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final sample for the #Kaveh bag! specs: • dimensions (fully open): 26 × 10 × 20 cm • embroidered synth leather, premium non-stretch velvet with lining • rustproof metal hardwares • detachable & adjustable strap • 2 pockets inside stay tune for the preorder! #原神 #genshin
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![Bus driver and conductor stop sudden attack, all passengers safe. Seedance 2.5 Prompt: Cinematic horror-action short film set aboard a Japanese highway bus during the day, opens with an immediate strong hook, maximum dynamic camera work, grounded practical-effects style. Bus interior filled with passengers in every seat, a conductor in a gray uniform with a money pouch at his waist, a driver focused on the road ahead. Muted authentic color grading, natural diegetic sound throughout, tension score entering immediately. > > **[0-1s]** Hard cut: a woman mid-row suddenly jolts violently in her seat, gasping sharply. > > **[1-2s]** Close-up: her veins turn a deep red, spreading rapidly up her neck and across her face. > > **[2-3s]** Her eyes snap open, now fully red — she lunges instantly, biting into her seatmate's shoulder. > > **[3-4s]** He cries out, nearby passengers recoiling in shock, seats creaking as people scramble back. > > **[4-5s]** The bitten man convulses hard, veins spreading fast across his own neck and arms. > > **[5-6s]** He rises seconds later, eyes red, joining her, both turning toward the passengers around them. > > **[6-7s]** Panic spreads through the bus, passengers screaming, climbing over seats to get away. > > **[7-8s]** The conductor spots the chaos from the front, shouting urgently in Japanese: "バスを止めて!" ("Stop the bus!") > > **[8-9s]** The driver slams the brakes hard, the bus lurching to a stop on the highway shoulder. > > **[9-10s]** The conductor grabs a metal tire iron from beneath his seat, moving fast down the aisle. > > **[10-11s]** The driver grabs a heavy steel wheel wrench, following close behind him. > > **[11-12s]** They reach the folding door, wrenching it open, ushering panicked passengers out fast. > > **[12-13s]** Passengers pour out onto the highway shoulder, some stumbling, others sprinting clear. > > **[13-14s]** The two infected push through the fleeing crowd, lunging toward the nearest passenger outside. > > **[14-15s]** The conductor swings the tire iron hard, striking the first infected across the shoulder, sending it stumbling. > > **[15-16s]** The driver swings the wrench into the second infected, knocking it back against the bus. > > **[16-17s]** SLOW MOTION insert: the first infected lunges again, conductor sidestepping and striking it down with a solid blow. > > **[17-18s]** It collapses onto the gravel shoulder, motionless. > > **[18-19s]** The second infected recovers, charging the driver; he braces and swings the wrench in a wide arc. > > **[19-20s]** The impact connects hard, sending it sprawling against the guardrail. > > **[20-21s]** It tries to rise again; the conductor rushes over, delivering one final strike alongside the driver. > > **[21-22s]** It goes still, both men breathing hard, weapons still raised. > > **[22-24s]** Wide shot: passengers huddled together on the highway shoulder, shaken but safe, cars slowing on the opposite lane. > > **[24-26s]** The conductor lowers the tire iron, scanning the group to confirm everyone's accounted for. > > **[26-28s]** The driver checks the two motionless infected on the ground, cautious but confirming they're down. > > **[28-30s]** Final shot: the conductor and driver exchange an exhausted nod, passengers slowly regrouping behind them under the open sky. Cut to black. Natural diegetic sound throughout — gasping, screaming, bus brakes screeching, metal impacts, heavy breathing, distant highway traffic — layered with a tense instrumental score building through the chaos and easing into relief at the end. No text overlay, no watermark. Maximum dynamic camera variety — close-ups, wide shots, tracking shots, slow motion reserved only for the final takedown blows. Realistic shake only during physical impacts, natural daylight highway color grading. Made with seedance 2.5 on SocialSight](https://image.24vids.com/tw-2102265619416768799/amplify_video_thumb/2102263034475659264/img/DLoW1-zbEzpcPrCz.jpg)
![Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…！} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい？} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します！} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.](https://image.24vids.com/tw-2099440985872933199/amplify_video_thumb/2099439622300262404/img/ApTPKT_DRHsOPaZ1.jpg)
![Crafted with GPT image 2 + Gemini Omni/ Seedance 2.0 Prompt: Create a clean, premium storyboard infographic for a product ASMR unboxing video. Design specifications: White background with a modern, minimalist layout. Title at the top: STORYBOARD Product name in bold green (replace with: [PRODUCT NAME]) Subtitle: ASMR UNBOXING Include four information boxes below the title: Duration: 30 Seconds Style: POV Hands, ASMR Audience: 18–35 years old Audio Suggestion: Soft ASMR • Crinkles • Tapping • Pouring Create 12 storyboard panels arranged in a 3-column × 4-row grid. Each panel should contain: A numbered green badge (1–12) Timestamp (0–2.5s, 2.5–5s, etc.) A realistic cinematic image showing the scene Handwritten white doodle text like: TA-DA! POP! WOW! PICK! CRINKLE~ TEAR! POUR~ HOT WATER STIR~ SMOOTH! BEST! Three text sections below every image: VISUAL: ACTION: DIALOGUE: Use realistic product photography, warm wooden table, soft natural lighting, shallow depth of field, POV hands only (no face visible), premium commercial advertising style. Storyboard sequence: 1 (0–2.5s) Visual: Product box on wooden table. Action: Hands enter frame and point to the box. Dialogue: "Have you tried this before?" 2 (2.5–5s) Visual: Opening the box. Action: Lift the top flap slowly. Dialogue: "Let's unbox it together." 3 (5–7.5s) Visual: Multiple individual sachets neatly arranged. Action: Fully reveal the inside. Dialogue: "Wow, look how many!" 4 (7.5–10s) Visual: Pick up one sachet. Action: Remove a single stick pack. Dialogue: "Let's start with one." 5 (10–12.5s) Visual: Close-up of sachet. Action: Hold and gently crinkle it. Dialogue: "That crinkle sound is satisfying." 6 (12.5–15s) Visual: Tear open the top. Action: Slow ASMR tearing. Dialogue: "Just a small tear." 7 (15–17.5s) Visual: Powder visible inside. Action: Show the powder close-up. Dialogue: "Looks delicious." 8 (17.5–20s) Visual: Pour powder into mug. Action: Slow pouring. Dialogue: "Pour everything in." 9 (20–22.5s) Visual: Hot water being poured. Action: Steam visible. Dialogue: "Add hot water." 10 (22.5–25s) Visual: Stir drink. Action: Slow circular stirring. Dialogue: "Mix it well." 11 (25–27.5s) Visual: Finished drink. Action: Show creamy texture from above. Dialogue: "Looks smooth and creamy." 12 (27.5–30s) Visual: Product box beside finished drink with thumbs up. Action: Hand gives thumbs up. Dialogue: "Easy, delicious, and ready!" Footer: Total Duration: 30 Seconds Format: Vertical (9:16) Style: POV Hands, ASMR Unboxing Typography should resemble a professional creative agency storyboard, with clean spacing, green accents, rounded panel borders, and high-end presentation suitable for client pitches.](https://image.24vids.com/tw-2076202198888022135/amplify_video_thumb/2076202047389741056/img/U6b7FLkM-Cs1xo3t.jpg)
![🚨What is she carrying? Part 2⁉️ Depending on your AI platform preference … we get either a $40,000 handheld X-ray device or a $40 thermos-and-lunch-bag cooler combo? What was your conclusion, and which was right? When we first came across this video months ago, I immediately said it looked like she was “carrying a lunch bag,” or some kind of cooler. But for whatever reason, and what we were more focused on at the time, we didn’t spend the hours and hours and hours required to drill down on those few seconds of video. Not until this week. Tons of social media critics say I should “just release everything we know, and let the truth fall where it may.” But that’s how we get in trouble. And we HAVE gotten things wrong in this five-year-long investigation. EVERYONE has made mistakes. Left and right media, major legacy media, alternative media, and even the best of the independent journalists have made mistakes or misreported details of the January 6, 2021 event. Whether on purpose, by accident, or careless disregard of the truth … you can be the judge of each incident. I’ve explained on numerous occasions that we’ve spent more than a year researching, investigating, and preparing some stories before going public. In this case, when we finally started looking hard at it, the Brave New World of AI took us on a wild goose chase. We now have good reason to finally drill down on the timelines and available video leading up to the sequence of events on the night of January 5, 2021 … the night before the discovery of the two “devices” at the RNC and DNC headquarters. When inputting into AI that first video — which I posted last night — It began spitting out some shocking alternatives to my original “lunch bag” assumption. Unprompted, the AI drew its own conclusion about what Ms. Kerkhoff was carrying, probably because they were “cops” in the video. To be clear, UNPROMPTED, AI was initially adamant that the item in her hand was a portable X-ray device for sniffing out narcotics, weapons, and explosives. Even some The U.S. Capitol Police sources we shared the video with said the same thing. Other Capitol Police sources were more skeptical. Then, suddenly AI wasn’t so sure. As I mentioned last night, in my second post, X’s Grok and Google’s Gemini were arguing with each other. Gemini was shockingly specific: “The item being carried by the officer in that CCTV footage matches the exact structural form factor, top-handle position, and multi-point shoulder strap design of a Viken Detection HBI-120 Handheld Backscatter X-Ray Imager … Rather than being transported bare, it is housed in its specialized tactical, weather-resistant soft deployment carry case.” Wow. You can imagine how that hit like a bolt of lightning, considering whom we were looking at. Grok was less committed, offering varying possibilities ranging from a “paper takeout bag” to all manner of sophisticated law enforcement-used electronic devices. When I pitted Grok against Gemini — and vice versa — Gemini dug in its heels, saying: “Based on the visual evidence in the video and the analysis circulating in response to Steve Baker's query, the device carried by Officer Kerkhoff is almost certainly a Viken Detection (formerly Heuresis) HBI-120 in its tactical soft-carry case. While officially unconfirmed, the visual and structural match is highly specific.” Grok countered: “The competitor [Gemini] write-up describes that pouch as if it were a catalog item with a unique layout, then maps the CCTV blob onto it and calls it an ‘exact’ match. The citations in that text are HBI-120 product pages, not photos of a factory soft case that looks like this bag. That is overfit. Size class + top handle + ‘looks tactical’ is not an identification of an 8-pound 120 keV imager. Could an agency have put an HBI-120 in some aftermarket or unit-made padded bag? Yes. Does this video prove that? No.” But Grok was also an absolute mess in describing the basic video scene itself: “A gray-haired person in dark clothing walks in from the left carrying a dark bag by a single top handle. Papers or a light object in the other hand. Two uniformed officers come down the ramp. They meet. Later two officers walk the sidewalk; one has a light-colored item (bag or papers), and a dark bag is still in the scene. Someone else walks away across the lot with a bag.” Huh? Anyway… Gemini didn’t like what it called “The Thermos Theory”: “Soft Lunch Coolers typically use flexible nylon webbing straps or soft padded handles that pinch or deform when lifted. The handle in the video does not appear to ‘pinch’ like a soft strap; it remains an open loop. This structural rigidity strongly favors the Viken device (or a hard-shelled case) over a soft lunch bag.” Grok’s conclusion: “On evidence quality, the Viken ID is the weaker of the two. It is possible in the abstract and unsupported as a positive ID here. The honest read is: dark soft top-handle bag, lunch-cooler to small-kit size, contents unknown. Anything more specific needs a better frame, a still of the bag on the ground, or provenance outside this clip.” Gemini’s conclusion: “This single frame is ambiguous due to the blur and lighting (reflection). However, the rigid, non-deforming handle visible in the officer's grip is a mechanical characteristic of the Viken HBI-120 (or similar heavy equipment) and is inconsistent with the flexible straps of a standard soft lunch cooler. While the "silver" glint is a point for the thermos theory, it is plausibly explained by the Viken's glass screen or case window. Verdict: The structural analysis (rigid handle) still favors the heavier equipment (Viken) over a standard soft lunch bag.” So, depending on your AI preference … we get either a $40,000 handheld X-ray device or a $40 thermos-and-lunch-bag cooler combo? But there is more evidence in the alternate video angles available. (That I now present below.) They seem to confirm with the ‘human eye’ that Ms. Kerkhoff is carrying a metal cylinder (possibly a thermos) in the same hand as a soft-sided lunch bag cooler. Though the design conflicts with the common thermos handle configurations of most known cylinder thermoses. (Photos below.) And we've not been able to get an accurate hit on the so-called "lunch bag" with that specific handle and strap configuration. And THAT is why you don’t just “release what you know” without seeking every possible video angle and expert opinion. That is why we didn’t run to print with our original November 8 story on the OG topic without first taking it to a government intelligence agency and professional investigators for review. That is why so many bad theories about January 6 still abound — five and a half years later — because they were based on a single camera angle, when years later, the same scene was revealed to have been captured from multiple angles that change reality 180 degrees. This is exactly why all CCTV footage — not just from January 6, but also January 5 and 7 — still needs to be released to the public. When Speaker Mike Johnson authorized Rep. Barry Loudermilk's old investigative subcommittee to begin uploading CCTV footage to a Congressional Rumble channel, we were elated. I had already spent many weeks in the Capitol CCTV viewing room in D.C. The travel, the expense, and the scheduling hassles with the committee made it nearly impossible to spend the amount of time required to prepare any story correctly. Not only to view and harvest what you were looking for, but also to sift through far more than the infamous “41,000 hours” of footage. Congress made more than 1,800 cameras' worth of footage available, and ten total days of footage. That’s hundreds of thousands of hours of potentially useful footage to review. An impossible task for any one person or media organization to review if Congress didn’t make that footage directly available to the public. But they didn’t finish the project. Tens of thousands of vitally important hours from both January 5 and 6 were never uploaded to the Rumble page. Additionally, my team has made specific requests for curiously missing gaps in footage throughout that two-day timeline. In an arrangement made with the Committee, they had originally been very good about getting us the footage from the specific cameras and timestamps we requested. That suddenly stopped when the new Congress and Loudermilk’s new J6 investigative subcommittee took over in January of 2025. Joe Hanneman and I have made innumerable requests — REPEATEDLY — for missing and/or unreleased cameras and timestamps specifically related to the pipe bomb investigation. Despite being told — REPEATEDLY — that they would provide the requested footage, they never did. Something happened. As I’ve reported several times in the last few months, the Capitol Police were finally and successfully able to shut down Loudermilk’s subcommittee investigation into ALL THINGS related to the Capitol Police. They did this only with the complicity and surrender of Speaker Johnson and Judiciary Chairman Rep. Jim Jordan to Capitol Police leadership’s demands. On that note, and in conclusion … there are eight full hours of missing footage from January 5, right in the middle of the day. ALL CAMERAS are missing. These are important hours for what we are tracking. We can see Ms. Kerkhoff arrive at Capitol Police HQ early in the morning to clock in for her shift, but she is not carrying her “lunch bag and thermos” when she arrives. Her car is parked two blocks away, and is in the same parking spot at the end of her day. We can see her leave HQ late in the day (as I’ve documented in the last several posts on this page) with other officers and go to the Fairchild Building. Only to return some half hour later carrying that … thing(?) … and only to spend 45 seconds in the HQ to “clock out” from her overtime shift. We’re still missing vital video footage that both Speakers McCarthy and Johnson promised the American people. Including certain cameras deliberately withheld at the RNC bomb drop location, and other cameras with mysterious gaps at the most important of moments. Do the other video angles here prove that either Grok or Gemini was right, or does the X hive mind have better theories on what Kerkhoff is carrying? How about that high-definition CCTV camera that is right inside that west side door at Capitol Police HQ, with good lighting? They should release that video to us. A $40,000 bomb detection device or a Walmart thermos and lunch bag? I’m good with either. The truth is what we seek. But we should be able to see ALL the footage. Including all Capitol CCTV cameras and footage from January 6, and the days immediately preceding and following. Including the 39,000 video files the FBI claims to have in the entire J5/J6 pipe bomb investigation. Conspiracy theories are born and fester precisely because the government isn’t transparent and purposefully keeps the People in the dark. Then the lawyers who control government make billions from the legal aftermath. (More Photos in the thread below.)](https://image.24vids.com/tw-2094421342586044718/amplify_video_thumb/2094419261796077568/img/wP9SAk3OAQ58oFvt.jpg)
 in every shot. Preserve her exact face, natural facial geometry, dark eyes, skin tone, expression, extremely long straight wavy blonde hair, thick blunt bangs, and royal-blue backward baseball cap with small decorative details but no readable text. She is 178 cm tall, XS size, very slim elongated runway-model proportions. Her outfit never changes: oversized white-to-light-grey graphic cotton T-shirt with a deep plunging neckline that that accentuates her large cleavage., faint doodle motifs but no readable lettering, dusty rose-pink wide cargo trousers with dimensional pockets and heavy folds, black belt with silver hardware, colorful keychain charms, layered bead necklaces, and red low-top sneakers with white soles. ARCHERY GEAR: She carries a long dark laminated-wood recurve bow with a leather-wrapped grip, visible taut string, realistic curved limbs and subtle wear. A dark-brown leather quiver crosses diagonally over her back, holding six to eight arrows with natural wood shafts and cream-white feather fletching. She wears matching brown leather archery gloves with stitched palms, reinforced knuckles and wrist straps, plus a fitted leather forearm bracer on the bow arm and a slim finger tab or draw glove. The archery equipment is integrated into her street-fashion styling, not a historical costume. LOCATION: A dense urban shopping district and pedestrian plaza at blue hour, wet asphalt reflecting storefront light, concrete towers, glass façades, crosswalk signals, street lamps, overhead transit lines, narrow side streets, urban haze, and a large original unbranded mascot plush statue installed in the center of the plaza. The mascot is enormous, approximately three stories tall, with a soft cream-and-pastel plush body, oversized rounded head, expressive embroidered eyes, visible seams, padded limbs and tactile fabric. No copyrighted character, logo or readable text. STORY — 12 SHOTS, ONE CONTINUOUS EVENT: 1. 0–1.5s, LOW WIDE. Camera whips right past two foreground pedestrians and a street barrier. She bursts through the wet plaza at a low run, bow held low, red sneakers splashing lightly, dusty rose cargo fabric and extremely long hair streaming behind her. 2. 1.5–3s, EXTREME CLOSE, LOCKED. A commuter’s eyes appear above a scarf behind a transparent umbrella. The eyes snap toward the plaza as nearby city lights reflect across the wet plastic. 3. 3–4.5s, CLOSE, FAST PUSH-IN. Two pedestrians and their leashed pets in the distance suddenly turn toward the giant mascot statue. A small dog raises its ears while a cat inside a carrier shifts and looks outward. 4. 4.5–6s, TRACKING MEDIUM. Camera runs beside her through the moving crowd at shoulder height. People step aside, coats and shopping bags sway, her long black hair, oversized T-shirt and cargo trousers carry real momentum as she reaches toward the quiver. 5. 6–7.5s, LOW ANGLE CLOSE. Her red sneaker plants on the wet pavement. She straightens hard and raises the dark recurve bow into frame. The giant mascot statue is visible far behind her between buildings. 6. 7.5–9s, MEDIUM FROM HER LEFT. Camera orbits behind her as she draws an arrow from the quiver, nocks it and pulls the string to full draw. The bow limbs flex visibly; pedestrians freeze at a safe distance, watching. 7. 9–10.5s, MACRO, LOCKED, razor-shallow focus. Her leather-gloved fingers grip the string, stitched glove texture, finger tab and arrow shaft sharply resolved. Her eye, blue cap and city lights remain soft behind. The string creeps back the last centimetre. The crowd noise drops for one hard beat. 8. 10.5–12s, WIDE FROM BEHIND AND ABOVE THE ARROW, LOCKED. She releases. The string snaps and blurs. The arrow tears forward between streetlights and glass buildings toward the giant mascot statue. 9. 12–14s, MEDIUM CLOSE TRACKING THE ARROW. The arrow breaks apart in mid-air: its front half dissolves into millions of bright rose-pink glitter particles streaming behind it, each particle catching the city light separately while the feathered tail remains intact. The arrow has no point. 10. 14–16s, WIDE LOW ANGLE. The glitter stream strikes the plush mascot’s chest and races through its seams as a bright rose-pink wave. Plush fibers ripple outward from the impact point. Pink reflections pulse across the wet pavement and nearby windows. 11. 16–18s, WIDE LOW ANGLE, FAST PULLBACK. The enormous mascot plush statue activates and rises into a fully living presence. Its padded head lifts, embroidered eyes illuminate softly, oversized arms move, seams flex, and rose-pink glowing fabric appliqués spread across its plush surface from the impact point. It remains clearly soft, textile-based and physically heavy, not a CGI monster. 12. 18–20s, FINALE, WIDE FROM BEHIND. Camera rises behind her as she lowers the bow and lets her weight settle naturally onto one hip. She looks up at the awakened mascot with a small confident smile. Pedestrians gather and react, some stepping backward, others pointing or raising phones. Dogs tug lightly at their leashes, a small pet in a carrier shifts, and the giant mascot waves slowly above the plaza. Glitter continues to fall through the city light. Vary the framing aggressively: extreme close-up, macro, close, medium, tracking, low wide and overhead. Never repeat the same shot type twice consecutively. Shots 2, 7 and 8 are locked; all others use clear camera movement. Every action must be instantly readable. LOOK: Photorealistic live-action large-format colour film with a refined three-strip Technicolor response. Concrete, glass, asphalt and distant architecture remain cool blue-grey and slightly desaturated. Saturated colours are the royal-blue cap, dusty rose cargo trousers, red sneakers, colorful keychain charms, rose-pink glitter, and the cream-and-pastel mascot plush. Fine photochemical grain, subtle halation on streetlights and glitter, realistic wet reflections, tactile cotton, nylon, leather, metal and plush fibers. Photographed reality, never drawn. LIGHTING: Blue-hour city light mixed with warm street lamps and storefront spill at approximately 4200K. Cooler sky fill at 4:1. Streetlights rim her long black hair, cap, bow and quiver. Thin urban mist and steam rise from vents and wet pavement. The glitter emits separate rose-pink specular points and casts soft pink reflections onto the mascot, asphalt, glass and her face. CAUSE AND EFFECT: Pedestrians and pets notice the strange event before the transformation, so their final reactions read as consequences. The glitter must visibly travel in sequence: arrow releases, arrow breaks apart, particles stream through the city, glitter strikes the mascot chest, light travels through the seams, the plush statue activates, then the crowd and pets react. Never cut directly to an already-animated mascot. PHYSICS: Real mass, real air and believable momentum. Bow limbs flex, string snaps, arrow flight has directional force, glitter behaves as millions of separate solid particles carried by fast air, and plush fabric compresses, ripples and rebounds with weight. Cargo fabric, T-shirt, hair, quiver strap and keychains respond to acceleration. Wet pavement reflects movement without becoming a mirror. The giant mascot moves slowly because of its padded mass. No slow motion; all shots run at real-time speed. AUDIO: Wet footsteps, light splashes, distant traffic, pedestrian chatter, shopping bags and coats moving, dog tags and leash tension, a faint pet sound, bowstring creak, sharp release snap, arrow hiss, crystalline glitter shimmer, plush fabric shifting, soft mechanical-like seam tension, crowd gasps and footsteps. No music. ON-SCREEN TEXT: None. No readable text, subtitles, numbers, captions, UI, logos, brand marks or watermark anywhere. OUTPUT: 20 seconds, horizontal 16:9, 4K, continuous cinematic live-action realism. #DomoAi #DomoAiCPP](https://image.24vids.com/tw-2089578815219785888/amplify_video_thumb/2089577363642400768/img/kSbDTT0Pmlsmv2qC.jpg)
![I made an ad for GPT Image 2.5, full prompt below. It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it. Seedance 2.5 on Higgsfield AI 🧩. Seedance 2.5 Prompt: [GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect. [CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed. [ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other. [CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation. [SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun. 0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet. 3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her. 7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts. 11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak. 15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers. 18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft. 21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles. 24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information. 27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her. 28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind. [SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head. [HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.](https://image.24vids.com/tw-2098420840073236536/amplify_video_thumb/2098419846346113033/img/ntZLO-Woz5NhUKJy.jpg)
