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Fisheye lens

Serf

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10,437 görüntüleme • 3 ay önce •via X (Twitter)

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Eshal

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一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. Angle and attitude (randomized): – Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful. – Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit. – Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person. Lighting and rendering: – Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic. – Maintain realistic shadows and contact points with the ground or floor. – High-resolution, sharp details with clear skin texture, fabric weave, and material highlights. Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. Overall: Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment. Also, below is the prompt for generating the original image. Please use it as a reference. [Prompt for original image] #nanobanana2

一番最後の[Prompt for original image]の部分に画像生成に使用したPromptを入れると一貫性が増します。不要な場合は3行削ってしまっても大丈夫です。 --- Extreme wide-angle perspective and dynamic pose remix edit. This is an EDIT of the original image, not a new character. Use the original image as a strict reference for: – the person’s identity, hairstyle, and overall fashion style, – the general type of background and location (same street, same room, same beach, same kind of architecture, etc.). You are allowed to completely change the camera position, angle, and pose, but you must keep the scene in the SAME location and keep the SAME person and outfit design. Camera and perspective: – Use an ultra wide-angle or fisheye feeling lens (around 12–18mm full-frame look). – The camera angle MUST change significantly from the original: use dramatic angles such as • worm’s-eye view from directly below looking up, • bird’s-eye view from directly above looking down, • very low angle from the ground, • high angle from above, • tilted Dutch angles. – Always create strong foreshortening: body parts close to the lens look huge, while the rest of the body falls away in perspective. – The final result must look like a bold fashion or street photo, fully photorealistic, not illustration or anime. Background consistency: – Keep the same location as the original image: same street, same bridge, same room, same studio, same beach, same general structures and materials. – Do NOT replace the background with a completely different place. – Because the camera angle changes, it is allowed and expected that different parts of the environment become visible. – When new areas appear, extend the original environment logically (same buildings, fences, road markings, walls, colors, materials, lighting style), as if the camera moved within the same place. Body parts near the lens (1–2 parts, sometimes 3): – In each edit, choose ONE or TWO main body parts to be extremely close to the lens (sometimes even THREE in more complex poses). – Vary them from image to image, do NOT always use the same body part. – Allowed near-the-lens parts include: • one or both hands / fingers reaching toward the camera, • one or both feet / shoes / boots near the lens, • knees or thighs, • face very close to the lens, • shoulders or chest close to the lens in a leaning pose. – The chosen body parts should come extremely close to the lens, almost touching it, with visible skin texture, fabric texture, and realistic wide-angle distortion. Pose and overall body (complex and varied): – Create strong, cool, dynamic poses that match the extreme perspective. – Randomly use different pose types, including: • standing with one leg or one arm reaching toward the camera, • crouching or squatting low to the ground, • sitting on the floor or on objects, • lying on the ground with legs or feet toward the lens, • leaning forward aggressively toward the camera, • twisting the body, crossing legs, or arching the back for more dynamic lines. – Allow complex poses where: • both hands are near the lens forming shapes (peace signs, triangles, frames, pointing toward the viewer), • both feet are toward the lens, • one hand and one foot are both large in the foreground, • the face is close to the lens while hands or feet are also visible in perspective. – Maintain believable anatomy even with extreme foreshortening. Angle and attitude (randomized): – Randomize camera angle and orientation (up, down, side, Dutch tilt) while keeping the composition visually balanced and powerful. – Keep the vibe cool, confident, and fashion/editorial or street style, depending on the original outfit. – Facial expressions can vary (serious, playful, confident, mysterious), but must still look like the same person. Lighting and rendering: – Keep the general time of day and lighting mood similar to the original (night vs day, indoor vs outdoor, soft vs hard light), but you may enhance contrast and color to make the image punchy and dramatic. – Maintain realistic shadows and contact points with the ground or floor. – High-resolution, sharp details with clear skin texture, fabric weave, and material highlights. Variation and randomness: – Each edit should look noticeably different from the original image and from other edits, with different: • camera angles, • pose types, • which body parts are closest to the lens, • orientation (straight, tilted, from above, from below). – Avoid repeating the exact same single-foot-close-up composition; produce a wide variety of dynamic poses and angles. Strict rules: – Do NOT change the person into someone else. – Do NOT change the outfit type; only restyle it through pose, perspective, and small natural movement of clothing. – Do NOT move the scene to a completely different location; always stay in a plausible extension of the original place. – Do NOT add text, logos, watermarks, or graphic design elements. – Do NOT switch to painting, illustration, or anime style; keep it photorealistic. Overall: Transform the original photo into a dramatic, photorealistic, ultra wide-angle shot with an extreme camera angle (including views from directly below or above), where one or more body parts are right next to the lens and look huge, the rest of the body recedes in perspective, and the same person strikes a stylish, complex, powerful pose in a consistent, expanded version of the original environment. Also, below is the prompt for generating the original image. Please use it as a reference. [Prompt for original image] #nanobanana2

AI Girl's Photo Studio

20,684 görüntüleme • 8 ay önce

We might be solving the wrong problem in robotics. That’s what this makes clear. UMI → Universal Manipulation Interface A simple $400 gripper that lets you teach robots by demonstration. You hold it like a tool. Show the task. The robot learns. No teleoperation. No expensive hardware. No robot-specific data. Stanford open-sourced everything → hardware, code, datasets. What stands out to me is the bottleneck. Not algorithms. Data. Teleoperation → ~35 demos/hour UMI → ~111 demos/hour And the data transfers across robots → UR5, Franka, others. The design is surprisingly practical: → GoPro fisheye lens (155° FOV) + mirrors for depth → SLAM + IMU for precise 6DoF tracking → latency matching for dynamic tasks → diffusion policies for multimodal actions Then it scales. Cheng Chi takes this further with Sunday Robotics (with Tony Zhao). A $200 glove → deployed in 500+ homes → ~10 million real-world interactions. Not lab data. Real human behavior. Their robot learns dishes, laundry, espresso → with zero robot-specific data. This is where the shift becomes obvious. From training robots in controlled environments → to learning directly from humans at scale So here’s the real question: Will robotics be unlocked by better models… or by unlocking data? #ArtificialIntelligence #Robotics #AI #Innovation #FutureOfWork

We might be solving the wrong problem in robotics. That’s what this makes clear. UMI → Universal Manipulation Interface A simple $400 gripper that lets you teach robots by demonstration. You hold it like a tool. Show the task. The robot learns. No teleoperation. No expensive hardware. No robot-specific data. Stanford open-sourced everything → hardware, code, datasets. What stands out to me is the bottleneck. Not algorithms. Data. Teleoperation → ~35 demos/hour UMI → ~111 demos/hour And the data transfers across robots → UR5, Franka, others. The design is surprisingly practical: → GoPro fisheye lens (155° FOV) + mirrors for depth → SLAM + IMU for precise 6DoF tracking → latency matching for dynamic tasks → diffusion policies for multimodal actions Then it scales. Cheng Chi takes this further with Sunday Robotics (with Tony Zhao). A $200 glove → deployed in 500+ homes → ~10 million real-world interactions. Not lab data. Real human behavior. Their robot learns dishes, laundry, espresso → with zero robot-specific data. This is where the shift becomes obvious. From training robots in controlled environments → to learning directly from humans at scale So here’s the real question: Will robotics be unlocked by better models… or by unlocking data? #ArtificialIntelligence #Robotics #AI #Innovation #FutureOfWork

Pascal Bornet

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CREATED with seedance 2.5 on Higgsfield AI 🧩 Duration: 30 seconds Aspect Ratio: 16:9 horizontal Model: Seedance 2.5 Reference: lolwasdf 1 CHARACTER CONSISTENCY Use the person from lolwasdf 1 as the exact same real person throughout the entire video. Preserve facial identity, facial structure, skin tone, hairstyle, hairline and natural appearance. Do not transform the person into someone else. Ignore the background, pose and clothing from lolwasdf 1. Outfit: simple dark gym clothes, practical and slightly loose, realistic workout appearance. Hair naturally tied back if applicable. OVERALL LOOK Make this feel like a real everyday gym vlog recorded on an older iPhone, not a cinematic production. 16:9 horizontal, standard 1x phone lens, normal perspective, no fisheye or ultra-wide distortion. Slightly imperfect framing, occasional focus hunting, exposure changes and natural handheld movement. Low-resolution phone-camera character with realistic compression, mild digital noise and imperfect sharpness. Natural skin pores, sweat, flyaway hairs and small imperfections remain visible. Harsh overhead gym lighting with slightly inconsistent white balance. No cinematic color grading, beauty filter, dramatic lighting or polished commercial look. One continuous realistic gym environment with free weights, benches, dumbbells, racks and mirrors. Any logos, signs or readable text must remain blurred or illegible. --- 00:00–00:05 — ARRIVAL Start outside the weight-training area. The person holds the phone casually while walking into the gym. The framing is slightly imperfect, with the phone moving naturally while walking. She looks into the lens and gives a small tired smile: “Leg day again… honestly, I almost skipped today.” She turns the phone slightly toward the gym floor, briefly showing the busy workout area. Natural footsteps and gym ambience. --- 00:05–00:09 — WARM-UP Cut to the phone resting on a bench. Medium-wide static view. She enters frame, places a water bottle down and begins a quick dynamic warm-up near a squat rack. She stretches her legs, shakes them out and takes a breath before training. A person naturally passes in the distant background. No staged posing. --- 00:09–00:15 — HEAVY SET Camera remains propped at a low three-quarter angle. She performs a controlled set of heavy squats. Show realistic effort rather than exaggerated acting. Her breathing becomes heavier. On the final repetition, she struggles slightly, completes the rep with controlled form and carefully re-racks the weight. She steps backward, pauses and catches her breath. Sweat is beginning to appear naturally on her forehead and neck. Keep the entire movement physically believable. --- 00:15–00:19 — QUICK CHECK-IN She picks up the phone. Handheld close selfie shot. The framing is slightly off-center and the autofocus briefly adjusts. She wipes sweat from her forehead and says naturally: “Okay… that was way harder than I expected.” She gives a short laugh, takes a sip of water and turns the phone back toward the workout area. No scripted influencer energy; make it feel spontaneous. 00:19–00:24 — DIFFERENT EXERCISE Cut to a new static angle with the phone resting against a gym bag. She performs walking dumbbell lunges through a small open area. Show several controlled repetitions. The camera stays completely static while her movement naturally enters and exits the frame. Other gym members move casually in the distant background. Dumbbells, footsteps and occasional weight sounds create authentic ambience. --- 00:24–00:27 — POST-WORKOUT MOMENT Cut to a close handheld shot. She sits briefly on a bench, breathing heavily. She looks down for a second, then looks back at the camera with a tired smile. Natural sweat, slightly messy hair and realistic breathing. She quietly says: “Yeah… I’m definitely feeling this tomorrow.” --- 00:27–00:30 — ENDING Final handheld selfie.

CREATED with seedance 2.5 on Higgsfield AI 🧩 Duration: 30 seconds Aspect Ratio: 16:9 horizontal Model: Seedance 2.5 Reference: lolwasdf 1 CHARACTER CONSISTENCY Use the person from lolwasdf 1 as the exact same real person throughout the entire video. Preserve facial identity, facial structure, skin tone, hairstyle, hairline and natural appearance. Do not transform the person into someone else. Ignore the background, pose and clothing from lolwasdf 1. Outfit: simple dark gym clothes, practical and slightly loose, realistic workout appearance. Hair naturally tied back if applicable. OVERALL LOOK Make this feel like a real everyday gym vlog recorded on an older iPhone, not a cinematic production. 16:9 horizontal, standard 1x phone lens, normal perspective, no fisheye or ultra-wide distortion. Slightly imperfect framing, occasional focus hunting, exposure changes and natural handheld movement. Low-resolution phone-camera character with realistic compression, mild digital noise and imperfect sharpness. Natural skin pores, sweat, flyaway hairs and small imperfections remain visible. Harsh overhead gym lighting with slightly inconsistent white balance. No cinematic color grading, beauty filter, dramatic lighting or polished commercial look. One continuous realistic gym environment with free weights, benches, dumbbells, racks and mirrors. Any logos, signs or readable text must remain blurred or illegible. --- 00:00–00:05 — ARRIVAL Start outside the weight-training area. The person holds the phone casually while walking into the gym. The framing is slightly imperfect, with the phone moving naturally while walking. She looks into the lens and gives a small tired smile: “Leg day again… honestly, I almost skipped today.” She turns the phone slightly toward the gym floor, briefly showing the busy workout area. Natural footsteps and gym ambience. --- 00:05–00:09 — WARM-UP Cut to the phone resting on a bench. Medium-wide static view. She enters frame, places a water bottle down and begins a quick dynamic warm-up near a squat rack. She stretches her legs, shakes them out and takes a breath before training. A person naturally passes in the distant background. No staged posing. --- 00:09–00:15 — HEAVY SET Camera remains propped at a low three-quarter angle. She performs a controlled set of heavy squats. Show realistic effort rather than exaggerated acting. Her breathing becomes heavier. On the final repetition, she struggles slightly, completes the rep with controlled form and carefully re-racks the weight. She steps backward, pauses and catches her breath. Sweat is beginning to appear naturally on her forehead and neck. Keep the entire movement physically believable. --- 00:15–00:19 — QUICK CHECK-IN She picks up the phone. Handheld close selfie shot. The framing is slightly off-center and the autofocus briefly adjusts. She wipes sweat from her forehead and says naturally: “Okay… that was way harder than I expected.” She gives a short laugh, takes a sip of water and turns the phone back toward the workout area. No scripted influencer energy; make it feel spontaneous. 00:19–00:24 — DIFFERENT EXERCISE Cut to a new static angle with the phone resting against a gym bag. She performs walking dumbbell lunges through a small open area. Show several controlled repetitions. The camera stays completely static while her movement naturally enters and exits the frame. Other gym members move casually in the distant background. Dumbbells, footsteps and occasional weight sounds create authentic ambience. --- 00:24–00:27 — POST-WORKOUT MOMENT Cut to a close handheld shot. She sits briefly on a bench, breathing heavily. She looks down for a second, then looks back at the camera with a tired smile. Natural sweat, slightly messy hair and realistic breathing. She quietly says: “Yeah… I’m definitely feeling this tomorrow.” --- 00:27–00:30 — ENDING Final handheld selfie.

Anissa

35,385 görüntüleme • 19 gün önce

Seedance 2.5 via OpenArt Never going to that gym again something was definitely not right. Prompt: Person from Image1; facial features and hairstyle must match exactly. Ignore the reference outfit, background, pose, and text. She wears a black gym tank top, dark workout leggings, and looks naturally sweaty after training. 9:16 vertical format. 30-second late-night gym psychological horror / found-footage sequence: Ultra-realistic old iPhone 1x standard lens, raw low-quality phone footage, heavy compression and constant digital noise, harsh cool-green fluorescent gym lighting, natural exposure, no cinematic grading. The gym is almost completely empty late at night. Realistic ambient gym sounds, distant machine hum, footsteps, breathing and room echo. 0–6s — Weight training: She is alone in the nearly empty gym doing heavy weightlifting. She performs controlled dumbbell curls and then a heavy shoulder press, visibly struggling and breathing heavily. Sweat builds naturally on her face and arms. She finishes the set, puts the weights down, catches her breath, grabs her phone and heads toward the bathroom. 6–10s — Entering bathroom: She enters the empty gym bathroom, places her phone near the sink, looks exhausted, drinks water and splashes cold water onto her face. She wipes her face and looks into the mirror while recovering. 10–14s — Something appears: While staring at her reflection, a strange dark human-like monster silhouette suddenly appears faintly behind her in the mirror. She doesn't notice it immediately. She looks down, takes a breath, then slowly looks back at the mirror. 14–18s — Fear: The shadowy figure is now noticeably closer behind her. She suddenly notices it and freezes. Her breathing becomes faster. She slowly turns around, but there is nothing behind her. She looks back at the mirror and the creature is still there, even closer. 18–22s — Escape: She gasps in genuine fear, grabs her phone and immediately runs out of the bathroom. Her footsteps echo through the empty gym corridor. She keeps looking behind her while running. 22–26s — Back into the gym: She rushes back into the main gym area, visibly panicked. She quickly looks around the empty gym, then spots her gym bag where she left it. She runs toward it, grabs the bag and hurriedly puts the strap over her shoulder. 26–30s — Final escape: Without stopping, she runs toward the gym exit with her bag. She pushes through the doors and escapes outside. Just before leaving, she briefly looks back toward the dark gym interior. Nothing is visible. She quickly turns and runs away. Freeze mid-run as the footage ends. Maintain realistic skin pores, sweat, flushed skin, damp hair, natural body movement and authentic fear. The monster should be subtle, dark and unsettling rather than an exaggerated CGI creature. Keep the entire sequence visually consistent with raw old-iPhone footage. Audio: Heavy breathing, weights hitting the floor, gym equipment sounds, footsteps, water splashing, bathroom echo, phone handling sounds, door opening, distant nighttime ambience. No music. Negative: No BGM, no dialogue, no text, no readable signage, no beauty filter, no cinematic color grading, no fisheye, no distortion, no vignette, no jump cuts, no scene skipping, no time compression, no exaggerated CGI monster, no gore.

Seedance 2.5 via OpenArt Never going to that gym again something was definitely not right. Prompt: Person from Image1; facial features and hairstyle must match exactly. Ignore the reference outfit, background, pose, and text. She wears a black gym tank top, dark workout leggings, and looks naturally sweaty after training. 9:16 vertical format. 30-second late-night gym psychological horror / found-footage sequence: Ultra-realistic old iPhone 1x standard lens, raw low-quality phone footage, heavy compression and constant digital noise, harsh cool-green fluorescent gym lighting, natural exposure, no cinematic grading. The gym is almost completely empty late at night. Realistic ambient gym sounds, distant machine hum, footsteps, breathing and room echo. 0–6s — Weight training: She is alone in the nearly empty gym doing heavy weightlifting. She performs controlled dumbbell curls and then a heavy shoulder press, visibly struggling and breathing heavily. Sweat builds naturally on her face and arms. She finishes the set, puts the weights down, catches her breath, grabs her phone and heads toward the bathroom. 6–10s — Entering bathroom: She enters the empty gym bathroom, places her phone near the sink, looks exhausted, drinks water and splashes cold water onto her face. She wipes her face and looks into the mirror while recovering. 10–14s — Something appears: While staring at her reflection, a strange dark human-like monster silhouette suddenly appears faintly behind her in the mirror. She doesn't notice it immediately. She looks down, takes a breath, then slowly looks back at the mirror. 14–18s — Fear: The shadowy figure is now noticeably closer behind her. She suddenly notices it and freezes. Her breathing becomes faster. She slowly turns around, but there is nothing behind her. She looks back at the mirror and the creature is still there, even closer. 18–22s — Escape: She gasps in genuine fear, grabs her phone and immediately runs out of the bathroom. Her footsteps echo through the empty gym corridor. She keeps looking behind her while running. 22–26s — Back into the gym: She rushes back into the main gym area, visibly panicked. She quickly looks around the empty gym, then spots her gym bag where she left it. She runs toward it, grabs the bag and hurriedly puts the strap over her shoulder. 26–30s — Final escape: Without stopping, she runs toward the gym exit with her bag. She pushes through the doors and escapes outside. Just before leaving, she briefly looks back toward the dark gym interior. Nothing is visible. She quickly turns and runs away. Freeze mid-run as the footage ends. Maintain realistic skin pores, sweat, flushed skin, damp hair, natural body movement and authentic fear. The monster should be subtle, dark and unsettling rather than an exaggerated CGI creature. Keep the entire sequence visually consistent with raw old-iPhone footage. Audio: Heavy breathing, weights hitting the floor, gym equipment sounds, footsteps, water splashing, bathroom echo, phone handling sounds, door opening, distant nighttime ambience. No music. Negative: No BGM, no dialogue, no text, no readable signage, no beauty filter, no cinematic color grading, no fisheye, no distortion, no vignette, no jump cuts, no scene skipping, no time compression, no exaggerated CGI monster, no gore.

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20,536 görüntüleme • 20 gün önce