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first + last frame = cinematography. set where your scene starts. set where it ends. the model fills everything in between. mitte has 3 models that do this: → seedance pro → hailou 02 → kling 2.1 example below:

mitte.ai

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26,939 просмотров • 10 месяцев назад •via X (Twitter)

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🔳 Video Model Comparison: Image to Video • Ray3 • Veo 3 • Seedance Pro • Kling 2.1 • Midjourney Video • Hailuo 02 The first video I posted is glitchy halfway through the individual model examples, so you can see the performance side-by-side below. I was impressed by each of these:

🔳 Video Model Comparison: Image to Video • Ray3 • Veo 3 • Seedance Pro • Kling 2.1 • Midjourney Video • Hailuo 02 The first video I posted is glitchy halfway through the individual model examples, so you can see the performance side-by-side below. I was impressed by each of these:

Heather Cooper

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🎆 Video Model Comparison: Text to video There are a few new models in this comparison, including Wan 2.5, Kling 2.5 & Luma Ray3: → Wan 2.5 → Kling 2.5 → Luma Ray3 → Veo 3 → Seedance Pro → Hailuo-02 → Runway Gen-4 → PixVerse 5 I used the same prompt on each model up to 4 times: First-person POV racing on a motorbike through a mountain road, leaning into sharp turns, wind rushing past, headlights streaking across the dark tunnel ahead. Upscaled with Topaz Labs Astra:

🎆 Video Model Comparison: Text to video There are a few new models in this comparison, including Wan 2.5, Kling 2.5 & Luma Ray3: → Wan 2.5 → Kling 2.5 → Luma Ray3 → Veo 3 → Seedance Pro → Hailuo-02 → Runway Gen-4 → PixVerse 5 I used the same prompt on each model up to 4 times: First-person POV racing on a motorbike through a mountain road, leaning into sharp turns, wind rushing past, headlights streaking across the dark tunnel ahead. Upscaled with Topaz Labs Astra:

Heather Cooper

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Shabana Mahmood: "Our model has always been policing by consent, and I think that is an incredibly important differentiation between the way we do policing in this country and where it happens elsewhere in the world"

Shabana Mahmood: "Our model has always been policing by consent, and I think that is an incredibly important differentiation between the way we do policing in this country and where it happens elsewhere in the world"

Saul Staniforth

34,014 просмотров • 6 месяцев назад

Kling 2.6 Motion Capture is so good. It's a huge leap forward. We've been able to do motion capture with AI for a while, but the quality bump finally made this approach useful. Here are the steps: - Get a reference video - record it or get a stock video - Grab the start frame of that video - Edit it using Nano Banana Pro. Ask to replace character and background. - Select the Kling 2.6 Motion Capture model in the video generator on Freepik (now Magnific) - Upload reference video + set the edited start frame - Video prompt can be simple e.g. "Gandalf dancing"

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Martin LeBlanc

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We call this feature the Graphic Design Generator. To make your own design, just set up a frame, position your text and elements exactly where you want them, type in a prompt, and hit ‘Recraft.’ Voilà — your design is ready! Try it out here: #RecraftAI #red_panda #GraphicDesignGenerator

We call this feature the Graphic Design Generator. To make your own design, just set up a frame, position your text and elements exactly where you want them, type in a prompt, and hit ‘Recraft.’ Voilà — your design is ready! Try it out here: #RecraftAI #red_panda #GraphicDesignGenerator

Recraft

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The consistency, effects, and animation in this new model are simply spectacular. There are still minor things that feel off, but imagine where this will be in a year. The next big leap will be high-speed, one-minute videos — whoever achieves that first will dominate the internet. Seedance 2.0 hasn’t been released globally yet, and even so, it’s already shaking everything. Gojo Satoru vs Sukuna, 100% made with artificial intelligence. Drop your opinions in the comments: what kind of fights do you want to see? When the model launches, I’ll be creating anime fight scenes — and I’ll need your help.

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Megaplex

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🐱 in our promo video there’s that scene where I ran too fast and the cameraman was chasing me, Jackie Chan was sitting in the back during that 🐱 why was I running that fast that day? later I thought about it… maybe it was bcuz Jackie Chan was on set! 🐱 it gave me more motivation! I mean my idol was right infront of me, I had to do better

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When you train in the 10-12 rep range, most of your reps have no direct effect on growth. When you train in the 4-6 range, virtually all of your reps are growth reps. Both ranges can build muscle. The mechanism doesn't care about the rep count. It cares about how close you get to true failure on the reps where the high-threshold motor units are recruited and every available fibre is firing. Those are the stimulating reps. Everything else is filler. The catch with 10-12 is twofold. First, only the last 4-5 reps in a 12-rep set are actually stimulating. The first seven are buffer. They generate fatigue, lactic acid, and joint wear that the muscle has to push through before any growth signal arrives. Effort, yes. Stimulus, no. Second, and this is where the high-rep crowd quietly come undone: the long set produces so much afferent feedback (burning, gasping, the legs giving a small philosophical speech) that almost nobody actually takes the set to true failure. They stop two, three, sometimes four reps short, mistake the discomfort for the limit, and call it a hard set. The stimulating reps they were chasing never showed up. A set of 6 doesn't allow that confusion. Failure is mechanical. The weight either moves or it doesn't. No interpretive dance required. You'll grow on 10-12. You'll grow more on 4-6, with less joint wear, less recovery debt, and considerably less guesswork. One range tolerates your mistakes. The other doesn't have room for them.

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MIKE

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The architecture of this new world model is one of the most interesting things I've seen lately: Let me first explain how most world models work: They predict and render one frame at a time. If you are navigating in one of these worlds, and you look left, the model draws whatever looks right in the moment. Every time you change your viewpoint, the model has to imagine what should be there again, so it's very common for these models to "forget" what's in the world. For example, if you put a toy on the table, look away, then look back, the toy might not be there anymore. Tripo AI is releasing its Project Eden model, which works very differently: The model builds the world first, and then renders it based on that map. That map holds the real state of the world: the geometry, every object, where things are, what's already happened. The picture you see on screen gets generated from the map. This architecture flips the whole thing. Now, you get the following: 1. The world stops forgetting. Leave, come back, and the toy is still on the table because it lives in the map, not in the last frame you saw. 2. You can edit the world, and those changes persist for anyone who enters later. 3. Multiple people and AI agents can coexist in the world and see it from different perspectives. This is early research, but it's looking really promising. They just raised nearly $200M across two rounds to build it out. Tripo will be at SIGGRAPH 2026 (July 19–23, Los Angeles Convention Center). If you work in 3D, embodied AI, simulation, or anything spatial, go connect with them there.

The architecture of this new world model is one of the most interesting things I've seen lately: Let me first explain how most world models work: They predict and render one frame at a time. If you are navigating in one of these worlds, and you look left, the model draws whatever looks right in the moment. Every time you change your viewpoint, the model has to imagine what should be there again, so it's very common for these models to "forget" what's in the world. For example, if you put a toy on the table, look away, then look back, the toy might not be there anymore. Tripo AI is releasing its Project Eden model, which works very differently: The model builds the world first, and then renders it based on that map. That map holds the real state of the world: the geometry, every object, where things are, what's already happened. The picture you see on screen gets generated from the map. This architecture flips the whole thing. Now, you get the following: 1. The world stops forgetting. Leave, come back, and the toy is still on the table because it lives in the map, not in the last frame you saw. 2. You can edit the world, and those changes persist for anyone who enters later. 3. Multiple people and AI agents can coexist in the world and see it from different perspectives. This is early research, but it's looking really promising. They just raised nearly $200M across two rounds to build it out. Tripo will be at SIGGRAPH 2026 (July 19–23, Los Angeles Convention Center). If you work in 3D, embodied AI, simulation, or anything spatial, go connect with them there.

Santiago

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Brent Lynch

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Depth video workflows have been getting a lot of attention lately, so I tested one myself. Combined with Seedance 2.0, it produced more natural motion-transfer results than using Kling Motion Control directly. Why use a depth video? 1. It removes the original character and scene details, reducing copyright and sensitive-content risks. 2. It preserves the original motion, timing, and spatial structure. This separates motion extraction from visual generation, allowing you to recreate the movement with better models and any reference character. We’ve also launched a free online tool that converts regular videos into depth videos—no local setup required: In the example below, we converted a dance video from Douyin into a depth video, then regenerated it with a reference character using Seedance 2.0. The original choreography and timing are preserved, while the lighting adapts naturally to the new character and scene.

Depth video workflows have been getting a lot of attention lately, so I tested one myself. Combined with Seedance 2.0, it produced more natural motion-transfer results than using Kling Motion Control directly. Why use a depth video? 1. It removes the original character and scene details, reducing copyright and sensitive-content risks. 2. It preserves the original motion, timing, and spatial structure. This separates motion extraction from visual generation, allowing you to recreate the movement with better models and any reference character. We’ve also launched a free online tool that converts regular videos into depth videos—no local setup required: In the example below, we converted a dance video from Douyin into a depth video, then regenerated it with a reference character using Seedance 2.0. The original choreography and timing are preserved, while the lighting adapts naturally to the new character and scene.

underwood

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1/ Gemini 2.5 is here, and it’s our most intelligent AI model ever. Our first 2.5 model, Gemini 2.5 Pro Experimental is a state-of-the-art thinking model, leading in a wide range of benchmarks – with impressive improvements in enhanced reasoning and coding and now #1 on Arena by a significant margin. With a model this intelligent, we wanted to get it to people as quickly as possible. Find it on Google AI Studio and in the Google Gemini for Gemini Advanced users now – and in Vertex in the coming weeks. This is the start of a new era of thinking models – and we can’t wait to see where things go from here.

1/ Gemini 2.5 is here, and it’s our most intelligent AI model ever. Our first 2.5 model, Gemini 2.5 Pro Experimental is a state-of-the-art thinking model, leading in a wide range of benchmarks – with impressive improvements in enhanced reasoning and coding and now #1 on Arena by a significant margin. With a model this intelligent, we wanted to get it to people as quickly as possible. Find it on Google AI Studio and in the Google Gemini for Gemini Advanced users now – and in Vertex in the coming weeks. This is the start of a new era of thinking models – and we can’t wait to see where things go from here.

Sundar Pichai

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There’s an indescribable feeling that comes when you realize you’re exactly where you’re meant to be. At first, you question it, and you pray on it. But then you remember, your path is already laid out. All you have to do is trust, and everything falls into place. I’m excited for what’s ahead and grateful for the support that has guided me here.

There’s an indescribable feeling that comes when you realize you’re exactly where you’re meant to be. At first, you question it, and you pray on it. But then you remember, your path is already laid out. All you have to do is trust, and everything falls into place. I’m excited for what’s ahead and grateful for the support that has guided me here.

Ayla Tuua

24,832 просмотров • 1 год назад

You don't understand... Higgsfield MCP + Claude just automated AI film making. Every single step you used to grind through to make an AI movie, you can now do 10x faster. Drop the script into Claude Opus 4.8 and say: "Here's my script. Break it into a full shotlist. Shot number, scene, shot type, camera move and the action in each frame." Now the whole film is mapped, shot by shot. - Pull your assets. Ask Claude: "From this shotlist, list every character, every location and every prop across the whole film." That's your build list. The stuff you would need to generate and give as references in next steps. - Build the character sheets. Higgsfield MCP is connected, so Claude has hands now to do stuff directly. It generates the images itself. Have the full body, back view and close up in the character sheet. One per character. Each sheet becomes the locked reference for that face. Same move for locations, generate the empty plate for each one before anyone steps into it. - Generate the frames. Feed Claude the references plus the shot and have it write and fire the Seedance 2.0 prompt. "Using the lead's character sheet and the alley plate, generate shot 4 in Seedance 2.0. Low angle, slow push-in, rain." Claude builds the prompt, calls Seedance 2.0 and the frame lands back in chat. Use a Seedance 2.0 skill to teach Claude how to prompt it properly. Now, there are 3 ways to make the shots. Pick one per scene. - Pure prompting. Fastest one. You describe the action in words and let Seedance interpret it. For consistency across a sequence, feed it a frame from the previous shot so the look carries. - Storyboarding. You hand it a panel and it matches that composition exactly. Way more control over how the shot is framed. The tradeoff is that it can introduce more cuts than you actually want. - Path Control System This is the latest technique Seedance 2.0 technique. Generate a still base plate of the scene. Draw a red line across it to mark the exact path of the movement, then describe what's happening. Seedance follows that line for the action. Also ask Claude to remove the red line when animating. This is the one for anything where motion has to land precisely. The output reads like real live action. - Lastly, generate every clip you need, then cut them together. Get it to Capcut for editing and audio design. And that's it. The pipeline that used to need a full crew and a studio can now run from one Claude chat. 2026 is gonna be wild

You don't understand... Higgsfield MCP + Claude just automated AI film making. Every single step you used to grind through to make an AI movie, you can now do 10x faster. Drop the script into Claude Opus 4.8 and say: "Here's my script. Break it into a full shotlist. Shot number, scene, shot type, camera move and the action in each frame." Now the whole film is mapped, shot by shot. - Pull your assets. Ask Claude: "From this shotlist, list every character, every location and every prop across the whole film." That's your build list. The stuff you would need to generate and give as references in next steps. - Build the character sheets. Higgsfield MCP is connected, so Claude has hands now to do stuff directly. It generates the images itself. Have the full body, back view and close up in the character sheet. One per character. Each sheet becomes the locked reference for that face. Same move for locations, generate the empty plate for each one before anyone steps into it. - Generate the frames. Feed Claude the references plus the shot and have it write and fire the Seedance 2.0 prompt. "Using the lead's character sheet and the alley plate, generate shot 4 in Seedance 2.0. Low angle, slow push-in, rain." Claude builds the prompt, calls Seedance 2.0 and the frame lands back in chat. Use a Seedance 2.0 skill to teach Claude how to prompt it properly. Now, there are 3 ways to make the shots. Pick one per scene. - Pure prompting. Fastest one. You describe the action in words and let Seedance interpret it. For consistency across a sequence, feed it a frame from the previous shot so the look carries. - Storyboarding. You hand it a panel and it matches that composition exactly. Way more control over how the shot is framed. The tradeoff is that it can introduce more cuts than you actually want. - Path Control System This is the latest technique Seedance 2.0 technique. Generate a still base plate of the scene. Draw a red line across it to mark the exact path of the movement, then describe what's happening. Seedance follows that line for the action. Also ask Claude to remove the red line when animating. This is the one for anything where motion has to land precisely. The output reads like real live action. - Lastly, generate every clip you need, then cut them together. Get it to Capcut for editing and audio design. And that's it. The pipeline that used to need a full crew and a studio can now run from one Claude chat. 2026 is gonna be wild

Rez Karim

10,951 просмотров • 2 месяцев назад