 on Thank You AI PROMPT: Style: Fast-paced, cinematic, luxury fashion, IMAX-quality visuals, dramatic lighting, premium color grading, energetic editing, no dialogue, powerful electronic trailer music with cinematic impacts. 0:00–0:02 Ultra-wide shot of automatic airport doors sliding open. The model steps in wearing sunglasses and headphones. Quick bass hit. 0:02–0:04 Fast tracking shot from the side as she confidently walks through the terminal, pulling a sleek carry-on. Motion blur and speed ramps. 0:04–0:06 Rapid montage: . Coffee picked up from a café . Boarding pass flips into her hand . Close-up of a luxury watch . Sneakers hitting the polished floor (0.5-second cuts) 0:06–0:09 Low-angle hero shot. She walks through the terminal as sunlight streams through massive windows. People blur past while she stays perfectly in focus. 0:09–0:11 Fast sequence: . Escalator ride . Airport departure board . Hair flip . Adjusts sunglasses . Camera orbit transition 0:11–0:13 Slow motion for a split second as she walks toward the boarding gate. Cinematic lens flares, dramatic trailer boom. 0:13–0:15 Final hero shot from behind as she walks through the jet bridge. She glances back over her shoulder for one frame before the screen cuts to black with a powerful cinematic impact sound. Editing Style . 0.3–1 second shots . Speed ramps . Whip pans . Match cuts . Flash-frame transitions . Bass drops synchronized with cuts . Cinematic trailer pacing . Confident runway-style walk throughout . No dialogue, only high-energy trailer music and cinematic sound design This will feel more like a Netflix action trailer meets a luxury fashion campaign rather than a typical airport vlog.
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Who said travel outfits can't steal the spotlight? ✈️🔥 Created with GPT image 2 and Seedance 2.0 on Thank You AI PROMPT: Style: Fast-paced, cinematic, luxury fashion, IMAX-quality visuals, dramatic lighting, premium color grading, energetic editing, no dialogue, powerful electronic trailer music with cinematic impacts. 0:00–0:02 Ultra-wide shot of automatic airport doors sliding open. The model steps in wearing sunglasses and headphones. Quick bass hit. 0:02–0:04 Fast tracking shot from the side as she confidently walks through the terminal, pulling a sleek carry-on. Motion blur and speed ramps. 0:04–0:06 Rapid montage: . Coffee picked up from a café . Boarding pass flips into her hand . Close-up of a luxury watch . Sneakers hitting the polished floor (0.5-second cuts) 0:06–0:09 Low-angle hero shot. She walks through the terminal as sunlight streams through massive windows. People blur past while she stays perfectly in focus. 0:09–0:11 Fast sequence: . Escalator ride . Airport departure board . Hair flip . Adjusts sunglasses . Camera orbit transition 0:11–0:13 Slow motion for a split second as she walks toward the boarding gate. Cinematic lens flares, dramatic trailer boom. 0:13–0:15 Final hero shot from behind as she walks through the jet bridge. She glances back over her shoulder for one frame before the screen cuts to black with a powerful cinematic impact sound. Editing Style . 0.3–1 second shots . Speed ramps . Whip pans . Match cuts . Flash-frame transitions . Bass drops synchronized with cuts . Cinematic trailer pacing . Confident runway-style walk throughout . No dialogue, only high-energy trailer music and cinematic sound design This will feel more like a Netflix action trailer meets a luxury fashion campaign rather than a typical airport vlog.

Sophia

40,153 Aufrufe • vor 15 Tagen

Luxury perfume commercials do not need a full production crew anymore. I created this premium fragrance ad using Nano Banana 2 and Seedance on Creatify AI , combining cinematic product shots, realistic motion, and commercial-quality visuals in minutes. Prompt: Shot 1 (0:00–0:01.5) — Quick Establishing Bright, sunlit vanity scene, bottle standing on a blush-gold pedestal surrounded by lavender sprigs, a white orchid, and honeycomb. Quick push-in — energetic, not lingering. BGM: Upbeat, light acoustic-pop instrumental kicks in immediately, bright and warm, mid-tempo with a confident rhythm — loud enough to carry the whole spot. Shot 2 (0:01.5–0:03) — Jessica Arrival Jessica walks into frame toward the vanity with natural, real-time movement — no slow-mo — reaching for the bottle with a light smile. Camera tracks briskly alongside her. Shot 3 (0:03–0:04.5) — Macro Bottle Turn Quick macro shot: bottle rotates in Jessica's hand at natural speed, gold cap and floral artwork catching light, honeycomb and lavender blurred in the foreground. Shot 4 (0:04.5–0:06) — Lifting to Apply Jessica lifts the bottle toward her neck/collarbone at natural speed, wrist turning, confident everyday gesture — not slow, not hesitant. Shot 5 (0:06–0:08) — The Spray (brief slow-mo accent only) Jessica presses the gold pump at her neck — a fine, visible mist releases and lands on her collarbone/upper chest area. Only this exact release moment gets a brief 0.3–0.5 sec slow-mo accent for visual impact, then instantly resumes normal speed as she lowers the bottle with a satisfied, natural exhale and slight smile — no eyes-closed lingering pause. BGM: Beat swells slightly on the spray release for emphasis, then continues driving forward. Shot 6 (0:08–0:09.5) — Wrist Application Quick cut: Jessica dabs/sprays lightly at her inner wrist, natural real-time motion, then rubs wrists together briefly — fast, confident, commercial-standard gesture. Shot 7 (0:09.5–0:11) — Notes Visualized Fast macro cutaway: lavender petals and a drop of golden honey caught mid-air in crisp, quick motion (not slow-mo) — visualizing lavender, honey, and orchid notes in under 1.5 seconds. Shot 8 (0:11–0:12.5) — Product Detail Quick tilt down the bottle from cap to base, floral artwork sharp and legible, brisk camera movement matching commercial pace. Shot 9 (0:12.5–0:15) — Final Hero Reveal Jessica turns toward camera with the bottle in hand, natural confident stance, quick dolly-out revealing the full vanity scene. Clean, crisp final frame — no slow lingering fade. BGM: Track builds to its peak in the final second, ending on a bright, resolved note — loud and full, not trailing off quietly. Voiceover (minimal, energetic, matched to BGM — not whispered ASMR): (0–1.5 sec) "Meet Lollia Relax." (6–7 sec, on the spray) "Lavender. Honey. Pure calm." (13–15 sec) "Relax into it." Delivered in a warm, clear, confident Western English accent — natural speaking volume and pace, energetic and inviting, not breathy or drawn out. #Creatify #aimediabuyer #aitools #MarketingTips #D2CMarketing
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Luxury perfume commercials do not need a full production crew anymore. I created this premium fragrance ad using Nano Banana 2 and Seedance on Creatify AI , combining cinematic product shots, realistic motion, and commercial-quality visuals in minutes. Prompt: Shot 1 (0:00–0:01.5) — Quick Establishing Bright, sunlit vanity scene, bottle standing on a blush-gold pedestal surrounded by lavender sprigs, a white orchid, and honeycomb. Quick push-in — energetic, not lingering. BGM: Upbeat, light acoustic-pop instrumental kicks in immediately, bright and warm, mid-tempo with a confident rhythm — loud enough to carry the whole spot. Shot 2 (0:01.5–0:03) — Jessica Arrival Jessica walks into frame toward the vanity with natural, real-time movement — no slow-mo — reaching for the bottle with a light smile. Camera tracks briskly alongside her. Shot 3 (0:03–0:04.5) — Macro Bottle Turn Quick macro shot: bottle rotates in Jessica's hand at natural speed, gold cap and floral artwork catching light, honeycomb and lavender blurred in the foreground. Shot 4 (0:04.5–0:06) — Lifting to Apply Jessica lifts the bottle toward her neck/collarbone at natural speed, wrist turning, confident everyday gesture — not slow, not hesitant. Shot 5 (0:06–0:08) — The Spray (brief slow-mo accent only) Jessica presses the gold pump at her neck — a fine, visible mist releases and lands on her collarbone/upper chest area. Only this exact release moment gets a brief 0.3–0.5 sec slow-mo accent for visual impact, then instantly resumes normal speed as she lowers the bottle with a satisfied, natural exhale and slight smile — no eyes-closed lingering pause. BGM: Beat swells slightly on the spray release for emphasis, then continues driving forward. Shot 6 (0:08–0:09.5) — Wrist Application Quick cut: Jessica dabs/sprays lightly at her inner wrist, natural real-time motion, then rubs wrists together briefly — fast, confident, commercial-standard gesture. Shot 7 (0:09.5–0:11) — Notes Visualized Fast macro cutaway: lavender petals and a drop of golden honey caught mid-air in crisp, quick motion (not slow-mo) — visualizing lavender, honey, and orchid notes in under 1.5 seconds. Shot 8 (0:11–0:12.5) — Product Detail Quick tilt down the bottle from cap to base, floral artwork sharp and legible, brisk camera movement matching commercial pace. Shot 9 (0:12.5–0:15) — Final Hero Reveal Jessica turns toward camera with the bottle in hand, natural confident stance, quick dolly-out revealing the full vanity scene. Clean, crisp final frame — no slow lingering fade. BGM: Track builds to its peak in the final second, ending on a bright, resolved note — loud and full, not trailing off quietly. Voiceover (minimal, energetic, matched to BGM — not whispered ASMR): (0–1.5 sec) "Meet Lollia Relax." (6–7 sec, on the spray) "Lavender. Honey. Pure calm." (13–15 sec) "Relax into it." Delivered in a warm, clear, confident Western English accent — natural speaking volume and pace, energetic and inviting, not breathy or drawn out. #Creatify #aimediabuyer #aitools #MarketingTips #D2CMarketing

Jessica Collins

51,987 Aufrufe • vor 1 Monat

Would you dare chase justice while swinging thousands of feet above traffic below? Seedance 2 prompt on BudgetPixel AI Create a 15-second ultra-realistic cinematic high-altitude tether-swinging action sequence in strict 16:9 landscape, native 4K, 24fps. Use one seamless continuous drone follow shot with no cuts, no teleporting, and no time skips. The motion must feel physically continuous, dynamic, thrilling, and always readable. REFERENCE: image1 = main heroine reference. Use image1 as the strict identity reference for the heroine’s face, facial proportions, hairstyle, hair color, body proportions, age impression, outfit, shoes, accessories, styling, and overall recognizable appearance. Preserve her identity consistently throughout the whole video. Keep her as an original urban tether-swinging action heroine. Do not redesign her into a branded superhero character. Do not add franchise logos, copyrighted chest emblems, or recognizable third-party superhero symbols. CORE CONCEPT: This is an original urban tether-swinging action short. The heroine moves through the city using thin wrist-launched fiber lines, momentum, wall-running, rooftop movement, and real parkour body mechanics. She travels at high altitude between tall buildings, then lands on a rooftop, defeats one villain, and ends with a powerful shout. HOOK: The first second must be an instant scroll-stopping hook. Start with the heroine already falling backward off the edge of a very tall skyscraper. For a brief moment, it looks like she may actually fall. Then she instantly fires one thin tether line upward, it catches, and her body snaps into a huge high-altitude swing between buildings. STYLE: Photorealistic live-action realism. Premium cinematic action quality. Bright daytime Los Angeles atmosphere with realistic haze, realistic motion blur, realistic fabric movement, realistic body weight, real inertia, and practical environmental interaction. The sequence should feel like a premium action movie shot, not animation, not a game cutscene, and not a cartoon. CAMERA: One uninterrupted drone follow shot only. No cuts. No resets. No jumpy edits. No impossible viewpoint teleporting. The drone camera must stay wide enough to show both the heroine and the environment together. It may tilt, roll, arc, climb, and dive with the motion, but it must always feel like one real flying camera tracking her. Keep the framing intense and fast, but always readable. ENVIRONMENT: Bright daytime in a dense modern city inspired by Los Angeles and Hollywood. Show: - tall glass and concrete high-rises - rooftop edges - billboards and signage - palm trees far below where visible - busy roads and traffic far beneath - bright haze and sunny atmosphere - believable large-scale urban depth The action must happen mainly high above the street between tall buildings, not low near the ground for most of the video. VILLAIN RULE: Only one villain appears in the entire video. The villain is one adult male enemy only. He wears a fitted black suit, black shirt, and black shoes. No mask, no armor, no fantasy costume. He appears only in the rooftop combat section. Do not generate multiple enemies. Do not generate background enemies. Do not clone or duplicate the villain. ACTION RULES: The heroine’s movement must feel hand-and-foot driven, not magical floating. She must visibly: - fire thin tether lines from her hands - swing with real tension and momentum - push off building surfaces - run along walls with clear foot placement - absorb landings with bent knees - sprint briefly on a rooftop - fight one villain using fast practical action - finish in control Her body mechanics must stay realistic: - core engaged during swings - arms extended or flexed according to line tension - knees bend on landing and push-off - visible transfer of momentum between swing, wall-run, leap, landing, and combat Do not make her hover weightlessly. Do not make the tether line act like magic. Do not make her float in place unnaturally. EMOTIONAL ARC: - opening: shock and immediate control - mid-swing: intense focus - rooftop approach: rising confidence - rooftop fight: sharp aggression and urgency - ending: victorious adrenaline and fearless release AUDIO: No music. Effects and ambience only: - rushing wind - tether firing and tension snaps - air pass-by - foot impacts on walls and rooftop surfaces - city ambience far below - distant traffic and horns - fabric movement - breathing - one short rooftop fight impact sequence - one powerful final shout from the heroine TIMELINE: 0:00–0:01 Start from black into a shocking rooftop-edge fall. The heroine is already dropping backward off a skyscraper. For a fraction of a second it feels dangerous and uncontrolled. She immediately flicks her wrist and fires one thin tether line upward. It catches instantly. The drone yanks back and reveals the start of a huge swing. 0:01–0:04 The heroine swings at high altitude between tall buildings. The city is far below. Her body forms a long aerodynamic arc, one arm holding tension through the line, legs trailing cleanly behind. The drone follows wide and slightly rolled, emphasizing height, speed, and scale. 0:04–0:06 At the swing’s forward rise, she releases the line and redirects toward a nearby glass-and-concrete building. She plants onto the wall and runs across it diagonally with 4 to 5 clear steps. Her feet hit the wall with visible force. Her jaw is set and focused. The drone stays close but wide enough to keep the city depth visible. 0:06–0:08 She pushes explosively off the wall, fires a new tether line, and swings again through a narrower corridor between tall buildings. The movement should feel faster and more controlled now. She threads cleanly through the urban gap and angles toward a rooftop landing zone ahead. 0:08–0:09.5 She releases the line and lands hard but controlled on a rooftop. Knees bend deeply to absorb impact. She rolls into a short forward recovery step, then rises immediately into a sprint across the rooftop surface. 0:09.5–0:12 One villain in a black suit steps in to stop her. Keep only this single enemy. The heroine engages him in a short, sharp rooftop fight. She avoids his first attack with a quick slip, grabs or redirects his arm, drives one fast body shot or elbow, then uses his off-balance momentum to throw or slam him down onto the rooftop. The fight must feel quick, practical, and decisive. Real impact reactions. No slow choreography. No extra enemies. 0:12–0:13.5 The villain is down and no longer a threat. The heroine steps past him and moves to the rooftop edge. Wind moves her hair and outfit. She looks outward over the city with intense adrenaline and triumph. 0:13.5–0:15 At the rooftop edge, she turns slightly toward the open skyline, lifts her chest, and shouts one powerful final line: “가자!” She immediately launches forward off the rooftop edge into another leap just as the clip ends. End on the feeling that the action is continuing beyond the cut. IMPORTANT RULES: - one continuous drone follow shot only - no cuts - no teleporting - no cloning - no multiple villains - only one black-suited villain - no giant web canopy - use only thin functional tether lines - no franchise logos - no copyrighted chest symbols - preserve the uploaded identity consistently - action must stay realistic and momentum-driven - rooftop fight must be short, sharp, and readable - final shout must be “가자!” NEGATIVE: no cartoon, no anime, no game-engine look, no fake CGI stiffness, no floating, no weightless hovering, no random disconnected acrobatics, no city-wide web canopy, no superhero logo, no copyrighted spider emblem, no extra enemies, no masked villain, no armored villain, no cloned villain, no empty city, no dark night setting, no rain, no slow motion, no blurred identity, no outfit drift, no face drift, no extra limbs, no broken anatomy, no unrealistic hand deformation, no collision with buildings during swings, no messy unreadable fight.
0:13

Would you dare chase justice while swinging thousands of feet above traffic below? Seedance 2 prompt on BudgetPixel AI Create a 15-second ultra-realistic cinematic high-altitude tether-swinging action sequence in strict 16:9 landscape, native 4K, 24fps. Use one seamless continuous drone follow shot with no cuts, no teleporting, and no time skips. The motion must feel physically continuous, dynamic, thrilling, and always readable. REFERENCE: image1 = main heroine reference. Use image1 as the strict identity reference for the heroine’s face, facial proportions, hairstyle, hair color, body proportions, age impression, outfit, shoes, accessories, styling, and overall recognizable appearance. Preserve her identity consistently throughout the whole video. Keep her as an original urban tether-swinging action heroine. Do not redesign her into a branded superhero character. Do not add franchise logos, copyrighted chest emblems, or recognizable third-party superhero symbols. CORE CONCEPT: This is an original urban tether-swinging action short. The heroine moves through the city using thin wrist-launched fiber lines, momentum, wall-running, rooftop movement, and real parkour body mechanics. She travels at high altitude between tall buildings, then lands on a rooftop, defeats one villain, and ends with a powerful shout. HOOK: The first second must be an instant scroll-stopping hook. Start with the heroine already falling backward off the edge of a very tall skyscraper. For a brief moment, it looks like she may actually fall. Then she instantly fires one thin tether line upward, it catches, and her body snaps into a huge high-altitude swing between buildings. STYLE: Photorealistic live-action realism. Premium cinematic action quality. Bright daytime Los Angeles atmosphere with realistic haze, realistic motion blur, realistic fabric movement, realistic body weight, real inertia, and practical environmental interaction. The sequence should feel like a premium action movie shot, not animation, not a game cutscene, and not a cartoon. CAMERA: One uninterrupted drone follow shot only. No cuts. No resets. No jumpy edits. No impossible viewpoint teleporting. The drone camera must stay wide enough to show both the heroine and the environment together. It may tilt, roll, arc, climb, and dive with the motion, but it must always feel like one real flying camera tracking her. Keep the framing intense and fast, but always readable. ENVIRONMENT: Bright daytime in a dense modern city inspired by Los Angeles and Hollywood. Show: - tall glass and concrete high-rises - rooftop edges - billboards and signage - palm trees far below where visible - busy roads and traffic far beneath - bright haze and sunny atmosphere - believable large-scale urban depth The action must happen mainly high above the street between tall buildings, not low near the ground for most of the video. VILLAIN RULE: Only one villain appears in the entire video. The villain is one adult male enemy only. He wears a fitted black suit, black shirt, and black shoes. No mask, no armor, no fantasy costume. He appears only in the rooftop combat section. Do not generate multiple enemies. Do not generate background enemies. Do not clone or duplicate the villain. ACTION RULES: The heroine’s movement must feel hand-and-foot driven, not magical floating. She must visibly: - fire thin tether lines from her hands - swing with real tension and momentum - push off building surfaces - run along walls with clear foot placement - absorb landings with bent knees - sprint briefly on a rooftop - fight one villain using fast practical action - finish in control Her body mechanics must stay realistic: - core engaged during swings - arms extended or flexed according to line tension - knees bend on landing and push-off - visible transfer of momentum between swing, wall-run, leap, landing, and combat Do not make her hover weightlessly. Do not make the tether line act like magic. Do not make her float in place unnaturally. EMOTIONAL ARC: - opening: shock and immediate control - mid-swing: intense focus - rooftop approach: rising confidence - rooftop fight: sharp aggression and urgency - ending: victorious adrenaline and fearless release AUDIO: No music. Effects and ambience only: - rushing wind - tether firing and tension snaps - air pass-by - foot impacts on walls and rooftop surfaces - city ambience far below - distant traffic and horns - fabric movement - breathing - one short rooftop fight impact sequence - one powerful final shout from the heroine TIMELINE: 0:00–0:01 Start from black into a shocking rooftop-edge fall. The heroine is already dropping backward off a skyscraper. For a fraction of a second it feels dangerous and uncontrolled. She immediately flicks her wrist and fires one thin tether line upward. It catches instantly. The drone yanks back and reveals the start of a huge swing. 0:01–0:04 The heroine swings at high altitude between tall buildings. The city is far below. Her body forms a long aerodynamic arc, one arm holding tension through the line, legs trailing cleanly behind. The drone follows wide and slightly rolled, emphasizing height, speed, and scale. 0:04–0:06 At the swing’s forward rise, she releases the line and redirects toward a nearby glass-and-concrete building. She plants onto the wall and runs across it diagonally with 4 to 5 clear steps. Her feet hit the wall with visible force. Her jaw is set and focused. The drone stays close but wide enough to keep the city depth visible. 0:06–0:08 She pushes explosively off the wall, fires a new tether line, and swings again through a narrower corridor between tall buildings. The movement should feel faster and more controlled now. She threads cleanly through the urban gap and angles toward a rooftop landing zone ahead. 0:08–0:09.5 She releases the line and lands hard but controlled on a rooftop. Knees bend deeply to absorb impact. She rolls into a short forward recovery step, then rises immediately into a sprint across the rooftop surface. 0:09.5–0:12 One villain in a black suit steps in to stop her. Keep only this single enemy. The heroine engages him in a short, sharp rooftop fight. She avoids his first attack with a quick slip, grabs or redirects his arm, drives one fast body shot or elbow, then uses his off-balance momentum to throw or slam him down onto the rooftop. The fight must feel quick, practical, and decisive. Real impact reactions. No slow choreography. No extra enemies. 0:12–0:13.5 The villain is down and no longer a threat. The heroine steps past him and moves to the rooftop edge. Wind moves her hair and outfit. She looks outward over the city with intense adrenaline and triumph. 0:13.5–0:15 At the rooftop edge, she turns slightly toward the open skyline, lifts her chest, and shouts one powerful final line: “가자!” She immediately launches forward off the rooftop edge into another leap just as the clip ends. End on the feeling that the action is continuing beyond the cut. IMPORTANT RULES: - one continuous drone follow shot only - no cuts - no teleporting - no cloning - no multiple villains - only one black-suited villain - no giant web canopy - use only thin functional tether lines - no franchise logos - no copyrighted chest symbols - preserve the uploaded identity consistently - action must stay realistic and momentum-driven - rooftop fight must be short, sharp, and readable - final shout must be “가자!” NEGATIVE: no cartoon, no anime, no game-engine look, no fake CGI stiffness, no floating, no weightless hovering, no random disconnected acrobatics, no city-wide web canopy, no superhero logo, no copyrighted spider emblem, no extra enemies, no masked villain, no armored villain, no cloned villain, no empty city, no dark night setting, no rain, no slow motion, no blurred identity, no outfit drift, no face drift, no extra limbs, no broken anatomy, no unrealistic hand deformation, no collision with buildings during swings, no messy unreadable fight.

Sharon Riley

59,224 Aufrufe • vor 12 Tagen

WAITING IN THE SKY VINYL LP FOR RSD 2024 “He’d like to come and meet us...” To mark what would have been David Bowie’s 77th birthday, Parlophone Records are proud to announce the release of a very special David Bowie limited vinyl LP, WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) which will be released on 20th April, 2024 for Record Store Day. Keep reading for the full press release. #BowieRSD #RSD2024 #BowieWaitingInTheSky + - + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) LIMITED 11-TRACK VINYL ALBUM RELEASED EXCLUSIVELY FOR RECORD STORE DAY 20th APRIL, 2024 Parlophone Records are proud to announce the release of a very special David Bowie limited vinyl LP, WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) which will be released on 20th April, 2024 for Record Store Day. The album is taken from the Trident Studios 1/4” stereo tapes dated 15th December, 1971, which were created for the then provisional tracklisting for what would become THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS album. The tracklisting for WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) runs differently from the ZIGGY STARDUST album and features four songs that didn’t make the final album. On Side 1, in the place of ‘STARMAN’, one of the last three tracks recorded for the album in February 1972, is ‘ROUND AND ROUND’, a Chuck Berry cover. The track was finally released on a single as the B-side to ‘DRIVE-IN SATURDAY’ on 6th April, 1973. Initially, closing Side 1 of the album was Bowie's version of Jacques Brel’s ‘AMSTERDAM’, which would later appear as the B-side of ‘SORROW’ on 12th October, 1973. Side 2 of the 15th December, 1971 tracklisting features two long-time non-LP fan favourites, ‘HOLY HOLY’ and ‘VELVET GOLDMINE’. The former is a re-recording with The Spiders of David’s 1971 single. Again, this version of the track had to wait several years before surfacing as the B-side of ‘DIAMOND DOGS’ on 14th June, 1974. ‘VELVET GOLDMINE’ is considered by many to be a lost Ziggy era classic, one Bowie often referred to as ‘He’s A Goldmine’ or ‘She’s A Goldmine’ in his notebooks and interviews. The track was recorded during the Ziggy sessions but was not released until 26th September, 1975, alongside ‘CHANGES’ backing the re-released album version of ‘SPACE ODDITY’, which peaked at no. 1 in the U.K. singles chart in November 1975. The cover of WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) features a photo of David taken at an early Ziggy Stardust period session by Brian Ward, and the two sides of the inner bags are the fronts of the two Trident Studios tape boxes. The album’s title comes from the lyrics of ‘STARMAN’, which, along with ‘ROCK ’N’ ROLL SUICIDE’ and ‘SUFFRAGETTE CITY’, had not yet been recorded when this variation of the album was compiled. WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original Trident Studios master tapes, with no additional processing on transfer. The half-speed vinyl cut was by engineer John Webber at AIR Studios, London. DAVID BOWIE WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) Side 1 Five Years Soul Love Moonage Daydream Round And Round Amsterdam Side 2 Hang On To Yourself Ziggy Stardust Velvet Goldmine Holy Holy Star Lady Stardust DAVID BOWIE WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) LIMITED 11-TRACK VINYL ALBUM RELEASED BY PARLOPHONE EXCLUSIVELY FOR RECORD STORE DAY 20th APRIL, 2024
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WAITING IN THE SKY VINYL LP FOR RSD 2024 “He’d like to come and meet us...” To mark what would have been David Bowie’s 77th birthday, Parlophone Records are proud to announce the release of a very special David Bowie limited vinyl LP, WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) which will be released on 20th April, 2024 for Record Store Day. Keep reading for the full press release. #BowieRSD #RSD2024 #BowieWaitingInTheSky + - + - + - + - + - + - + - + - + - + - + - + - + DAVID BOWIE WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) LIMITED 11-TRACK VINYL ALBUM RELEASED EXCLUSIVELY FOR RECORD STORE DAY 20th APRIL, 2024 Parlophone Records are proud to announce the release of a very special David Bowie limited vinyl LP, WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) which will be released on 20th April, 2024 for Record Store Day. The album is taken from the Trident Studios 1/4” stereo tapes dated 15th December, 1971, which were created for the then provisional tracklisting for what would become THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS album. The tracklisting for WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) runs differently from the ZIGGY STARDUST album and features four songs that didn’t make the final album. On Side 1, in the place of ‘STARMAN’, one of the last three tracks recorded for the album in February 1972, is ‘ROUND AND ROUND’, a Chuck Berry cover. The track was finally released on a single as the B-side to ‘DRIVE-IN SATURDAY’ on 6th April, 1973. Initially, closing Side 1 of the album was Bowie's version of Jacques Brel’s ‘AMSTERDAM’, which would later appear as the B-side of ‘SORROW’ on 12th October, 1973. Side 2 of the 15th December, 1971 tracklisting features two long-time non-LP fan favourites, ‘HOLY HOLY’ and ‘VELVET GOLDMINE’. The former is a re-recording with The Spiders of David’s 1971 single. Again, this version of the track had to wait several years before surfacing as the B-side of ‘DIAMOND DOGS’ on 14th June, 1974. ‘VELVET GOLDMINE’ is considered by many to be a lost Ziggy era classic, one Bowie often referred to as ‘He’s A Goldmine’ or ‘She’s A Goldmine’ in his notebooks and interviews. The track was recorded during the Ziggy sessions but was not released until 26th September, 1975, alongside ‘CHANGES’ backing the re-released album version of ‘SPACE ODDITY’, which peaked at no. 1 in the U.K. singles chart in November 1975. The cover of WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) features a photo of David taken at an early Ziggy Stardust period session by Brian Ward, and the two sides of the inner bags are the fronts of the two Trident Studios tape boxes. The album’s title comes from the lyrics of ‘STARMAN’, which, along with ‘ROCK ’N’ ROLL SUICIDE’ and ‘SUFFRAGETTE CITY’, had not yet been recorded when this variation of the album was compiled. WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original Trident Studios master tapes, with no additional processing on transfer. The half-speed vinyl cut was by engineer John Webber at AIR Studios, London. DAVID BOWIE WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) Side 1 Five Years Soul Love Moonage Daydream Round And Round Amsterdam Side 2 Hang On To Yourself Ziggy Stardust Velvet Goldmine Holy Holy Star Lady Stardust DAVID BOWIE WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH) LIMITED 11-TRACK VINYL ALBUM RELEASED BY PARLOPHONE EXCLUSIVELY FOR RECORD STORE DAY 20th APRIL, 2024

David Bowie Official

71,975 Aufrufe • vor 2 Jahren

As the Connecticut Huskies attempt to win another national championship tonight against Michigan, Alabama Men’s Basketball fans still hear the echos of two years ago when the Crimson Tide finally crashed college basketball’s biggest event for the first time on April 6, 2024. Inside State Farm Stadium in Glendale, Ariz., the Crimson Tide’s breakthrough season reached its crescendo in its first Final Four appearance against the Huskies. As a No. 4 seed coming out of the West Region, the magical run ended with an 86-72 loss, but not before the Crimson Tide proved it belonged on the grandest stage. Mark Sears led the way with 24 points, five rebounds and three assists, continuing his March brilliance. Grant Nelson delivered a monster effort with 19 points and a season-best 15 rebounds for a double-double, while Aaron Estrada added 13 points as Alabama fought to keep within striking distance deep into the second half. Stephon Castle scored 21 points, Donovan Clingan had 18 and Tristen Newton controlled the game with 12 points and nine assists. When Alabama clawed back to tie it in the second half, UConn answered with a decisive run. “We got this program to its first Final Four, and I’m unbelievably proud of these guys,” Alabama head coach Nate Oats said. “We just went up against the best team in the country and they showed it.” Two years later, as Connecticut chases another title, that Saturday night in Glendale stands as more than a final score in Alabama history. It redefined the ceiling of a program and created an expectation to get back.
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As the Connecticut Huskies attempt to win another national championship tonight against Michigan, Alabama Men’s Basketball fans still hear the echos of two years ago when the Crimson Tide finally crashed college basketball’s biggest event for the first time on April 6, 2024. Inside State Farm Stadium in Glendale, Ariz., the Crimson Tide’s breakthrough season reached its crescendo in its first Final Four appearance against the Huskies. As a No. 4 seed coming out of the West Region, the magical run ended with an 86-72 loss, but not before the Crimson Tide proved it belonged on the grandest stage. Mark Sears led the way with 24 points, five rebounds and three assists, continuing his March brilliance. Grant Nelson delivered a monster effort with 19 points and a season-best 15 rebounds for a double-double, while Aaron Estrada added 13 points as Alabama fought to keep within striking distance deep into the second half. Stephon Castle scored 21 points, Donovan Clingan had 18 and Tristen Newton controlled the game with 12 points and nine assists. When Alabama clawed back to tie it in the second half, UConn answered with a decisive run. “We got this program to its first Final Four, and I’m unbelievably proud of these guys,” Alabama head coach Nate Oats said. “We just went up against the best team in the country and they showed it.” Two years later, as Connecticut chases another title, that Saturday night in Glendale stands as more than a final score in Alabama history. It redefined the ceiling of a program and created an expectation to get back.

Tide Hoops History

31,324 Aufrufe • vor 4 Monaten

RESIDENT EVIL REQUIEM THE FINAL PUZZLE HAS BEEN SOLVED! Rantsycancy and Kyro are the first people in the world to figure it out, a ridiculously complex set of steps have to be taken for this one Here's how to solve it: 1 - Wait 15 minutes at the meat processing plant in teh basement to reset the game's flag tracking back to 0 2 - Once you're in the processer sequence in the basement, do not kill ANY zombies 3 - AFTER the basement, you don't need to pick up the severed hand, go to the toilets in the West Wing and flush one of the toilets exactly EIGHT times 4 - Now proceed normally with the story, once you get to the basement of Victor's office to get the pilot's key, as you are escaping, Marie's doll will spawn at the staircase 5 - Now finish the entire game with Marie's doll in the item box 6 - Start a new playthrough, play up to past the basement, pick up the severed hand, scan it then go to the East Wing, enter the code that I discussed in the original post at the Sun/Star/Moon machine in the East Wing WHILE carrying Emily 7 - You have completed RE9's Final Puzzle! What a ridiculously convoluted, confusing puzzle. So happy its finally solved!
0:17

RESIDENT EVIL REQUIEM THE FINAL PUZZLE HAS BEEN SOLVED! Rantsycancy and Kyro are the first people in the world to figure it out, a ridiculously complex set of steps have to be taken for this one Here's how to solve it: 1 - Wait 15 minutes at the meat processing plant in teh basement to reset the game's flag tracking back to 0 2 - Once you're in the processer sequence in the basement, do not kill ANY zombies 3 - AFTER the basement, you don't need to pick up the severed hand, go to the toilets in the West Wing and flush one of the toilets exactly EIGHT times 4 - Now proceed normally with the story, once you get to the basement of Victor's office to get the pilot's key, as you are escaping, Marie's doll will spawn at the staircase 5 - Now finish the entire game with Marie's doll in the item box 6 - Start a new playthrough, play up to past the basement, pick up the severed hand, scan it then go to the East Wing, enter the code that I discussed in the original post at the Sun/Star/Moon machine in the East Wing WHILE carrying Emily 7 - You have completed RE9's Final Puzzle! What a ridiculously convoluted, confusing puzzle. So happy its finally solved!

Synth Potato🥔

2,398,034 Aufrufe • vor 5 Monaten

While many around the league don’t expect any linebackers to be drafted tonight, if there is one, it certainly could be #TexasAM’s Edgerrin Cooper. Cooper is the most complete LB in the 2024 draft class. He’s shown to be: 1️⃣an elite athlete 2️⃣a consistent and impactful run defender 3️⃣a capable and efficient blitzer, and 4️⃣able to use his size and bend to disrupt in pass protection As a run defender, he finished with an 87.6 PFF grade, highest among any expected draft linebackers in this year’s draft class. That includes 15 TFLs or no gain plays. As you can see (🎥), his downhill force plus balance and control allows him to consistently win in the run game As a pass rusher, he had 7 sacks on the year, 4 of which came from playing on the line of scrimmage. When lined up on the line of scrimmage, he generated a pressure on over 30% of his pass rush snaps. Elite ‼️ And in coverage, he finished with a top-10 coverage grade int eh country last season (per PFF College) among LBs lined up in the box. He’s able to use his length and bend, along with developed vision and timing to disrupt plays from the box. Couple all of that with a 4.51 forty time and would-be impressive athletic testing numbers if he was 100% for the draft process (why he wasn’t able to officially go every day in practice at East-West Shrine Bowl), and it’s hard to ignore his NFL starting potential. There’s a real chance he goes in late round one, but if he’s there on Day 2, he may not only be one of, if not the, first linebacker drafted, but may be one of the first players taken on Day 2 of the draft. #ShrineBowlWhosNext
0:16

While many around the league don’t expect any linebackers to be drafted tonight, if there is one, it certainly could be #TexasAM’s Edgerrin Cooper. Cooper is the most complete LB in the 2024 draft class. He’s shown to be: 1️⃣an elite athlete 2️⃣a consistent and impactful run defender 3️⃣a capable and efficient blitzer, and 4️⃣able to use his size and bend to disrupt in pass protection As a run defender, he finished with an 87.6 PFF grade, highest among any expected draft linebackers in this year’s draft class. That includes 15 TFLs or no gain plays. As you can see (🎥), his downhill force plus balance and control allows him to consistently win in the run game As a pass rusher, he had 7 sacks on the year, 4 of which came from playing on the line of scrimmage. When lined up on the line of scrimmage, he generated a pressure on over 30% of his pass rush snaps. Elite ‼️ And in coverage, he finished with a top-10 coverage grade int eh country last season (per PFF College) among LBs lined up in the box. He’s able to use his length and bend, along with developed vision and timing to disrupt plays from the box. Couple all of that with a 4.51 forty time and would-be impressive athletic testing numbers if he was 100% for the draft process (why he wasn’t able to officially go every day in practice at East-West Shrine Bowl), and it’s hard to ignore his NFL starting potential. There’s a real chance he goes in late round one, but if he’s there on Day 2, he may not only be one of, if not the, first linebacker drafted, but may be one of the first players taken on Day 2 of the draft. #ShrineBowlWhosNext

Eric Galko

100,408 Aufrufe • vor 2 Jahren

more frontend vibecoding tips (results below): WHY YOUR VIBECODED FRONTENDS ALL LOOK THE SAME AND SUCK: when asked to make a frontend, the agent/llm will default to the center/average of its training data (in a very loose sense). through the training process, the model essentially converges on some default UI style. it's very capable of doing things that are different from this style, but you have to ask! for instance, ChatGPT tends to reply in the same tone for all users untill you interact with it and instruct it differently ("be sassy", "eli5"). the second reason is that most of us are not good at coming up with designs and describing them precisely (see my tweet on a crash course in common components, which i'll link below). treat frontend generation just like any other eng task! you need to provide a good detailed spec. TIPS: 1. give ur agent screenshots of designs you like (you may not know the right words to describe them but the agent will! a pic = 1000 words) where to find ui inspo? Behance, Dribbble, Mobbin (Mobbin is paid but worth it!) 2. ask ur agent for proposals, this helps "seed" different directions so the final frontend stands out. don't be afraid to go back and forth. 3. ban certain tendencies: no Inter/Roboto, no shadcn (controversial), no gradients, no emojis 4. encourage the agent to be extreme and make bold decisions, not safe ones. i think that the underlying models tend to get taught during RL/fine-tuning to make conservative choices that produce reasonable but boring frontends 5. give ur agent Figma MCP. the best results will come if you mockup your vision in Figma first. 6. Ideally choose an agent with vision capabilities TLDR: Most people are tremendously underusing agents for frontend design. They are much better than you might expect.
0:12

more frontend vibecoding tips (results below): WHY YOUR VIBECODED FRONTENDS ALL LOOK THE SAME AND SUCK: when asked to make a frontend, the agent/llm will default to the center/average of its training data (in a very loose sense). through the training process, the model essentially converges on some default UI style. it's very capable of doing things that are different from this style, but you have to ask! for instance, ChatGPT tends to reply in the same tone for all users untill you interact with it and instruct it differently ("be sassy", "eli5"). the second reason is that most of us are not good at coming up with designs and describing them precisely (see my tweet on a crash course in common components, which i'll link below). treat frontend generation just like any other eng task! you need to provide a good detailed spec. TIPS: 1. give ur agent screenshots of designs you like (you may not know the right words to describe them but the agent will! a pic = 1000 words) where to find ui inspo? Behance, Dribbble, Mobbin (Mobbin is paid but worth it!) 2. ask ur agent for proposals, this helps "seed" different directions so the final frontend stands out. don't be afraid to go back and forth. 3. ban certain tendencies: no Inter/Roboto, no shadcn (controversial), no gradients, no emojis 4. encourage the agent to be extreme and make bold decisions, not safe ones. i think that the underlying models tend to get taught during RL/fine-tuning to make conservative choices that produce reasonable but boring frontends 5. give ur agent Figma MCP. the best results will come if you mockup your vision in Figma first. 6. Ideally choose an agent with vision capabilities TLDR: Most people are tremendously underusing agents for frontend design. They are much better than you might expect.

andrew gao

64,566 Aufrufe • vor 5 Monaten

Free 5,000 Sample Packs Giveaway. At David, we design tools to increase muscle and decrease fat. We have meticulously crafted the perfect protein bar. Every ingredient and every flavor combination has been diligently recipe tested to optimize for macronutrients and taste. Our unwavering commitment to excellence and craftsmanship has led to what we believe is the most effective portable protein on the planet: 28g protein, 150 calories, 0g sugar, and no artificial sweeteners. The sample pack includes four bars from our first flavors: Chocolate Chip Cookie Dough, Blueberry Pie, Cake Batter, and Double Fudge Brownie. To receive a sample pack and try our bars before we officially launch, enter our giveaway by following the steps below: 1) Fill out the form linked in my profile. 2) Like this tweet. 3) Respond to this tweet by tagging a friend. Eligibility & Entry Details: Participants who complete all steps will be eligible to win one of 5,000 sample packs. The giveaway ends at 1pm EST on August 28. Winners will be contacted via email within 24 hours to provide shipping information and claim their prize. Open to residents of the contiguous 48 United States. No purchase necessary. Void where prohibited. Must be 18 years or older to enter the giveaway. Legal Notices: This promotion is in no way sponsored, endorsed, administered by, or associated with Instagram. By entering, you confirm that you are 18+ years of age, a resident of an eligible region, and agree to Instagram's terms of use.
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Free 5,000 Sample Packs Giveaway. At David, we design tools to increase muscle and decrease fat. We have meticulously crafted the perfect protein bar. Every ingredient and every flavor combination has been diligently recipe tested to optimize for macronutrients and taste. Our unwavering commitment to excellence and craftsmanship has led to what we believe is the most effective portable protein on the planet: 28g protein, 150 calories, 0g sugar, and no artificial sweeteners. The sample pack includes four bars from our first flavors: Chocolate Chip Cookie Dough, Blueberry Pie, Cake Batter, and Double Fudge Brownie. To receive a sample pack and try our bars before we officially launch, enter our giveaway by following the steps below: 1) Fill out the form linked in my profile. 2) Like this tweet. 3) Respond to this tweet by tagging a friend. Eligibility & Entry Details: Participants who complete all steps will be eligible to win one of 5,000 sample packs. The giveaway ends at 1pm EST on August 28. Winners will be contacted via email within 24 hours to provide shipping information and claim their prize. Open to residents of the contiguous 48 United States. No purchase necessary. Void where prohibited. Must be 18 years or older to enter the giveaway. Legal Notices: This promotion is in no way sponsored, endorsed, administered by, or associated with Instagram. By entering, you confirm that you are 18+ years of age, a resident of an eligible region, and agree to Instagram's terms of use.

Peter Rahal

38,899 Aufrufe • vor 2 Jahren

Hills I will die on as someone who has coached high school football for over 29 years: 1. If you are not PASSIONATE about blessing, serving, and empowering those you are blessed to coach, this profession is not for you. 2. As much as we need to know our trade, getting to know (and to love), our players is far more important. 3. This is an INTENSE game, and it’ll never be “just a game”, but it IS a game. Remember that when you’re with your team, and more importantly, remember that when you’re with your family. 4. Just as we teach our athletes to “leave things better than they found them”, we need to leave our athletes better than they were when they first entered into our program. Never let a day pass without pouring into each and every individual. 5. Life is complicated enough, let’s not complicate the game in such a way that we take the joy of it away from others. In other words… Keep it simple. 6. Our words carry little (or NO), value, if we don’t practice what we preach. WE as coaches should be learning and growing each and every day, just as we expect our athletes to. 7. As much as we all want to win those championship rings for our athletes, make sure you don’t lose your wedding ring in the process. 8. The athlete that may be “difficult to reach/teach” (the one who may get on your last nerve more than you could ever imagine), is someone’s EVERYTHING. Get to know them as human beings, find out what motivates them, and do everything you can to help them to thrive. 9. Be where your feet are. Don’t fall into the trap of chasing logos and thinking that a higher division, a bigger school, or going from HS to college, or even college to the pros, is going to be more rewarding or fulfilling. 10. The legacy you leave as a coach will never be determined by your wins and losses, but by the lives you were able to change for the better!
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Hills I will die on as someone who has coached high school football for over 29 years: 1. If you are not PASSIONATE about blessing, serving, and empowering those you are blessed to coach, this profession is not for you. 2. As much as we need to know our trade, getting to know (and to love), our players is far more important. 3. This is an INTENSE game, and it’ll never be “just a game”, but it IS a game. Remember that when you’re with your team, and more importantly, remember that when you’re with your family. 4. Just as we teach our athletes to “leave things better than they found them”, we need to leave our athletes better than they were when they first entered into our program. Never let a day pass without pouring into each and every individual. 5. Life is complicated enough, let’s not complicate the game in such a way that we take the joy of it away from others. In other words… Keep it simple. 6. Our words carry little (or NO), value, if we don’t practice what we preach. WE as coaches should be learning and growing each and every day, just as we expect our athletes to. 7. As much as we all want to win those championship rings for our athletes, make sure you don’t lose your wedding ring in the process. 8. The athlete that may be “difficult to reach/teach” (the one who may get on your last nerve more than you could ever imagine), is someone’s EVERYTHING. Get to know them as human beings, find out what motivates them, and do everything you can to help them to thrive. 9. Be where your feet are. Don’t fall into the trap of chasing logos and thinking that a higher division, a bigger school, or going from HS to college, or even college to the pros, is going to be more rewarding or fulfilling. 10. The legacy you leave as a coach will never be determined by your wins and losses, but by the lives you were able to change for the better!

Coach Hines 🇺🇸

61,424 Aufrufe • vor 2 Monaten

The conventional route from Mangalore to Coimbatore is via Madikeri - Mysore - Satyamangalam. On this trip I Decided to try investigate two alternatives. On the forward journey I used the coastal highway through Kerala which is a true alternative and will get even better when Kannur bits are done and with a better east west highway from Kozhikode to Palakkad. On the way back though I tried something different. One of South India’s longest mountain drives. It’s almost as the crow flies. I expected a long and tiring drive through the hills but it was surprisingly pleasant. Exiting Coimbatore I drove to ooty. I chose the Kotagiri way rather than Connor. You need to do an online epass to enter the Nilgiris’s which I did on my way. A great breakfast at the Travertine Bungalow in ooty and we headed down via Gudalur. Kalhatti wasn’t open for non TN43 cars heading down. Gudalur is suddenly a bustling town. From Gudalur we headed to Sultanbathery. It’s a most gorgeous town with a lot of prosperity and cleanliness. I haven’t seen a better kept small town under 1 lac population. I’m outing Sultan Bathery as an incredible small town for India. Then we skirted the forests of the tri junction of TN KL and KA and entered Karnataka from Tolpetty-Kutta. The roads in the hills were fantastic except in Karnataka. Very stop gap inconsistent road surfaces with no marking poor shoulders and random junk and debris everywhere. Coorg is the most prosperous between Wayanad and Nilgiris yet karnataka has a long way to go on general beautification, cleanliness and nice roads. Karnataka is definitely the least well managed southern state. Madikeri Mangalore is good and fast. Overall about 9 hours of driving and and hour or two for stops. If you love driving, this road never leaves the mountains and it’s 16-24 degrees through. Beautiful hill drive. Funny enough, the driving time was exactly the same. The stops I took were longer. Maybe fatigue from navigating two track roads. Not a single dual carriageway on this whole route.
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The conventional route from Mangalore to Coimbatore is via Madikeri - Mysore - Satyamangalam. On this trip I Decided to try investigate two alternatives. On the forward journey I used the coastal highway through Kerala which is a true alternative and will get even better when Kannur bits are done and with a better east west highway from Kozhikode to Palakkad. On the way back though I tried something different. One of South India’s longest mountain drives. It’s almost as the crow flies. I expected a long and tiring drive through the hills but it was surprisingly pleasant. Exiting Coimbatore I drove to ooty. I chose the Kotagiri way rather than Connor. You need to do an online epass to enter the Nilgiris’s which I did on my way. A great breakfast at the Travertine Bungalow in ooty and we headed down via Gudalur. Kalhatti wasn’t open for non TN43 cars heading down. Gudalur is suddenly a bustling town. From Gudalur we headed to Sultanbathery. It’s a most gorgeous town with a lot of prosperity and cleanliness. I haven’t seen a better kept small town under 1 lac population. I’m outing Sultan Bathery as an incredible small town for India. Then we skirted the forests of the tri junction of TN KL and KA and entered Karnataka from Tolpetty-Kutta. The roads in the hills were fantastic except in Karnataka. Very stop gap inconsistent road surfaces with no marking poor shoulders and random junk and debris everywhere. Coorg is the most prosperous between Wayanad and Nilgiris yet karnataka has a long way to go on general beautification, cleanliness and nice roads. Karnataka is definitely the least well managed southern state. Madikeri Mangalore is good and fast. Overall about 9 hours of driving and and hour or two for stops. If you love driving, this road never leaves the mountains and it’s 16-24 degrees through. Beautiful hill drive. Funny enough, the driving time was exactly the same. The stops I took were longer. Maybe fatigue from navigating two track roads. Not a single dual carriageway on this whole route.

Aroor Prashanth Rao

28,120 Aufrufe • vor 1 Monat

Maça gitmeden maça gitmek mi??? Bence çok güzel oldu :) Promtu bırakıyorum aşşağıya. Öncelikl görüntüyü oluşturuyorsunuz. Görüntü Promptu; ESPN'de canlı bir NBA maçı TV yayınından bir ekran görüntüsü. Kamera seyirciye dönüyor — referans görüntümüzdeki kişi, gülümseyerek oturuyor. Doğal bir şekilde gülümsüyor, kamerada olduklarının farkında değil. Konu, saha kenarı koltuklarda oturuyor. Hardlock: Yüz yapısını değiştirmeyin ve benzerliklerini koruyun. Tam ESPN yayın katmanı: skor böceği, ağ logosu filigranı, 16:9 en-boy oranı. Görüntü, gerçek bir TV ekran görüntüsü gibi görünüyor — yayın renk derecelendirmesi, hafif sıkıştırma artefaktları, interlacing taneleri. Bu, NBA doğu konferansı yarı finallerinde Knicks ile 76ers arasındaki maç. 3. maç. Knicks, şu ana kadar yarı finallerde 76ers'ı 2-0 önde. Sonrasında görseli alıp video yapıyorsunuz. Video promtu ; First frame being the reference image provided. It’s a realistic live NBA broadcast shot of the subject sitting courtside at a Knicks vs 76ers Eastern Conference Semifinals Game 3 in Philadelphia. The setting is the 76ers home arena. The shot feels like a real TV cutaway during the game when the broadcast camera finds a notable guest in the crowd. The subject is seated courtside, smiling naturally and not over-performing for the camera. He is not locked into eye contact with the lens. He occasionally glances toward the court, then toward the camera, then back toward the court, like a real in-game crowd reaction. One continuous take. No cuts. no angle changes. Action timeline: 0 to 4 seconds: He is smiling casually in his seat as the camera lands on him. He looks around naturally not paying attention to the camera. 4 to 7 seconds: He gives a relaxed, natural wave toward the camera. (Crowd cheers when he waves the first time.) He looks up at the Jumbotron above him then back to camera. 7 to 11 seconds: He cheers briefly with visible excitement, like reacting to the atmosphere of the playoff game. Then talks to his friend to the left of him and then laughs. We don’t hear him speak. 11 to 15 seconds: He claps naturally while smiling. Keep all movement subtle, believable, and human. No exaggerated acting. No direct talking to camera. Broadcast styling: Real live sports broadcast look Telephoto broadcast camera feel Natural arena lighting Slight broadcast compression Slight interlacing / TV grain Authentic crowd movement in the background Realistic courtside framing The subject remains seated courtside for the full shot On-screen graphics: Include a bottom score banner / scorebug that stays completely unchanged for the entire 15 seconds Do not let the scorebug animate, update, or switch Show a realistic Knicks vs 76ers playoff broadcast layout Above the bottom banner, show a clean name graphic that pops up on top of the banner that reads: “Chris First - AI Creator” matching the theme of the UI on screen. The “Chris First” text should appear like a real broadcast identifier above the scorebug Audio / commentary: Add natural live sports-broadcast commentary from two male announcers talking about him being at the game tonight. The tone should be casual, warm, and authentic, like real NBA commentators noticing a known guest in the crowd. Example commentary style: “Chris First is here tonight in Philadelphia, taking in this massive playoff matchup.” “You can see he’s enjoying himself here courtside for Game 3.” “Great atmosphere in the building, and Chris First getting a lot of love from the crowd.” Important constraints: Preserve identity strongly Keep him seated courtside the entire time No constant eye contact with camera No talking to camera No exaggerated gestures No scene cuts No scorebug changes at any point Make it feel like a genuine NBA TV broadcast crowd cutaway Bol şans :)
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Maça gitmeden maça gitmek mi??? Bence çok güzel oldu :) Promtu bırakıyorum aşşağıya. Öncelikl görüntüyü oluşturuyorsunuz. Görüntü Promptu; ESPN'de canlı bir NBA maçı TV yayınından bir ekran görüntüsü. Kamera seyirciye dönüyor — referans görüntümüzdeki kişi, gülümseyerek oturuyor. Doğal bir şekilde gülümsüyor, kamerada olduklarının farkında değil. Konu, saha kenarı koltuklarda oturuyor. Hardlock: Yüz yapısını değiştirmeyin ve benzerliklerini koruyun. Tam ESPN yayın katmanı: skor böceği, ağ logosu filigranı, 16:9 en-boy oranı. Görüntü, gerçek bir TV ekran görüntüsü gibi görünüyor — yayın renk derecelendirmesi, hafif sıkıştırma artefaktları, interlacing taneleri. Bu, NBA doğu konferansı yarı finallerinde Knicks ile 76ers arasındaki maç. 3. maç. Knicks, şu ana kadar yarı finallerde 76ers'ı 2-0 önde. Sonrasında görseli alıp video yapıyorsunuz. Video promtu ; First frame being the reference image provided. It’s a realistic live NBA broadcast shot of the subject sitting courtside at a Knicks vs 76ers Eastern Conference Semifinals Game 3 in Philadelphia. The setting is the 76ers home arena. The shot feels like a real TV cutaway during the game when the broadcast camera finds a notable guest in the crowd. The subject is seated courtside, smiling naturally and not over-performing for the camera. He is not locked into eye contact with the lens. He occasionally glances toward the court, then toward the camera, then back toward the court, like a real in-game crowd reaction. One continuous take. No cuts. no angle changes. Action timeline: 0 to 4 seconds: He is smiling casually in his seat as the camera lands on him. He looks around naturally not paying attention to the camera. 4 to 7 seconds: He gives a relaxed, natural wave toward the camera. (Crowd cheers when he waves the first time.) He looks up at the Jumbotron above him then back to camera. 7 to 11 seconds: He cheers briefly with visible excitement, like reacting to the atmosphere of the playoff game. Then talks to his friend to the left of him and then laughs. We don’t hear him speak. 11 to 15 seconds: He claps naturally while smiling. Keep all movement subtle, believable, and human. No exaggerated acting. No direct talking to camera. Broadcast styling: Real live sports broadcast look Telephoto broadcast camera feel Natural arena lighting Slight broadcast compression Slight interlacing / TV grain Authentic crowd movement in the background Realistic courtside framing The subject remains seated courtside for the full shot On-screen graphics: Include a bottom score banner / scorebug that stays completely unchanged for the entire 15 seconds Do not let the scorebug animate, update, or switch Show a realistic Knicks vs 76ers playoff broadcast layout Above the bottom banner, show a clean name graphic that pops up on top of the banner that reads: “Chris First - AI Creator” matching the theme of the UI on screen. The “Chris First” text should appear like a real broadcast identifier above the scorebug Audio / commentary: Add natural live sports-broadcast commentary from two male announcers talking about him being at the game tonight. The tone should be casual, warm, and authentic, like real NBA commentators noticing a known guest in the crowd. Example commentary style: “Chris First is here tonight in Philadelphia, taking in this massive playoff matchup.” “You can see he’s enjoying himself here courtside for Game 3.” “Great atmosphere in the building, and Chris First getting a lot of love from the crowd.” Important constraints: Preserve identity strongly Keep him seated courtside the entire time No constant eye contact with camera No talking to camera No exaggerated gestures No scene cuts No scorebug changes at any point Make it feel like a genuine NBA TV broadcast crowd cutaway Bol şans :)

Efecim 1 sn

86,325 Aufrufe • vor 3 Monaten